#46 Winter 2015/2016

The pressure is rising. Between acceleration and exit, artists and theorists are searching for new forms of resistance. They create their own worlds, enter into collaborations, establish companies, or work to dissolve familiar formats. What does it mean to be political today? What possibilities for action remain, and which ones are opening up? 

The End is Night: Dear Spike
By Matthew Dickman
Berlin; Stuttgart; Vienna; São Paulo; London; New York; Switzerland
or the things we like: by Bianca Heuser, Katja Reichard, Simon Dybbroe Møller, Meir Kordevani and Dean Kissick
Architecture: Rural Futurism
For some time now, architecture has been in crisis. Between the totally­ networked Google city and middle class fantasies of retreat, it seemed like there was no space left for new ideas. Due to the influx of refugees, the need for housing hasn’t been this urgent since the end of the Second World War. Niklas Maak sees this situation as an opportunity, and drafts a utopia.
q/a Trevor Paglen
How can we resist total surveillance?
Postcard from Athens
Helena Papadopoulos gazes out of the window at the project space Radio Athènes and thinks looping thoughts about fashion and design objects, the banality of evil and a long, hot Greek summer.
Spike Conversations: critique and precarity
Fulvia Carnevale, part of the Paris-based collective Claire Fontaine, and theoretician Rory Rowan, have a number of complaints.
Portrait Oswald Oberhuber
Oswald Oberhuber is the sort of artist who doesn’t just apply ideas and action to his own practice; he transfers them to other social spheres. In the early 1970s, he began directing Vienna’s Galerie nächst St. Stephan. Later he became Head of the University of Applied Arts and designed furniture and posters. His public statements about political topics regularly caused a stir. Andreas Reiter Raabe met up with the artist, whose work goes in all imaginable directions. With an introduction by Robert Fleck
Portrait Barbara Kruger
There is nothing outside of the market: from this discovery Kruger developed her distinctive image and text montages which have had an impact far beyond the art world. By Erika Landström
q/a Patrick Staff
Can the "self" of the artist be emancipatory?
Artist's Favourites by Christian Falsnaes