"Goldin+Senneby is the framework for collaboration between Swedish artists Simon Goldin and Jakob Senneby. Since 2004, Goldin+Senneby have initiated projects which explore juridical, financial and spatial constructs through notions of the performative and the virtual. Through actions and theoretical pursuits, they interrogate the mythologies created by virtual economies and fictional personae. Their timely exhibition at The Power Plant comes at a crucial moment, as the confidential activities of corporations are being traced and investigated in the wake of collapsed world markets and global economic instability ... 'Headless' consists of two distinct perspectives on Goldin+Senneby's ongoing work. A documentary film, whose creation has been delegated by Goldin+Senneby to directors Kate Cooper and Richard John Jones, reflexively involves investigative journalist Gavin MacFadyen, who lends his expertise to the filmmakers to suggest how they should make a documentary about Headless Ltd. The documentary will be produced over the course of the exhibition and screened in three segments, released on 12 December, 24 January, and 13 February. The other perspective is developed by independent curator Kim Einarsson and scenographer Anna Heymowska, who have been contracted to produce a pedagogical display. This display introduces the viewer to K.D., who is both the fictional author of Looking for Headless, a novel in the making, and an employee at the offshore consultancy company Sovereign Group. A lecture during the exhibition's opening weekend by Angus Cameron, economic geographer at the University of Leicester, will further explore Goldin+Senneby's practice, and the modes of performance the collaborators employ in their study of Headless Ltd."--Gallery website.

When workaday author John Barlow is asked to ghostwrite a novel about secretive tax havens, he assumes the job will be straightforward. Then he learns that his employers, Swedish conceptual artist duo Goldin+Senneby, want him to investigate Headless Ltd., a shadowy company with possible links to French philosophy and human sacrifice. Barlow travels to the Bahamas, the mecca of offshore finance, to uncover the mystery of Headless. Soon he is consumed by the dark world of covert capitalism and secret societies and his probing becomes desperate. The more he grasps at the threads of the labyrinthine plot, the closer he comes to madness.

With the alchemist August Nordenskiöld (17-54-1792) as a starting point, artists Goldin+Senneby initiate a series of essays, each responding to the preceeding essay only.

What happens when social scientists write about artworks: helping people blind to economic ideas see something for the first time. What happens when social scientists write about artworks? How does it affect the academic environment of a business school and how does it change the perception of art? Can it be used as a novel scientific method in business studies? This book investigates these matters by analyzing the Goldin+Senneby's retrospective exhibition “Standard Length of a Miracle” set up in Tensta konsthall and multiple other venues in Stockholm in the spring of 2016. While the use of ekphrases goes back to ancient times in our Western literary canon, it is new and unexplored territory for social scientists at business schools—to describe artworks for people who who are blind to economic concepts and ideas, helping them see what they did not see before Economic Ekphrasis: Goldin+Senneby and Art for Business Education is part of the SSE Art Initiative series Experiments in Art and Capitalism. Contributors Maria Lind, Marie-Louise Fendin, Örjan Sjöberg, Ismail Ertürk, Anastasia Seregina, Jonas Hassen Khemiri, Pamela Schultz Nybacka, Emma Stenström, Katie Kitamura, Clare Birchall, Brian Kuan Wood

*** EVERYTHING BUT THE SQUEAL *** Makes you want to get on the next flight to Santiago and eat cocido! Rick Stein, TV chef "Delicious" - Time Magazine "Fascinating" - The Economist "Enjoyable and witty" - Waterstones "Mouthwatering" - LA Times "Raucous, affectionate" - Irish Times "Fascinating and hilarious" - Toronto Star *** John Barlow, a self-confessed glutton, finds himself in a meat-lover’s dream. Galicia, in the misty north-western cormer of ‘green’ Spain, is a place where they revere and consume every part of the pig. This starts Barlow thinking about the nature of our relationship with food – what’s delicious, what’s not, and what sort of obligation we have to the animals we eat. Over the course of one glorious year, Barlow tries the patience of his vegetarian wife as he goes the whole hog and vows to eat every part of a Galician pig - everything but the squeal. In his travels he takes part in a thousand-year-old antthrowing festival of Laza, makes pig-bladder puddings for carnival, and manages to taste every other part of the animal, from snout to tail. All washed down with local wine! In the tradition of Bill Bryson, Calvin Trillin and Anthony Bourdain, Everything but the Squeal is an adventure in extreme eating, a hilariously quirky travel book, and a perceptive look at how what we eat makes us who we are. First pubished by Farrar, Straus and Giroux in the USA. *** Reviews With good humor and shameless enthusiasm, he has written a delicious meat note. Verdict: Read. Time Magazine ...the attraction of Mr Barlow’s book is that he goes well beyond the business of eating. He gives us a fascinating journal of his Galician wanderings. The Economist Like Bill Bryson, Mr. Barlow has canny comic timing. What both writers get by on is cerebral charm that can verge on slapstick. New York Times An enjoyable and witty journal of gourmet wanderings in Galicia. Waterstone's Books Quarterly Perhaps even more satisfying than his madcap extreme eating and cooking experiences are Barlow's quotable observations about Galicians. New York Post A mouthwatering adventure. LA Times A raucous, affectionate road trip, on which you don’t know where the next meal is coming from. Irish Times Fascinating and hilarious. Toronto Star Charmingly informative and witty. Publishers Weekly Barlow is a very fine writer, and exhibits genius in figuring out new ways to describe food. Edmonton Journal One of the funniest and most moving stories of the so-called ‘new Spain’. La Nación (Argentina) A most compelling and delicious book... This is a fine and noteworthy addition to any serious Spanish food library, and a must-read for anyone contemplating a trip into this green corner of Spain. Hollywood Reporter Barlow is a companionable guide expounding upon history, traditions and the personalities of Galicia. His writing style is quick, lively and filled with delicious details. He takes readers on a sublime journey of the senses. Publishers Weekly (starred review) Barlow is a writer first and foremost, not just another foodie looking for a publisher to pick up his tapas tab. He embraces his adopted culture with affectionate and knowing ribbing... A savory travelogue with insights that go beyond taste and texture. Kirkus keywords: spain and spanish food, galicia and north west spain, humorous travel books about spain, northern spain and food like cocido, rick stein, the pilgrims way in santiago de compostela, memoirs of an englishman abroad

This publication is devoted to the phenomenon of the artist novel, and whether it can be considered to be a medium in its own right within the visual arts. Visual artists create different strategies to integrate their novels into their practice. Introducing traits that are particular to narrative literature into the visual arts implies the accentuation of some features over others, such as narration, fiction, identification, and the act of reading and its protracted engagement, as well as distribution in public space. An artist’s approach comes fundamentally from the visual arts. The creation of an artist novel doesn't differ from any other artwork. Both processes feed into each other as they evolve within the same body of works. Thanks to the contributions of a selected group of artists, writers, curators, and scholars this publication strives to demonstrate that literature, when treated by visual artists, can take place well beyond the space of the book.

One of the world’s leading art theorists dissects a quarter century of artistic practice Bad New Days examines the evolution of art and criticism in Western Europe and North America over the last twenty-five years, exploring their dynamic relation to the general condition of emergency instilled by neoliberalism and the war on terror. Considering the work of artists such as Thomas Hirschhorn, Tacita Dean, and Isa Genzken, and the writing of thinkers like Jacques Rancière, Bruno Latour, and Giorgio Agamben, Hal Foster shows the ways in which art has anticipated this condition, at times resisting the collapse of the social contract or gesturing toward its repair; at other times burlesquing it. Against the claim that art making has become so heterogeneous as to defy historical analysis, Foster argues that the critic must still articulate a clear account of the contemporary in all its complexity. To that end, he offers several paradigms for the art of recent years, which he terms “abject,” “archival,” “mimetic,” and “precarious.”