DAAD Artists-in-Berlin Program

  • This Is Television

    This Is Television

    Judy Radul, DAAD Artists-in-Berlin Program, and Ariane Beyn

    Television as cultural container, and as intermedia interface with the book as medium.

    This Is Television addresses the increasingly obsolete medium of television by way of the medium of the book—by extension commenting on media's continuous changes of form and format. Through an interplay of theory and artistic research material, the book extends Judy Radul's ongoing investigation of media with an idiosyncratic perspective on television—while still feeding off collective experience. The book thematizes television as a cultural container, both in its format as a “box” for content and as an ideologically saturated apparatus for reception. With sections titled Craig, Oral History, Moon, Display, Landing, End of Analog etc., the book charts our identification with specific media and a nostalgia connected with the obsolescence of technology. Springing from a desire to engage intermedia form by way of a book about television, and to commit to the ambiguity of its title's announcement, This Is Television is organized around three central chapters: “This,” “Is,” and “Television” are individually interpreted in newly commissioned essays by Honor Gavin, Ana Teixeira Pinto, and Diedrich Diederichsen, with additional short texts by Judy Radul.

    Copublished with DAAD Artists-in-Berlin Program

    ContributorsDiedrich Diederichsen, Honor Gavin, Ana Teixeira Pinto, Judy Radul

    • Paperback $34.00
  • Theo Eshetu

    Theo Eshetu

    The Body Electric

    DAAD Artists-in-Berlin Program, Ariane Beyn, and Theo Eshetu

    The Body Electric is the first comprehensive survey of video artist and filmmaker Theo Eshetu's extensive body of work. Eshetu examines the imagery of the collective unconscious, exploring cultural identity and challenging official media narratives through a complex interplay of signs and symbols. Throughout his prolific career, spanning over thirty-five years, he has created a distinctive poetic visual vocabulary using abstract rhythmic montage and hypnotic syncopated collages of images to create experimental films. Both philosophical and whimsically playful, Eshetu's videos possess a dreamlike quality in which gestures, fragmented actions, and the mirroring and multiplying of images into kaleidoscopic patterns question the very reality of what an image can reveal.

    This publication provides an in-depth exploration of Eshetu's engagement with a variety of genres and media, including experimental cinema, essay and documentary films, large-scale video installations, and live performances. Alongside documentation of his work, this book provides a critical contextualization of Eshetu's practice since the late 1970s: video-art historian Wulf Herzogenrath engages with Eshetu's early work in the context of experimental video making in the 1980s; writer and curator David Elliot provides an in-depth analysis of three of Eshetu's feature-length films; curator Okwui Enwezor talks to Eshetu about the role of music, montage, and the representation of Africa in his films; and Monika Szewczyk provides a commentary on his work for documenta 14, Atlas Fractured (2017).

    Copublished with Berliner Künstlerprogramm des DAAD

    ContributorsAriane Beyn, David Elliot, Okwui Enwezor, Theo Eshetu, Wulf Herzogenrath, Monika Szewczyk

    • Paperback $32.00