Mika Hannula

Will Bradley

Cristina Ricupero

Superflex (Group of artists)

"This book is about the many approaches to the creation, dissemination and maintenance of alternative, "bottom-up" models for social or economic organisation, and the practical and theoretical implications, consequences and possibilities of these self-organised structures."--Publisher's website.

Self-organisation, Counter-economic Strategies

Lars Bang Larsen

Charlotte Brandt

Charles Massera

Conceived as a textbook with images rather than an exhibition catalogue, Fundamentalisms of the New Order reflects on the diversity of fundamentalisms, a phenomenon that is not confined to particular cultures or modes of thought; its intention is to explore the concept in its many forms and multiple origins. Why have we, in recent years, seen such a resurgence of fundamentalisms--religious, political, cultural, economic? What are the fundamentalisms at work in our own culture? What happened to the idea of the Welfare State--a "positive fundamentalism"? In an era of rapid change, what positive fundamental values can we identify with or even insist on? These were some of the questions posed by the exhibition and elaborated in the present catalogue. It contains a selection of essays and interviews with the artists in the show, as well as a documentation of the events and panel discussions held at the Charlottenborg Exhibition Hall in Copenhagen. Co-published with NIFCA, Nordic Institute for Contemporary Art Contributors Charlotte Brandt, B lent Diken and Carsten Bagge Lausten, Lars Bang Larsen, Jean-Charles Massera, Toni Negri, Cristina Ricupero, Judith Schwarzbart, Sabine Strasser

Fundamentalisms of the New Order

Defne Ayas

Amira Gad

What makes crime stories fascinating is that the divisions between the criminal, the victims, and the audience are constantly blurred: we are all potential victims and could perhaps become criminals ourselves. While the exhibition “The Crime Was Almost Perfect” at the Witte de With Center for Contemporary Art in Rotterdam functioned more as a “space for experimentation,” this publication aims to investigate not only detective fiction but the more theoretical, philosophical, and aesthetic aspects of the genre. Published following the closing of the exhibition, this catalogue should be considered a continuation of the project, as a resource in itself, rather than simply documentation or commentary. Taking a more literary approach to the theme, the publication includes commissioned fictive works and three relevant theoretical essays. The essays were chosen, not only to address the participating artists' practices or artworks, but to provide analysis of some of the issues raised in the exhibition. The publication includes Tom Morton's story “The Thick End” and Astrid Trotzig's “threat letters,” as well as essays by Michael Zinganel and Alexandra Midal, and Karl Marx's “The Productivity of Crime.” This book is published on the occasion of the group exhibition “The Crime Was Almost Perfect,” curated by Cristina Ricupero at Witte de With, Rotterdam, January 24–April 27, 2014. Copublished with Witte de With Contributors Alexandra Midal, Tom Morton, Cristina Ricupero, Astrid Trotzig, Michael Zinganel

The Crime Was Almost Perfect

Cristina Ricupero

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