Written in conjunction with his solo exhibition of the same name, Ed Atkins explores mass consumption, both physical and digital, through our relationship with food. Artfully rendering humanity's insatiable appetite into pungent yet enthralling prose, Atkins portrays a world permeated with empty signifiers, replete with content yet increasingly devoid of meaning.

One of the most widely celebrated artists of his generation, Atkins makes videos, draws and writes, exploiting and subverting the conventions of moving image and literature. A Primer for Cadavers collects his fictions for the first time.

Anlasslich des 10-jahrigen Jubilaums der JULIA STOSCHEK COLLECTION konzipiert der britische Kunstler Ed Atkins die Ausstellung GENERATION LOSS. DEr Begriff bezeichnet den Prozess der Qualitatsverschlechterung von Daten insbesondere infolge sich verandernder Technologien. DIeser Verlust von Qualitat manifestiert sich jedoch auch im ideologischen Sinne, im gesellschaftlichen Wandel von einer Generation zur nachsten. DEr Katalog greift diese Analogien auf und nimmt sich der Frage an, wie sich die Rezeption fur das Bewegtbild von den 1970er-Jahren bis heute verandert hat. NEben Video- und Filmstills enthalt der Katalog historisches Material der gezeigten Werke sowie Installationsansichten der Ausstellung.

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.

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.

On Ed Atkins' recent video art installation, commissioned for the New Museum in collaboration with Bell Labs' newly reinstated E.A.T. initiative Published for British artist Ed Atkins' (born 1982) major video/installation art commission at the New Museum in New York, this book features a selection of the artist's critical writings and recent works. Atkins' project at the New Museum was produced in partnership with the newly reinstated Experiments in Art and Technology (E.A.T.), a series of exhibitions, residencies and programs developed by the New Museum and Nokia Bell Labs in order to foster collaborations between artists, scientists, technologists and engineers. This new incarnation of the legendary Experiments in Art and Technology (E.A.T) reconnects to the projects initiated in the 1960s by Bell Labs engineers Billy Klüver and Fred Waldhauer, who collaborated with artists such as John Cage, Marta Minujin, Robert Rauschenberg, Stan VanDerBeek, Robert Whitman and others.

One of the most prominent artists of his generation, Ed Atkins works primarily with High Definition video and text, exploiting and subverting the conventions of moving image and literature. Focussing on the artist's use of language within his practice, A Seer Reader is both the title of the book and of the extraordinary new text written by Atkins especially for the publication.00Focussing on the artist’s use of language within his practice, A Seer Reader is both the title of the book and of the new text written by Atkins which also includes his distinctive drawings. In addition, it features a foreword by Serpentine Galleries directors Julia Peyton-Jones and Hans Ulrich Obrist as well as an essay by writer, curator and academic Mike Sperlinger, which explores and contextualises Atkins’ writing.00Exhibition: Serpentine Gallery, London, U.K. (11.06-25.08.2014).