Marius Engh, installation view Bohemia, VIS, Hamburg, 2018. Photo: Fred Dott



Most illustrious Princes, often have I considered the metallic arts as a whole, as Moderatus Columella considered the agricultural arts, just as if I had been considering the whole of the human body; and when I had perceived the various parts of the subject, like so many members of the body, I became afraid that I might die before I should understand its full extent, much less before I could immortalise it in writing.

Georgius Agricola, Re De Metallica, 1556

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Release

8 pm reading by Karl Larsson, 9 pm reading by Clare Molloy,
monster drinks by Paul Spengemann, outdoor music by Mense Reents


Pfeil Magazine 9 | Error

With contributions by Mitchell Anderson, Christiane Blattmann, Adam Christensen, Tyler Coburn, Hans-Christian Dany, Michael Dean, Gina Fischli, Flaka Haliti, Laëtitia Badaut Haussmann, Lina Hermsdorf, Judith Hopf, Karl Larsson, Clare Molloy, Susan Morgan and Thomas Lawson, Mense Reents, Stacy Skolnik, Paul Spengemann, Ramaya Tegegne.

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Torben Wessel, installation view dense cloud, VIS, Hamburg, 2018. Photo: Fred Dott



Torben Wessel’s art deals with the channeling of sensory information. He takes up web phenomena dedicated to the production of sensory stimuli and considers the shift from information to emotion in digital space as well as the associated cognitive and receptive changes. By reflecting on the effects of commodification, Wessel shows that economics is no longer just one part of society but has long since pervaded all social action.

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Ramaya Tegegne, Krugers, 2018. Installation view Welcome to My Rectangle, VIS, Hamburg, 2018. Photo: Fred Dott



Ramaya Tegegne’s work addresses the processes by which the field of art is constituted. It focuses on those artistic practices which, from the 1960s on, began to make visible art’s social, economic and cultural determination, in this way problematizing dominant mechanisms within the field. Tegegne frames this issue through an examination of the social preconditions of art’s production, presentation and reception under present conditions. When she cites and appropriates historical artistic material, transposing it into a broader context, she does so in order to open up access to existing material, and in this way to open it up to experience.

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