Superhumanity - Giuliana Bruno - Storage Space

Storage Space

Giuliana Bruno

Arc_Bruno_1

Replicant character Pris from the Ridley Scott film Blade Runner (1982).

Superhumanity
November 2016










Notes
1

This question forms the theme of the 3rd Istanbul Design Biennial 2016, curated by Beatriz Colomina and Mark Wigley.

2

Philip K. Dick, Do Androids Dream of Electric Sheep? (New York: Doubleday, 1968).

3

Auguste Villiers de l’Isle-Adam, Tomorrow’s Eve (1886), trans. Robert Martin Adams (Urbana: University of Illinois Press, 2001).

4

Mary Wollstonecraft Shelley, Frankenstein: or, The Modern Prometheus (1818, Oxford University Press, 2008).

5

Jacques Derrida, “Archive Fever: A Freudian Impression,” Diacritics 25, no. 2 (Summer 1995): 9.

6

Ibid.

7

See Helmut Friedel and Ulrich Wilmes, eds., Gerhard Richter: Atlas of the Photographs, Collages and Sketches, exh. cat. (New York: D.A.P., in association with London: Anthony d’Offay, and New York: Marian Goodman Gallery, 1997), which features a catalogue raisonné of the oeuvre. For a critical reading, see, among others, Benjamin Buchloh, “Gerhard Richter’s Atlas: The Anomic Archive,” October, no. 88 (Spring 1999): 117–45; and Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture and Film (London: Verso, 2002), ch. 10.

8

Hal Foster, “An Archival Impulse,” October, no. 110 (Fall 2004): 5.

9

The artist Antonio Biasiucci has also produced a large photographic installation, titled Codex (2016), that revisits the same archive and was shown at MANN–Museo Archeologico Nazionale Napoli.

10

David Joselit, After Art (Princeton, NJ: Princeton University Press, 2013), 43 and 55.

11

For a survey of this field of scholarship, see Erkki Huhtamo and Jussi Parikka, “Introduction: An Archaeology of Media Archaeology,” in Media Archaeology: Approaches, Applications, and Implications, ed. Huhtamo and Parikka (Berkeley: University of California Press, 2011), 1–21.

12

See, for example, Wolfgang Ernst, Digital Memory and The Archive (Minneapolis: University of Minnesota Press, 2013).

13

For further treatment of this subject, see Giuliana Bruno, Surface: Matters of Aesthetics, Materiality, and Media (Chicago: University of Chicago Press, 2014).

14

See Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham, NC, and London: Duke University Press, 2010).

15

Roberto Esposito, Persons and Things, trans. Zakiya Hanafi (Cambridge: Polity Press, 2015), 10.

Superhumanity, a project by e-flux Architecture at the 3rd Istanbul Design Biennial, is produced in cooperation with the Istanbul Design Biennial, the National Museum of Modern and Contemporary Art, Korea, the Govett-Brewster Art Gallery, New Zealand, and the Ernst Schering Foundation.