Opening up a work enacted by the artist in numerous public spaces (from Edmonton, Canada, to Jena, Germany) as a score edited for this edition, Howes proffers readers a series of directives aimed at embodying and enacting the contours of one’s surrounding architectures, be they materially physical, physiological, or psychological. Cuing the cultivation of gestures as accumulations of elements and events, Howes incites the “monstrous” [1] – blurring borders between external and internal.

[1] As per Donna J. Haraway, “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century”, in Simians, Cyborgs, and Women: The Reinvention of Nature (New York: Routledge, 1991), p. 154.

Contributors

Øystein Aasan, Saâdane Afif, Kirsty Bell, benandsebastian, Luis Berríos-Negrón, Bettina Buck, Adam Budak, Anton Burdakov, Libia Castro & Ólafur Ólafsson, Valérie Chartrain, Rhea Dall, Jean-Baptiste Decavèle, Samuel Dowd, Tatiana Echeverri Fernandez, Eric Ellingsen, Jean-Pascal Flavien, Melanie Franke, Hreinn Friðfinnsson, Hadley+Maxwell, Elín Hansdóttir, Lasse Schmidt Hansen, Karl Holmqvist, Emma Waltraud Howes, Hervé Humbert, Susanne Kriemann, LEEP (Lynn Peemoeller and Eric Ellingsen), Tanaz Modabber, Florian Neufeldt, Hans Ulrich Obrist, Kirsten Palz, Norbert Palz, Sophia Pompéry, Cia Rinne, Dieter Roelstraete, Kristine Siegel, Egill Sæbjörnsson, Tomás Saraceno, Ursula Ströbele, Loïc Verdier, Marco Thiella, Alvaro Urbano, Katharina Wendler, Florian Wüst, Chiara Zanella