178:
Nations and the US Department of
Education in addition to other agencies in the 1950s through the 1980s. The reels, purchased by Valentim on eBay, included "documentaries about indigenous African peoples, historical figures, and natural phenomena that exemplify Western visions of the world from the postwar period until the `80s, demonstrating how the ideological apparatus of the state builds a biased image of reality."
170:. The project was conceived in 2004 and was subsequently presented at various locations around the world, with the inventory of videos continuously increasing with selections made by local curators, artists, and critics. Currently, the project archive comprises over 950 videos. In 2010, the artists donated e-flux video rental to the permanent collection of the
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contradictory models of value, momentarily transforming a holding cell for unwanted or useless but valuable goods into a kind of gallery space. With the distance between goods and capital ever increasing—or at least, goods and our ability to value them—Time/Bank picks up where
Pawnshop leaves off, creating a nearly closed system that’s pegged entirely to
415:
In 2014, e-flux launched e-flux conversations, "a new platform for in-depth discussions of artistic and social ideas." The shifting team of editorial contributors includes artists, philosophers, journalists, gardeners, documentarians, designers, architects, politicians, and conspiracy theorists. In a
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proposes an alternative economy in which individuals and groups in the cultural fields can trade time, skills, and commodities to get things done while circumventing money. As critic
Jessica Loudis explained, "By sticking 60 indisputably valuable artworks in a pawnshop, e-flux forced a clash between
177:
In 2007, Julieta Aranda in collaboration with the unitednationsplaza program in Berlin, invited the artist
Ricardo Valentim to present his work Film Festival. This two-month-long screening series (January 19 through March 9, 2007) included a selection of educational films commissioned by the United
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said: "It’s a very experimental platform, and it really came out of us being avid social media users and wanting to talk about art… There are also no archiving tools for conversations about art on
Facebook, which actually sometimes are extremely important." She cited the 2014 debate over
389:, edited by Julieta Aranda, Brian Kuan Wood and Anton Vidokle. The publishing platform has since expanded to include a joint imprint with Sternberg Press. Select issues of the journal and reader are marked by public events and projects initiated by the editorial collective, including
91:. The e-mailed press release attracted the attendance of hundreds of guests to the show. Acknowledging the potential of e-mail as a tool for the dissemination of information among arts communities, Vidokle launched e-flux one month later.
197:
if he could borrow and install her personal library at e-flux as a public reading room. Comprising more than 7,000 volumes selected from the books at Martha Rosler's residence and studio in
Brooklyn and academic office in
128:
In 2011, e-flux relocated its activities to 311 East
Broadway in New York's Lower East Side. The three floors encompassed an exhibition space, offices, and an event space. In addition to the daily operations of e-flux and
39:, and e-mail service founded in 1998. The arts news digests, events, exhibitions, schools, journal, books, and art projects produced and/or disseminated by e-flux describe strains of critical discourse surrounding
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mediates the complex choreography of art and money. As a functional pawnshop, it has an inventory of over 100 art works, some made specifically for this occasion. Contributing artists include:
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202:, the Martha Rosler Library was accessible for public use at e-flux's Ludlow Street location in New York City and then traveled to art organizations throughout Europe.
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As e-flux's readership grew to more than 20,000 international artists, curators, and critics from 1998 through 2003, e-flux was based in a one-room apartment at 344A
373:. The iteration of the project shown at e-flux was produced in partnership with Participant, Inc. Since 2018, e-flux exhibitions have highlighted work by Metahaven,
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79:, then a new communication technology, to disseminate the press release for the 12-hour, all-night exhibition. The exhibition featured works by
51:, has produced essays commissioned since 2008 about cultural, political, and structural paradigms that inform contemporary artistic production.
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Originally established by artists
Julieta Aranda and Anton Vidokle in New York in 2008, with an inventory of 60 works by invited artists
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After moving to 311 East
Broadway, e-flux maintained its exhibition program, inaugurating the new space with shows of work by
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but using art as collateral, went bankrupt at the beginning of the world financial crises, only to re-open successfully in
160:, which featured reflections of a group of artists upon the conditions of the relationship between artists and curators.
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celebrated its 10-year anniversary in 2019 with a series of conferences held in
Rotterdam, Paris, Berlin, and New York.
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e-flux began hosting exhibitions again in December 2018, with a show organized as part of a years-long project about
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Since 2018, e-flux has published a bi-monthly podcast. Episodes have featured artists and writers including
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220:, Art Basel, and at the third Thessaloniki Biennial in 2011. Both an exhibition and an artwork in itself,
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354:. The event came as a result of a growing interest in cosmism by e-flux founder Anton Vidokle and
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914:"The avant-documentary films of Adam Curtis feel right at home in the gallery setting of e-flux"
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In November 1998, curators Regine Basha and Christoph Gerozissis, along with artist
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1008:"E-Flux Launches E-Flux Conversations Site, Seeking Debate Away From Social Media"
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is a network with branches in eleven cities, where time currency (designed by
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As of December 2021, e-flux operates out of a space in 172 Classon Avenue in
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In 2018, e-flux partnered with MoMA to produce an evening of discussions on
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as one prime example. "There’s no way we can get that back now," she said.
121:. Also in 2008, Brian Kuan Wood joined Aranda and Vidokle as an editor of
102:, where work on e-flux was combined with experimental exhibitions such as
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contributors Boris Groys, Hito Steyerl, Arseny Zhilyaev, and others.
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166:(2004–present) is a video archive, a projection space, and a free
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140:. The e-flux Screening Room hosts a series of film screenings.
741:"Better Read than Dead: a Visit to the Martha Rosler Library"
385:
e-flux publications began in 2008 with the first issue of
393:, an editorial project by e-flux journal commissioned by
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597:. Issues in Curating Contemporary Art and Performance.
35:
is a publishing platform and archive, artist project,
299:: biological time, ideas, services, and commodities.
852:"Stirring the Pot: Time/Food at Abrons Art Center"
592:"The Curatorial Turn: From Practice to Discourse"
577:Taking AIM!:The Business of Being an Artist Today
979:"Art After Culture: Navigation Beyond Vision"
791:. Vitamin Creative Space. September 16, 2009.
775:"If You Read Here... Martha Rosler's Library"
324:has appeared as an exhibition and outpost at
8:
416:telephone interview with Andrew Russeth for
113:In 2008, e-flux moved to a storefront at 41
110:began collaborating with Vidokle on e-flux.
692:"Ricardo Valentim: Film Festival at e-flux"
420:, Editor/Moderator of e-flux conversations
47:internationally. Its monthly publication,
981:. Haus Der Kulturen Der Welt. April 2019.
1090:Publishing companies established in 1998
963:. La Biennale di Venezia. Archived from
758:Lieberman, Michael (November 13, 2007).
295:) can be obtained in exchange for other
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377:, the Rojava Film Commune, and others.
1100:Arts organizations established in 1998
816:Blagojevic, Basko (October 31, 2007).
557:
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75:. Basha, Gerozissis, and Vidokle used
995:. e-flux conversations. October 2014.
895:"Memorials, Along with Some Mischief"
893:Cotter, Holland (December 20, 2012).
850:McGarry, Kevin (September 23, 2011).
831:Loudis, Jessica (November 19, 2010).
7:
818:"Thirty days into e-flux's PAWNSHOP"
739:Thomson, Graeme (February 3, 2008).
610:"Who Needs A White Cube These Days?"
942:"Hubert Fichte: Love and Ethnology"
803:"Pawnshop at Thessaloniki Biennale"
760:"Martha Rosler's Traveling Library"
608:Smith, Roberta (January 13, 2006).
432:Select conversations have featured
866:"Artists Cook Lunch for Time/Food"
661:Moore, Nikki (December 22, 2006).
174:where it is on permanent display.
25:
1006:Russeth, Andrew (March 9, 2015).
627:Allen, Greg (December 19, 2004).
533:"E-flux, Derrida and the Archive"
497:Frost, Charlotte (May 16, 2019).
928:"post presents: Russian Cosmism"
835:. Idiom Magazine. Archived from
833:"Edge Fund: Time/Bank at e-flux"
773:Filipovic, Elena (Summer 2007).
172:Museum of Modern Art (Ljubljana)
65:The Best Surprise is No Surprise
912:Bushak, Lecia (March 8, 2012).
709:Carter, Kabir (March 8, 2007).
500:Art Criticism Online: A History
117:in New York, where they hosted
63:organized the group exhibition
959:Enwezor, Okwui (May 8, 2015).
854:. The New York Times Magazine.
646:Ridlen, Tim (March 20, 2009).
154:Should Be Curated By An Artist
1:
868:. artnet. September 19, 2011.
579:. Fordham University Press.
181:In 2007, after having seen
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724:Amado, Miguel (May 2008).
663:"EVR: e-flux video rental"
367:Haus der Kulturen der Welt
961:"Addendum--Okwui Enwezor"
743:. Cluster. Archived from
164:EVR (e-flux video rental)
148:In 2003, e-flux launched
575:Nieves, Marysol (2011).
1066:40.714589°N 73.982481°W
665:. The Austin Chronicle.
556:Cite magazine requires
156:, a project curated by
1095:Press release agencies
1022:"e-flux conversations"
648:"Emulsion to Emulsion"
590:O'Neill, Paul (2007).
438:Mary Walling Blackburn
347:, among other things.
316:, which took place at
226:Armando Andrade Tudela
209:, which operated as a
119:New York Conversations
106:. In 2003, the artist
1071:40.714589; -73.982481
946:www.projectfichte.org
839:on November 23, 2010.
789:"the shop: Pawn Shop"
677:"E-Flux Video Rental"
320:in New York in 2011.
531:Lydén, Karl (2009).
503:. Arts Future Book.
343:and on the topic of
308:.” One iteration of
73:Chinatown, Manhattan
1062: /
930:. January 24, 2018.
462:Elizabeth Povinelli
287:Initiated in 2010,
234:Luis BerrĂos-NegrĂłn
37:curatorial platform
899:The New York Times
747:on August 8, 2008.
726:"Ricardo Valentim"
650:. Art 21 Magazine.
633:The New York Times
614:The New York Times
318:Abrons Arts Center
882:. dOCUMENTA (13).
629:"Blockbuster Art"
478:The Wooster Group
332:, and elsewhere.
232:, Michael Baers,
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916:. Politico.
880:"Time/Bank"
777:. Afterall.
728:. Artforum.
470:Kader Attia
341:Adam Curtis
278:Tino Sehgal
274:Julia Scher
183:Donald Judd
69:Holiday Inn
1084:Categories
1057:73°58′57″W
1054:40°42′53″N
679:. MG+MSUM.
484:References
442:Coco Fusco
297:currencies
211:pawnbroker
200:New Jersey
104:Infra-Slim
322:Time/Bank
314:Time/Food
312:has been
310:Time/Bank
306:use value
301:Time/Bank
289:Time/Bank
238:Marc Bijl
152:Documenta
150:The Next
711:"e-flux"
696:Artforum
330:Portikus
250:K8 Hardy
222:Pawnshop
207:Pawnshop
144:Projects
138:Brooklyn
805:. 2011.
452:Podcast
418:ARTnews
352:cosmism
345:animism
258:Ken Lum
218:Beijing
67:at the
55:History
539:May 8,
516:May 8,
507:
476:, and
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