Cosmin Costinaş

  • A Journal of the Plague Year

    A Journal of the Plague Year

    Cosmin Costinaş, Inti Guerrero, and Lesley Ma

    Expanded from a touring exhibition originated at Para Site in 2013, this book critically analyzes historical and contemporary imaginations and politics of fear in the face of disease and the specter of contamination in society and culture. Scholars, artists, novelists, and journalists depart from Hong Kong's history of epidemic—the most recent being the SARS outbreak of 2003, shortly followed by the tragic death of pan-Asian pop icon Leslie Cheung, and tackle the galvanizing power and the varied perceptions of contagion in the context of lingering histories, myths, anxieties, and memories across geographies. While composing a complex picture of the Hong Kong psyche, these contributions speak from a humanistic and global perspective, pointing to the intersections of urban environments and post-colonial psychology, popular culture and racism, public health and migration, national identity and art.

    Copublished with Para Site, Hong Kong

    ContributorsMichael Berry, Natalia S. H. Chan, Cosmin Costinaş, Dung Kai-cheung, Inti Guerrero, James T. Hong, Austin Ming-han Hsu, Zuni Icosahedron, Finnouala McHugh, Pak Sheung Chuen, Lawrence Pun, Shih Shu-ching, Xiaoyu Weng

    • Hardcover $36.00
  • Is the Living Body the Last Thing Left Alive?

    Is the Living Body the Last Thing Left Alive?

    The New Performance Turn, Its Histories and Its Institutions

    Cosmin Costinaş and Ana Janevski

    The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden emergence of works created by very different visual artists in very different places—artists such as Allan Kaprow, Robert Morris, Carolee Schneeman, and Robert Rauschenberg in the United States; Lygia Pape and Hélio Oiticica in Brazil; the Gutai group in Japan; and Yves Klein in France. Each explicitly or implicitly used dance or choreographic procedures to reinvent, reimagine, and reimage how the visual arts produced and conceived its images and objects—and therefore conceived itself both as practice and as discourse. Dedicated to the renewed encounter between dance and performance and the institutions of global contemporary art, Is the Living Body the Last Thing Left Alive? proposes that a “new performance turn” has emerged in the second decade of the century, and looks at its correlations with other shifts in practices, discourses, and broader society.

    The new performance turn is closely related to, on one hand, the increasing tendency to bring contemporary dance into the museum, with more artists working in and around dance, and more museums, art centers, and biennials striving to deepen their commitment to performance in order to develop new aesthetic forms and new modes of production; on the other hand, this “turn” is also related to specific developments in dance and choreography that took place in the mid-1990s. This publication tries to think about performance as more than a medium, beyond its liveness and ephemerality, and rather as a series of questions and reflections about how art mediates social relations among people.

    Is the Living Body the Last Thing Left Alive? is expanded from the eponymous 2014 conference organized by Para Site.

    Copublished by Para Site, Hong Kong

    ContributorsBelkis Ayón, Claire Bishop, Boris Buden, Amy Cheng, Bojana Cvejić, Adrienne Edwards, Patrick D. Flores, Gauri Gill, Simryn Gill, Inti Guerrero, Tetsuya Ishida, Eisa Jocson, Firenze Lai, André Lepecki, Xavier Le Roy, Miguel A. López, Carol Yinghua Lu, Rabih Mroué, Ruth Noack, Fernanda Nogueira, Manuel Pelmuș, Goran Sergej Pristaš, Nelly Richard, David Riff, Emily Roysdon, Simon Soon, Mårten Spångberg, Catherine Wood, Yangjiang Group, Anthony Yung

    • Hardcover $49.95
  • Taiping Tianguo—A History of Possible Encounters

    Taiping Tianguo—A History of Possible Encounters

    Ai Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong in New York

    Doryun Chong and Cosmin Costinaş

    “Taiping Tianguo: A History of Possible Encounters,” a touring exhibition organized by Para Site, Hong Kong, began as a series of questions: How did Ai Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong—four artists of Chinese heritage hailing from mainland China, Hong Kong, Taiwan, and San Francisco, respectively—all end up in New York in the heady 1980s? Did they know one another? By considering them together, what might we learn about their practices and the storied time and place in art history? With nuanced glimpses of the artists' overlapping experiences, networks, and friendships, this book makes a unique contribution to a critical reading not only of New York art of the 1980s, but also of nascent contemporary Chinese art in the advent of the globalization of the art world.

    Copublished with Para Site, Hong Kong

    ContributorsBarry Blinderman, Doryun Chong, Cosmin Costinaş, Mark Dean Johnson, Christina Li and Yung Ma, Xavier Le Roy, Tang Fu Kuen, Anton Vidokle, Lydia Yee, Anthony Yung

    • Paperback $28.00