Amira Gad

  • Angela Bulloch, Maria Zerres

    Angela Bulloch, Maria Zerres

    Considering Dynamics and the Forms of Chaos

    Amira Gad and Brigitte Schenk

    This volume accompanies the eponymous exhibition at the Sharjah Art Museum—two parallel solo shows by Angela Bulloch and Maria Zerres brought together under one title, framed by the notion of entropy. Likewise, the publication takes the form of two separate but related exhibition catalogues, each leading toward the book's center.

    A key term that characterizes the movement toward chaos, entropy appears in a variety of fields such as physics, probability theory, sociology and information technology. Within contemporary art, entropy has emerged to refer to installations often associated with representations of order, disorder and information, and their homogeneity. Through the works of Angela Bulloch and Maria Zerres, suggestions of entropy transpire in different ways and through their respective artistic forms. Inherent to both practices is a representation of a movement towards chaos.

    Angela Bulloch works with sculpture, installation, and sound. Her interdisciplinary practice spans forms that manifest her interest in systems, patterns, and rules, and the creative territory between mathematics and aesthetics. She proposes that this experience can be “subliminally programmed”; her work stages that which is beyond our grasp. Maria Zerres's paintings explore the aesthetic languages of abstraction and figuration. Her canvases play with the use of space by emphasizing the blank space of the canvas and overpainted areas that emerge from improvisation and result in compositions that bridge abstract and figurative painting.

    Copublished with Sharjah Art Museum on the occasion of “Considering Dynamics and the Forms of Chaos,” March 10–May 31, 2016

    ContributorsManal Ataya, Lotte Everts, Amira Gad, Vanessa Joan Müller, Brigitte Schenk, Corinna Thierolf

    • Paperback $34.00
  • The Crime Was Almost Perfect

    The Crime Was Almost Perfect

    Cristina Ricupero, Defne Ayas, and Amira Gad

    What makes crime stories fascinating is that the divisions between the criminal, the victims, and the audience are constantly blurred: we are all potential victims and could perhaps become criminals ourselves.

    While the exhibition “The Crime Was Almost Perfect” at the Witte de With Center for Contemporary Art in Rotterdam functioned more as a “space for experimentation,” this publication aims to investigate not only detective fiction but the more theoretical, philosophical, and aesthetic aspects of the genre. Published following the closing of the exhibition, this catalogue should be considered a continuation of the project, as a resource in itself, rather than simply documentation or commentary.

    Taking a more literary approach to the theme, the publication includes commissioned fictive works and three relevant theoretical essays. The essays were chosen, not only to address the participating artists' practices or artworks, but to provide analysis of some of the issues raised in the exhibition. The publication includes Tom Morton's story “The Thick End” and Astrid Trotzig's “threat letters,” as well as essays by Michael Zinganel and Alexandra Midal, and Karl Marx's “The Productivity of Crime.”

    This book is published on the occasion of the group exhibition “The Crime Was Almost Perfect,” curated by Cristina Ricupero at Witte de With, Rotterdam, January 24–April 27, 2014.

    Copublished with Witte de With

    ContributorsAlexandra Midal, Tom Morton, Cristina Ricupero, Astrid Trotzig, Michael Zinganel

    • Paperback $16.00