Chris Sharp

In Chris Sharp's new epic fantasy Cold Counsel, Slud of the Blood Claw Clan, Bringer of Troubles, was born at the heart of the worst storm the mountain had ever seen. Slud’s father, chief of the clan, was changed by his son’s presence. For the first time since the age of the giants, he rallied the remaining trolls under one banner and marched to war taking back the mountain from the goblin clans. However, the long-lived elves remembered the brutal wars of the last age, and did not welcome the return of these lesser-giants to martial power. Twenty thousand elves marched on the mountain intent on genocide. They eradicated the entire troll species—save two. Aunt Agnes, an old witch from the Iron Wood, carried Slud away before the elves could find them. Their existence remained hidden for decades, and in that time, Agnes molded Slud to become her instrument of revenge. For cold is the counsel of women.

Cold Counsel

The book takes a close look at how small- to mid-scale institutional models depart, each in a different way, from the traditional formats of the white cube. Structured around a questionnaire of thirteen questions posed to 15 different self-organized art institutions including Asakusa, Kunstverein, Louise Dany, Pivô, RAW Material Company, and The Artist's Institute, the book brings together a toolbox of examples giving insights into the murky and meticulous work of constructing an institutional platform?the "hows", "whats", and "whys"?spoken of by someone on the inside, in the engine room. The focus thus revolves around the operation of alternative mechanisms, instigating unconventional hierarchies and interdependencies between artwork, artist, audience, institution?between participants and authors, agents and aliens. The institutional contributions are bracketed by an introductory roundtable by Rhea Dall, Prem Krishnamurthy, and Chris Sharp, an essay reflecting on the necessity and irreverence of Ashkal Alwan by Christine Tohme, and a conversation between Dall and Chris Kraus on collective practices.00The book is a sequel to the Bande à part conference on independent art institutions held at UKS (Unge Kunstneres Samfund / Young Artists' Society) in Oslo in 2019. Co-published by UKS, Oslo; Lulu, Mexico City; Mousse Publishing, Milan. Designed by Wkshps (Prem Krishnamurthy & Judith Gärtner).

Bande À Part: on Independent Art Institutions

Smart Kids Publishing

Readers can push a button to illuminate the lights surrounding baby Jesus and play the music that goes along with the text--the words to "Silent Night." On board pages.

Silent Night

Andrew Berardini

This is the book accompanying the second iteration of the Lulennial, a biennial exhibition mired in paradox, taking place not every two year, and occupying in total 21 square meters of space, at Lulu, in Mexico City. The twenty-two artists were invited to show work that touched one subject matter: fruit. Fruit seems to almost always bring out the comedian in artists, but just as often the alleged humor is a vehicle for serious feelings. With Yuji Agematsu, Kelly Akashi, Deyra Akay, Nina Beier, Luis Miguel Bendaña, Meriem Bennani, Matthew Brannon, Donna Conlon & Jonathan Harker, Jef Geys, Rodrigo Hernandez, Allison Katz, Adriana Lara, Nancy Lupo, Nevine Mahmoud, Aliza Nisenbaum, Naufus Ramírez-Figueroa, Shimabuku, Peter Shire, Gabriel Sierra, Erika Verzutti, Amelie von Wulffen, Maja Vukoje.00Exhibition: Lulu, Mexico City, Mexico (6.2. - 1.4.2018).

Chris Sharp

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