Sinopsis
One of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world ― from computer generated imagery to bathetic poetry ― are hysterically rehearsed.
A Primer for Cadavers, a startlingly original first collection, brings together a selection of his texts from 2010 to 2016. ‘Part prose-poetry, part theatrical direction, part script-work, part dream-work,’ writes Joe Luna in his afterword, ‘Atkins’ texts present something as fantastic and commonplace as the record of a creation, the diary of a writer glued to the screen of their own production, an elegiac, erotic Frankenstein for the twenty-first century.’
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Acerca de los autores
Ed Atkins is a British artist based in Copenhagen. He is best known for realistic computer-generated videos that expose and scrutinize otherwise unavailable feelings by the profanity of their artifice. In recent years he has presented solo shows at Kunsthaus Bregenz, Martin-Gropius-Bau in Berlin, Castello di Rivoli in Turin, the Stedelijk Museum in Amsterdam and Serpentine Gallery in London, among others, with a survey show at Tate Britain opening in spring 2025. He is the author of A Primer for Cadavers (2016), Old Food (2019) and Flower (2025), all published by Fitzcarraldo Editions.
Joe Luna writes poetry and critical prose out of Brighton, UK. He teaches literature at the University of Sussex.
De la contraportada
One of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world — from computer generated imagery to bathetic poetry — are hysterically rehearsed. A Primer for Cadavers, a startlingly original first collection, brings together a selection of his texts from 2010 to 2016. ‘Part prose-poetry, part theatrical direction, part script-work, part dream-work,’ writes Joe Luna in his afterword, ‘Atkins’ texts present something as fantastic and commonplace as the record of a creation, the diary of a writer glued to the screen of their own production, an elegiac, erotic Frankenstein for the twenty-first century.’
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