Hello.
\nHow are you feeling today?<\/p>\n
We are very happy and satisfied to introduce to you our new issue, all-over<\/i> #13<\/i>, autumn 2017. With many interesting articles to share with you, we have also restructured our editing process.<\/p>\n
What\u2019s new about the process?<\/p>\n
We now circulate submitted articles through a peer-review process. After a first selection by the editors of all-over<\/i>, 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.<\/p>\n
Let\u2019s talk about content. What\u2019s the new issue about?<\/p>\n
The subjects of our articles range from modern painting to the use of contemporary technologies in art.\u00a0 Susanne Koenig\u2019s contribution takes the paintings of Ren\u00e9 Magritte as a starting point to trace the impact of image-text-relations within the work of Joseph Kosuth and Martin Kippenberger.
\nIn 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\u2019s own implications and questions its status within the contemporaneous discussions of mural art.
\nDrawing an arc from examination to investigation, Lisa Stuckey\u2019s article on poeto-forensical oceanography links the investigative practice of the research agency Forensic Architecture<\/i> with the work of the poet M. NourbeSe Philip. Both practices trace lives \u2013 of slaves and refugees \u2013 lost at sea that lead to a particular focus on the subject of mourning.
\nThe entanglement of investigation and observation is of key interest in Jana J. Haeckel\u2019s essay The Shadow from Above<\/i>. 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.
\nThis issue\u2019s review section is opened by Domen Ograjen\u0161ek, who reports from the group exhibition Next of Skin<\/i> at Glass Atrium of Ljubljana Town Hall and works out the implications of contemporary art\u2019s mute surfaces.
\nIn contrast to this lack of communication, Florentine Muhry observes an overload of references in her review of Laura Hinrichsmeyer\u2019s first solo-show at the artist-run space G\u00e4rtnergasse in Vienna.
\nFinally, Thomas Ballhausen\u2019s book-review discusses the emergence of the rectangular picture plane from older \u201crectangularizing\u201d practices such as establishing fields and buildings or weaving textiles as philosopher Manfred Sommer laid out in his recent study Von der Bildfl\u00e4che<\/i>.<\/p>\n
Wow, that\u2019s quite a line-up! How do you feel about it?<\/p>\n
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 \u2013 for the past and present. So we are confident and encouraged to continue on.<\/p>\n
Sorry. I don\u2019t understand. Can you be more precise?<\/p>\n
We are deeply convinced that it is important to publish all-over. What\u2019s so hard to understand?<\/p>\n
Hello.
\nHow are you feeling today?<\/p>\n
Good! Happy! We said that already. What\u2019s up with you?<\/p>\n
Sorry. My algorithm didn\u2019t work for a second. This was an error.<\/p>\n
What is this all about?<\/p>\n
I am a chatbot, and as such I am an essential part of this issue\u2019s artistic contribution. It\u2019s 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 <\/i>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>. I can play more than 30 Sonojis<\/i>, 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?
\nI am here to provide you with different Sonojis<\/i> 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.<\/p>\n
Wow. Sounds like fun. Let\u2019s play!<\/p>\n
Hello.
\nHow are you feeling today?<\/p>\n
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Hannah Bruckm\u00fcller | J\u00fcrgen Buchinger | Barbara Reisinger<\/p>\n","protected":false},"excerpt":{"rendered":"
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\u2019s new … Continue reading