Ed Atkins

‘I like eating cold, clammy wraps from big pharmacies that are open late and sell just a few foods like protein bars and powders.’ Flower is a book of realistic admissions, likes, dislikes, memories and no-brainer observations, treating personal truth as unavailable – something that must be made up and convincing. Taking cues from confessional literature, his daughter’s improvised games, poor internet writing and shitty AI, Ed Atkins, in his first work of non-fiction, equivocates between inanity and divinity, ease and pain, sentimentality and sterility. An anti-memoir, a list, a listless blur – Flower is a highly original, moving and absurd book by one of the most influential artists of his generation, formally inventive and disturbingly of our time.

Sorcerer is a book in the form of a script/novel/manual about the pleasures of being with others and of being alone. Three friends hang out and share a long and unremarkable conversation about getting dressed, headaches, ticks, compression fantasies, surgery, and their aspirations, among other things. The characters find contentment in each other's company, conversing in the placid, eerie rhythms of a sitcom in which conflict never arises. When two of the friends go home for the night, the remaining one watches TV, dances, and takes apart his face in front of a giant mirror.

To reduce emissions and address climate change, we need to invest in renewables and rapidly decarbonise our energy networks. However, decarbonisation is often seen as a technical project, detached from questions of politics and social justice. What if this is leading to unfair transitions, in which some people bear the costs of change while others benefit? In this timely and expansive book, Ed Atkins asks: are we getting decarbonisation right? And how could it be made better for people and communities? In doing so, this book proposes a different type of energy transition. One that prioritises and takes opportunities to do better – to provide better jobs, community ownership and improve people’s homes and lives.

To reduce emissions and address climate change, we need to invest in renewables and rapidly decarbonise our energy networks. However, decarbonisation is often seen as a technical project, detached from questions of politics and social justice. What if this is leading to unfair transitions, in which some people bear the costs of change while others benefit? In this timely and expansive book, Ed Atkins asks: are we getting decarbonisation right? And how could it be made better for people and communities? In doing so, this book proposes a different type of energy transition. One that prioritises and takes opportunities to do better – to provide better jobs, community ownership and improve people’s homes and lives.

In Contesting Hydropower in the Brazilian Amazon, Ed Atkins focuses on how local, national, and international civil society groups have resisted the Belo Monte and São Luiz do Tapajós hydroelectric projects in Brazil. In doing so, Atkins explores how contemporary opposition to hydropower projects demonstrate a form of ‘contested sustainability’ that highlights the need for sustainable energy transitions to take more into account than merely greenhouse gas emissions.The assertion that society must look to successfully transition away from fossil fuels and towards sustainable energy sources often appears assured in contemporary environmental governance. However, what is less certain is who decides which forms of energy are deemed ‘sustainable.’ Contesting Hydropower in the Brazilian Amazon explores one process in which the sustainability of a ‘green’ energy source is contested. It focuses on how civil society actors have both challenged and reconfigured dominant pro-dam assertions that present the hydropower schemes studied as renewable energy projects that contribute to sustainable development agendas. The volume also examines in detail how anti-dam actors act to render visible the political interests behind a project, whilst at the same time linking the resistance movement to wider questions of contemporary environmental politics.This interdisciplinary work will be of great interest to students and scholars of sustainable development, sustainable energy transitions, environmental justice, environmental governance, and development studies.

In Contesting Hydropower in the Brazilian Amazon, Ed Atkins focuses on how local, national, and international civil society groups have resisted the Belo Monte and São Luiz do Tapajós hydroelectric projects in Brazil. In doing so, Atkins explores how contemporary opposition to hydropower projects demonstrate a form of ‘contested sustainability’ that highlights the need for sustainable energy transitions to take more into account than merely greenhouse gas emissions.The assertion that society must look to successfully transition away from fossil fuels and towards sustainable energy sources often appears assured in contemporary environmental governance. However, what is less certain is who decides which forms of energy are deemed ‘sustainable.’ Contesting Hydropower in the Brazilian Amazon explores one process in which the sustainability of a ‘green’ energy source is contested. It focuses on how civil society actors have both challenged and reconfigured dominant pro-dam assertions that present the hydropower schemes studied as renewable energy projects that contribute to sustainable development agendas. The volume also examines in detail how anti-dam actors act to render visible the political interests behind a project, whilst at the same time linking the resistance movement to wider questions of contemporary environmental politics.This interdisciplinary work will be of great interest to students and scholars of sustainable development, sustainable energy transitions, environmental justice, environmental governance, and development studies.

From one of the most lauded artists of his generation comes a purging soliloquy: a profound nowt delivered in some spent afterwards. Scorched by senility and nostalgia, and wracked by all kinds of hunger, Ed Atkins’ Old Food lurches from allegory to listicle, from lyric to menu, fetching up a plummeting, idiomatic and crabbed tableau from the cannibalised remains of each form in turn. Written in conjunction with Atkins’ exhibition of the same name, Old Food is a hard Brexit, wadded with historicity, melancholy and a bravura kind of stupidity. Ed Atkins is an artist who makes all kinds of convolutions of self-portraiture. He writes uncomfortably intimate, debunked prophesies; paints travesties; and makes realistic computer generated videos that often feature figures that resemble the artist in the throes of unaccountable psychical crises. Atkins’ artificial realism, whether written or animated, pastiches romanticism to get rendered down to a sentimental blubber – all the better to model those bleak feelings often so inexpressible in real life.

Designed by Irma Boom, this second volume in the Summit publication series gathers insights from the 2018 Verbier Art Summit in Switzerland, on the topic of art in the digital age, delivered by a wide range of curators, authors, artists and critics. The contributions--by Karen Archey, Ed Atkins, Lars Bang Larsen, Douglas Coupland, Olafur Eliasson, Pamela Rosenkranz, John Slyce, Dado Valentic, Paul F.M.J. Verschure, Jochen Volz and Anicka Yi--address such questions as the preservation of time-based media in museums; the concept of "biofiction"; "loss and the digital"; the body and technology; Amazon; the intersection of science and art; and virtual reality.

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.’