edith doove

Review – Arts of Living on a Damaged Planet

Arts of Living.jpeg

My review of Arts of Living on a Damaged Planet – Ghosts and Monsters of the Anthropocene was published this month in Leonardo Reviews. Where the 20th century created and sustained the fiction of individuality, the 21st century shows that a (renewed) awareness of the entanglement between the human and nonhuman is unavoidable if we want to survive the damaging effects of our self-inflicted Anthropocene. Find the review here.


Review Grain Vapor Ray and more


Two publications this month. For Leonardo Reviews I wrote a review on Textures of the Anthropocene – Grain Vapor Ray. Although already published in 2015 these volumes (in total four) are enormously rich in content and a must read for anyone interested in the matter. You can read it here.

On a less serious but equally useful note – for Black Scat Books I wrote two contributions for their Le Scat Noir Encyclopaedia – you will have to buy that if you want to read it though but it is only $12.95.





The month of October starts good with two publications of my reviews. For Leonardo Reviews I wrote a double review on Affective Ecologies: Empathy, Emotion, and Environmental Narrative by Alexa Weik von Mossner and Anthropocene Feminism edited by Richard Grusin. The verdict falls in favour of the latter and, for those that know my research, not surprisingly small-scale but effective interventions. Find the review here.

Further quite pleased that Leonardo has for the third time published a review that I wrote for Leonardo Reviews. In the October issue you can find my review on The Apparently Marginal Activities of Marcel Duchamp by Elena Filipovic that was earlier published online in this year’s March issue of Leonardo Reviews. Find the link here.


Absurdism in all its glory – I am Sarcey by Alphonse Allais

There is only one way to fight absurdism and that is with absurdism. This art was understood by the Dadaists when they responded to the absurdism of the First World War. It was also understood by President Macron when he invited President Trump for the celebrations of Quatorze Juillet last week and confronted him, in-between all kinds of innocent niceties such as a dinner on the Eiffel tower and his wife Brigitte so that Trump could make a nonsensical remark about her good physical shape, with a marching band playing a medley of Daft Punk songs, bless him. But the all-time master of absurdism, if not the king, must no doubt be Alphonse Allais.

Allais, for those that are unfamiliar with him, was a peerless French humourist, who was born in Honfleur in 1854 and died in Paris in 1905. He was a writer of absurdist texts for newspapers such as Le Chat Noir and Le Journal, but also the little-known inventor of conceptual art by way of his titled monochromes (see below) and the composer of the earliest known silent musical composition Funeral March for the Obsequies of a Deaf Man (1884). As described by Black Scat Books “[h]e was a crucial influence on Alfred Jarry, as well as on the Surrealists: Breton included him in his Anthology of Black Humor, and Duchamp was reading him on the day he died. Allais’s fascination with wordplay, puns, and holorhymes led Oulipo to call him an “anticipatory plagiarist”; the Pataphysical College dubbed him their “Patacessor”.”


Black Scat Books and its translator (composer, writer, performer) Doug Skinner have had the brilliant idea of sharing Allais’ absurd texts with a wider audience for years now and it is no surprise that Allais heads their list of authors (if only because his name conveniently starts with the letters AL which makes the next author the infamous ANONYMOUS). To the list of books translated by Skinner and published by Black Scat Books can now be added I am Sarcey. This is a large collection of translated columns that Allais wrote for Le Chat Noir pretending to be the famous theatre critic Francisque Sarcey. In the columns by Allais it quickly becomes clear that there is at least more than one Sarcey, if not two or three, and at least one former butcher impersonating him. Anyone who wants to learn invaluable information about Sarcey’s love for young women, the weather at the end of the 19th century (which seems surprisingly similar to that of today), his love of food (and doubtful vegetarianism) or his beloved umbrella, is highly advised to read I am Sarcey. Skinner thankfully has added some notes on the various people mentioned in these columns to keep us up to speed.

Funnily enough the real Sarcey, nicknamed ‘our uncle’ and probably quite used to being caricatured, was quite taken by Allais’ take on him and wrote a preface to the second volume of Tales from the Chat Noir. Or did he, “the old fraud”? Find out for yourselves by buying a copy and support Black Scat Books in their effort to keep absurdism alive. It is needed more than ever.

Renewable Futures – Book

I have a text in the Renewable Futures Book that was just presented at Baltan Laboratories in Eindhoven during the Economia Festival and again on May 3 in Riga, during the opening of the new RIXC gallery, in Lencu iela 2.

With this Renewable Futures volume, RIXC begins a new series of Acoustic Space, that will focus on exploring the transformative potential of art in the post-media age. Our book presents the research and practices that aim to invent new avenues for more sustainable and imaginative future developments. The papers from the 1st Renewable Futures Conference selected in this volume are aimed at shaping new contact zones between traditionally separated domains – art and science, academic research and independent creative practices, sustainable businesses and social engagement in the 21st century.

Edited by Rasa Smite, Raitis Smits and Armin Medosch, authors and contributors Domenico Quaranta, Martha Buskirk, Miško Šuvaković, Dieter Daniels, Andreas Broeckmann, Geoff Cox, Jacob Lund, Ieva Astahovska, Karla Brunet, Oksana Chepelyk, Edith Doove, Gabriela Galati, Julian Hanna, Lisa Jevbratt, Normunds Kozlovs, AnneMarie Maes, Conor McGarrigle, Armin Medosch, Jennifer no.e Parker, Daniela de Paulis, Helena Sederholm, Ilva Skulte, Rasa Smite, Raitis Smits, Vygandas “Vegas” Šimbelis, Isidora Todorović, Polona Tratnik and Fields exhibition artists.

Find more information on the book and how to order it here.

Alchimia Nova

Contributed a text to this book by AnneMarie Maes.

Maes is a multi-media artist who has been studying the tight interactions and co-evolutions within urban ecosystems. In the open-air lab on the rooftop of her studio, she created an experimental garden and has been keeping bees in self-designed beehives, equipped to bring out hidden structures in the life of the colony. Her “field notes” provide an on-going source of inspiration for her artworks. The Bee Laboratory, as well as her late experiments with “living” textiles, open a framework that has been initiating a wide range of installations, photography works, sculptures, workshops and books. It is a long-term project on the edge of art, science and technology.

Alchimia Nova, AnneMarie Maes – 2016
SC / 184 pages / 21 x 14,8 cm
Published by MER. Paper Kunsthalle
Language EN
Authors: AnneMarie Maes, Luc Steels, Armin Medosch, Darko Fritz, Edith Doove
Design Studio Luc Derycke
Print Graphius, Gent
ISBN 978 94 9232 148 0
Price 25.00 euros
Buy the book online at MER or in one of the Copyright Bookshops