Sybille hotz biography sample
Anthology - opening speech by Kees Weeda
8|3|2020 Walgenbach art&books, Rotterdam (with Asya Achimova, Maren Ebert-Rohleder, Lorenz Geiger, Joel Klenk, Michael Reid and Thalia Vollstedt). “Ambiguity in Discourse: The Tübingen Interdisciplinary Corpus of Ambiguity Phenomena.” Vagueness, Ambiguity, and All the Rest: Linguistic and Pragmatic Approaches. Ed. Ilaria Fiorentini and Chiara Zanchi. Amsterdam: John Benjamins Publishing, 2024. 84-108. DOI: https://doi.org/10.1075/pbns.347 (with Matthias Bauer). "'To Think These Trifles Some-Thing': Introduction." Shakespeare's First Folio 1623-2023 - Text and Afterlives. Ed. Matthias Bauer and Angelika Zirker. London: Bloomsbury Publishing, 2024. 1-8. (with Matthias Bauer). "The First Folio as a Sacred Text." Shakespeare's First Folio 1623-2023 - Text and Afterlives. Ed. Matthias Bauer und Angelika Zirker. London: Bloomsbury Publishing, 2024. 85-110. (with Matthias Bauer). "Reflections on Co-Creativity in Early Modern Drama: Stylistic Adaptation and Practices of Collaboration." Critical Survey 36.1 (2024). DOI: 10.3167/cs.2024.360106 (with Michael Göggelmann). "Case Study: Annotationg the Ambiguous Modality of must in Jane Austen's Emma." Digital Humanities Quarterly 17.3 (2023). http://www.digitalhumanities.org/dhq/vol/17/3/000727/000727.html (with Matthias Bauer). "Die Ambiguität des Schein(en)s und ihr Erkenntnispotential: appear - seem - shine." Schein und Anschein: Dynamiken ästhetischer Praxis in der Vormoderne. Ed. Annette Gerok-Reiter, Martin Kovacs, Volker Leppin, and Irmgard Männlein-Robert. Berlin: deGruyter 2023. 3-17. DOI: 10.1515/9783110725391-001 (with Matthias Bauer). "Introduction." Strategies of Ambiguity. New York: Routledge, 2023. 1-11. DOI: 10.4324/9781003298083 (with Matthias Bauer, Sarah Briest, and Sara Rogalski). "Geben und Nehmen. Eine Reflexionsfigur gemeinschaftlicher Autorschaft in der englischen Literatur der Frühen Neuzeit". Plurale Autorschaft: Ästhetik der Co-Kr Representing 17 countries from America to Transylvania, Korea to England, and Egypt to Wales, the artists were chosen by the show's organizer, MAD's chief curator David Revere McFadden. The values of traditional handcrafts (material beauty, practicality) are, in many ways, a refreshing antidote to the lofty ideals of conceptual art. Yet these artists are not craftspeople, and their art is very much conceptual and experimental. When they have viewed the entire exhibit, visitors will have considered such diverse topics as viruses that invade human bodies (in Laura Splan's computer machine-embroidered doilies), tattoo culture (in Benji Whalen's hand-embroidered, stuffed arms), mythologies of childhood (in Morwenna Catt's phrenologies and Andrea Dezsö's "Lessons from My Mother” series), the cult of celebrity (in Michael Brennand-Wood's "Flower-Head–Narcissistic Butterfly" and Maria E. Piñeres's "mug shots”) and the brutality of dictatorship (in Christa Maiwald's "Garden Party,” which juxtaposes embroid [Add-Art's] Double Act
On my work table at home is a beautiful Perspex book display stand, the kind you see in better quality bookshops. The stand holds a book, an indecipherable book, which I often read. The pages are covered with lines, dashes, full stops, but they do not form letters. And yet I read it. I probably need to offer some explanation, even for a group of people for whom metaphors and paradoxes are everyday fare. The book, really more the size of a brochure, was made by two artists: Maria Ikonomopoulou and Anastasia Mina. They both made 6 drawings, and made 1 together. The book has two front covers and no back: when you have seen the work of one artist, you have to turn the book around to see the other’s work. Or keep turning the pages, in which case you’ll see half of the book upside down. Which, at the same time, subtly raises the issue of top and bottom in abstract art. It is produced on Moleskine Folio 100gsm acid-free paper. The cover is made from top quality Saunders Waterford watercolour paper, 300gsm, glued on 4 sides, acid-free and age-resistant, made in England. (This so that you can picture it). It is called syn[chrono]sides - with the word chrono in square brackets. I bought it in 2014.
How can you read a book that has no letters? You might say that you can only look through it, and in the first years that I had the work, that is what I did. But at some point I noticed that I started looking at the pages differently: I began to read them. (Read and touch because there are intervening pages that, like braille, consist solely of raised dots.) And then I ‘read’ the story of Maria. Admittedly, I have some prior knowledge, but even so, it is fascinating to think how this work is a kind of pars pro toto for Maria’s oeuvre. The precision, the love, imagination and the beauty of all her work are reflected in the pages of this little book. And if you buy the monograph, you will see – i Extreme Embroidery: Art and Craft Meet On the Verge
Extreme Embroidery: Art and Craft Meet On the Verge
In 2007, the Museum of Arts & Design in New York City embarked on a series of exhibits examining ways in which contemporary artists are reinventing the age-old techniques and styles of traditional handcrafts. The first show in the series, Radical Lace & Subversive Knitting, opened in January 2007. Pricked: Extreme Embroidery, the second installment, proves to be even more provocative, with a range of artists and works that challenge long-held views of embroidery as a socially acceptable, benign form of practical and decorative art. While it is true that embroidery figures prominently in the 60 works displayed, visitors will note many other surprising materials used by the 48 exhibiting artists: human hair, Welsh slate, brass badges, laundry bags and an antique doll bed among them.
The Hustler and The Carer
w/ Extensions
For the sake of clarity, this project focuses on two modes of presentation of art online, which we're calling The Hustler and The Carer. The Hustler refers to the form of reciprocity in which a product or service is being presented (for sale) to a potential user (based upon analytics culled from taste-expressing consumers). A great example of this kind of reciprocity is the virtual context - the ad spaces - in which Add-Art operates (i.e. The Banner Ad Surrogate). In contrast, The Carer refers to a form of reciprocity in which personal requests for intimate communication are offered as a form of support. These requests are typically not associated with economic transactions but rather a reciprocity of attention.
Through the Internet, non-spatial attributes of virtual communication create a conceptual double of artists' work, work which would otherwise be primarily interpreted via object-ness and/or through an intimacy of spatial relations. We know about objectless art from conceptual art that came to light in the 60's. Perhaps conceptual art prepared us for the presence of art online. Yet, the current conceptual doubles of artworks on the Internet transgress this historical notion of conceptual art by coming into being unintentionally or automatically. These conceptual doubles tend to do two things: hustle and/or care.
Some of the artists in Double Act have been included because of the ways they can be positioned within the dynamism between the virtual and the physical. Others have been included for their ambiguous identification with The Hustler and The Carer modes of communication. While the range of each artist's practice varies substantially, each of the artists explicitly employs conceptual tools in their art making practice, tools that continue to work online. It's also important to note that the artists were given no directions or guidelines for adapting their work to the add-art format.