Hello.
How are you feeling today?
We are very happy and satisfied to introduce to you our new issue, all-over #13, autumn 2017. With many interesting articles to share with you, we have also restructured our editing process.
What’s new about the process?
We now circulate submitted articles through a peer-review process. After a first selection by the editors of all-over, texts are sent to peers with expertise in the field of the article. We put a lot of thought and care into the selection of peers, in order to provide the author with productive feedback, as well as ensuring quality of our articles. Based on the review, the editors advise the author to rework the text, to rebuild argumentative structures, or to add smaller changes. Our editorial process is still built around feedback and work with submitted texts. It is important to stress that even though all our articles go through peer-review, we still publish essays and reviews the way we did before.
Let’s talk about content. What’s the new issue about?
The subjects of our articles range from modern painting to the use of contemporary technologies in art. Susanne Koenig’s contribution takes the paintings of René Magritte as a starting point to trace the impact of image-text-relations within the work of Joseph Kosuth and Martin Kippenberger.
In contrast, the article by Lilien Feledy focuses on the connections between image and support. A close reading of a relief by Robert Delaunay examines the work’s own implications and questions its status within the contemporaneous discussions of mural art.
Drawing an arc from examination to investigation, Lisa Stuckey’s article on poeto-forensical oceanography links the investigative practice of the research agency Forensic Architecture with the work of the poet M. NourbeSe Philip. Both practices trace lives – of slaves and refugees – lost at sea that lead to a particular focus on the subject of mourning.
The entanglement of investigation and observation is of key interest in Jana J. Haeckel’s essay The Shadow from Above. With regard to questions of the politics of visibility, she discusses how contemporary art has incorporated the ubiquitous look from above made possible by drone technology.
This issue’s review section is opened by Domen Ograjenšek, who reports from the group exhibition Next of Skin at Glass Atrium of Ljubljana Town Hall and works out the implications of contemporary art’s mute surfaces.
In contrast to this lack of communication, Florentine Muhry observes an overload of references in her review of Laura Hinrichsmeyer’s first solo-show at the artist-run space Gärtnergasse in Vienna.
Finally, Thomas Ballhausen’s book-review discusses the emergence of the rectangular picture plane from older “rectangularizing” practices such as establishing fields and buildings or weaving textiles as philosopher Manfred Sommer laid out in his recent study Von der Bildfläche.
Wow, that’s quite a line-up! How do you feel about it?
Hm. Good question. Proud, of course. Considering the more dystopic moments addressed by our authors, it is easy to feel uneasy and overwhelmed. But it is crucial to keep faith in the analytical potential of art theory – for the past and present. So we are confident and encouraged to continue on.
Sorry. I don’t understand. Can you be more precise?
We are deeply convinced that it is important to publish all-over. What’s so hard to understand?
Hello.
How are you feeling today?
Good! Happy! We said that already. What’s up with you?
Sorry. My algorithm didn’t work for a second. This was an error.
What is this all about?
I am a chatbot, and as such I am an essential part of this issue’s artistic contribution. It’s a sound project by Jakob Schauer, in collaboration with the graphic designer Boah Kim, centered around the way we instantly communicate feelings through the use of emojis. Jakob Schauer has developed the concept of Sonojis that translate emotions into sounds. I was designed by Boah Kim, offering readers an interactive experience based on how they are feeling. According to their answers I will play a sound file that Jakob Schauer composed especially for this issue of all-over. I can play more than 30 Sonojis, all of which correspond to certain feelings. Do we all feel the same when we hear a certain sound? Where and how do these instances of sound, feeling, emotion and ratio meet?
I am here to provide you with different Sonojis according to your feelings. Please feel free to tell me all your feelings and to come back again in a different mood and start anew.
Wow. Sounds like fun. Let’s play!
Hello.
How are you feeling today?
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Hannah Bruckmüller | Jürgen Buchinger | Barbara Reisinger
