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 Hinweis zum CopyrightAAP Archive Artist Publications - Munich - www.artistbooks.de

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Titel
  • Photos frame details of the everyday
Ort Land
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  • Auflage: 300, signiert, keine weiteren Angaben vorhanden
Stichwort / Schlagwort
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  • Crosswords
Ort Land
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  • 13x13 cm, Auflage: 500, ISBN/ISSN 9780956173829
    Schwarzes Cover
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  • Crosswords
Ort Land
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  • 13x13 cm, Auflage: 500, ISBN/ISSN 9780956173829
    Weißes Cover
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Pignatti morano

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  • A Rapha Continental Bootleg - Riders, Builders
Ort Land
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  • 20x14 cm, Auflage: 500, 2 Stück. ISBN/ISSN 9780956173836
    Drahtheftung
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super a epistle

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  • Epistle to Westphalia
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  • 112 S., 24x17 cm, ISBN/ISSN 9780956173812
    Hardcover. Epilog von Prof. Dr. Franz Liebl
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klein judo

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  • The foundations of Judo
Ort Land
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  • 256 S., 22,5x14 cm, Auflage: 1.500, ISBN/ISSN 9780956173805
    Nach der Erstveröffentlichung von 1954, übersetzt und gesetzt von Ian Whittlesea, Softcover mit Schutzumschlag
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  • Please do not place drinks on vitrines or books
Ort Land
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  • 1 S., 2 Stück. keine weiteren Angaben vorhanden
    Faltblatt als Katalog zu einer Ausstellung von Künstlerbüchern in der Focal Point Gallery Essex
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desjardin book

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  • the book on books on artists books
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  • 230 S., 24x17 cm, ISBN/ISSN 9780956173843
    erschienen zur Ausstellung at the Bloomberg Space London, eingelegt eine Karte mit handschriftlichem Text
ZusatzInfos
  • The Bloomberg website says of the project:
    For Comma 38, artist and publisher Arnaud Desjardin will exhibit new, old, rare, and popular books while running an active printing press in Bloomberg Space. His COMMA commission, part of an ongoing project titled The Book on Books on Artists' Books, is intended to create an active and participatory review of current and historical practice. This exhibition is about both the display of books on artists' books and the production of a book about the books displayed. He intends to print a first edition, a book of books, a critical anthology and source book, alongside which a large range of books on artists' books will be displayed in a series of vitrines.
    Artists' books have normally been sold and distributed through small networks of bookshops and galleries that often produce lists of available titles in printed form. The advent of the Internet has meant that information online has changed the nature of this documentary evidence. Desjardin's unique and extraordinary combination of display and production makes an exhibition that actively engages in both the making and disseminating in real time. The books themselves become both vehicles for information and documents that testify for artistic activity in its own right
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kilimanjaro 11

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  • Kilimanjaro Magazine No 11 - Morlboro - Art, Love and Everyday Life
Ort Land
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  • 48,5x35x1,3 cm, ISBN/ISSN 14791404
    3 gefaltete Hefte in Faltkarton: Texte, Girls and Planes, Kiliman. U. a. Interviews mit Marina Abramovic und AA Bronson
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WEB Link
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kilimanjaro 12

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Titel
  • Kilimanjaro Magazine No 12 Thinking of Collective - Art, Love and everyday Life
Ort Land
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  • 48,5x35x1,3 cm, 2 Stück. ISBN/ISSN 14791404
    3 gefaltete Hefte in Faltkarton
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  • Hauser & Wirth, Roman Signer, Damo Suzuki
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WEB Link
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  • Ian Whittlesea & Arnaud Desjardin are translating les fondements du Judo by Yves Klein ....
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  • 1 S., 2 Stück. keine weiteren Angaben vorhanden
    Plakat zum Buch von Yves Klein
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cocii issue 2

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  • cocii-jewellery issue No 2
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  • 16 S., 28x21 cm, keine weiteren Angaben vorhanden
    Drahtheftung, Gestaltung Julia Hartmann
ZusatzInfos
  • Cocii is a young German designer, Claudia Lassner, whose delicate, restrained jewellery is inspired by a broad variety of cultural and aesthetic influences: from the everyday to science fiction to the glamour of the 1920s. Cocii’s jewellery explores the interplay between tradition and modernity, reinterpreting classic shapes and materials to create stunning pieces of contemporary jewellery
WEB Link
Erworben bei Julia Hartmann
TitelNummer

attack-delay-1

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  • attack delay magazine 001 Spring / Summer 2001
Ort Land
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  • 21x16,3 cm, keine weiteren Angaben vorhanden
    eingelegt ein Blatt mit lieferbaren Titeln bei EFA
ZusatzInfos
  • Jim Avignon geb. 1968 in Schweden, Schulbusfahrer, danach Künstler.
    Cartoon poet, speed painter and performance artist between cheap art and high-paying commercial work, regards himself as a storyteller and illustrator of modern times, expressing complex relationships with the simplest of means. Well observed and a little crazy Avignon crafts a gentle, visual critique of society, exposing everyday absurdities between business and lovesickness with an apt, sympathetic bite. "Attack Delay", a personal magazine in a book format, presents this hero of modern multitasking in his unmistakable technicolor cartoon style
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kilimanjaro 13

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Titel
  • Kilimanjaro Magazine No 13 A Love Letter to Roni Horn - Art, Love and everyday Life
Ort Land
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  • 48,5x35x1,3 cm, ISBN/ISSN 14791404
    3 gefaltete Hefte in Faltkarton
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  • A collaboration with Roni Horn - featuring Juergen Teller, John Waters & Adrian Searle.
    Issue 13 of Kilimanjaro is an unofficial catalogue of sorts, whose theme is A Love Letter To Roni Horn. It is the first edition of the magazine which has been created with a single artist, and is a kind of visual & textual retrospective.
    Using the traditional format of a magazine publication, comprised of interviews, essays and art criticism, we have curated an overview both of the DNA of Horn’s work, and – through the words of our selection of her friends, collaborators and admirers – of Roni Horn herself. The issue features: JUERGEN TELLER, ADRIAN SEARLE, JOHN WATERS.
    Text von der Webseite
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WEB Link
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der-die-das f

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  • der:die:das - Ausgabe f wie Fernglas - Ein Magazin über alltägliche Dinge
Ort Land
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  • 96 S., 27x20 cm, ISBN/ISSN 16632508
    Drahtheftung
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  • der:die:das: Is a mono thematic magazine based in Zurich. It draws its inspiration from objects of everyday life. Our relationship with the mundane is put to question and deconstructed through the investigation of objects, ideas and stories. The familiar is staged in an unfamiliar way while the alien in the usual is discovered.
    Text von der Webseite
Sprache
Erworben bei Motto Berlin
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monochrom-26-34

Titel
  • monochrom #26-34 - Ye Olde Self-Referentiality
Ort Land
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  • 500 S., 29,7x21 cm, ISBN/ISSN 978-3-950237269
    Softcover. 1900 gr
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  • WTF is monochrom print? monochrom is a magazine object appearing in telephone book format, which is published by the art/tech group of the same name. monochrom came into being in the mid-1990s as a fanzine for cyberculture, science, theory, cultural studies and the archaeology of pop culture in everyday life. Its collage format is reminiscent both of the early DIY fanzines of the punk and new wave underground and of the artist books of figures such as Dieter Roth, Martin Kippenberger and others. With a great deal of forced discontinuity, a cohesive potpourri of digital and analog subversion is pressed between the covers of monochrom. Each issue is an unnostalgic amalgam of 125 years of Western counterculture cocked, aimed and ready to fire at the present. It is a Sears catalog of subjective and objective irreconcilability -- the Godzilla version of the conventional coffee table book.
    Text von der Webseite
WEB Link
Geschenk von
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set-special-issue

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  • SET Special Issue
Ort Land
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  • 10 S., 38x29,4 cm, keine weiteren Angaben vorhanden
    Blätter lose zusammengelegt, einmal gefaltet
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  • Begleitzeitung zur "The Everyday Experience" im Irish Museum of Modern Art vom 3.11.2013 bis 26.01.2014
Erworben bei The Library Project
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johannsson-narrow-scene

Titel
  • A Narrow Scene of Hypothetical Circumstances
Ort Land
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  • [84] S., 29.7x21 cm, Auflage: 600, ISBN/ISSN 9788299789448
    Broschur, Hardcover. Persönliches Anschreiben von Sveinn Fannar Johannsson inneliegend
ZusatzInfos
  • In the book project A Narrow Scene of Hypothetical Circumstances we access a visual universe revolving around dismembered pieces of familiar objects. Sketches, pictures and materials are united into a steady flow of everyday examination, in which apparent contradictions — painstaking exactitude and violence, empathy and calculation — bubble away beneath the surface. Rearrangement, representation and repression melt together on the border between construction and collapse, with an elegant sense of seriousness.
    Text von der Webseite
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brandstifter-respectable-moustashees

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  • Respectable Moustashees
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  • 28,2x43,8 cm, keine weiteren Angaben vorhanden
    Mehrfach gefaltetes Poster, doppelseitig bedruckt
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  • Die Arbeit ist Teil des "Equilibrium Projects": Equilibrium is a collaborative initiative to develop creative contexts for women in towns and cities to explore practices that stay immersed in everyday. The project gave a platform for artists from Europe and Asia to come together, interact and work with the women members of self-help groups from Partapur and nearby villages. The artists and women members worked together as equals through sharing their experiences, skills, stories, and recipes through several creative projects. Now these creative projects are going to be displayed in an interactive exhibition at Walpodenakademie Mainz from May 08, 2015.Equilibrium is a project of Walpodenakademie (Mainz), Sandarbh (Partapur/ New Delhi), and Beneshwer Lok Vikas Sansthan (Partapur), curated by Shilpa Upadhyay and h.i.s.(Tanja Roolfs and Stefan Brand).
    Text von Website
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Erworben bei Stefan Brand
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kaprow-posters

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  • Posters
Ort Land
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  • 90 S., 43x28,5 cm, ISBN/ISSN 978-3-863356798
    90 lose ineinandergelegte Seiten mit 45 farbigen Abbildungen
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  • Herausgegeben von Alice Dusapin & Christophe Daviet-Thery. Beiträge von Steve Roden & Oscar Tuazon.
    Allan Kaprow is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career. With a wide selection of images, this publication documents Kaprow's posters, a lesser-known side of his work, produced between 1953 fand 1996. Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style. More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.
    Text von der Webseite
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mohr-tortuga

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  • Tortuga
Verlag Jahr
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  • 78 S., 12,5x12,5 cm, Auflage: 500, ISBN/ISSN 978-3-937577364
    Broschur
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  • Aus der Reihe Revolverle for all ages.
    Like in a treasure book on each of the 37 photograms you will explore natural and everyday jewels.
    Text von der Webseite
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desjardin-from-the-bunker

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Titel
  • FROM THE BUNKER (An Archive Dealership) - Catalogue No. 1
Ort Land
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  • 24x18 cm, keine weiteren Angaben vorhanden
    Broschur mit transparentem Schutzumschlag aus Kunststoff, eingelegter Verkaufsprospekt zur Sammlung
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  • Extracts from a collection of photographs and documents relating to helicopters.
    Design by Zoé Quentel
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desjardin-mouldy-modern-2014

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  • Mouldy Modern
Ort Land
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  • [12] S., 27,4x10,6 cm, keine weiteren Angaben vorhanden
    Blätter lose ineinander gelegt, im blauen Pappumschlag mit betitelnden Sticker auf Vorderseite und Blindprägung auf Rückseite, in bedrucktem Briefumschlag
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  • In 1926 Max Ernst published a portfolio of prints entitled 'Histoire Naturelle’ (34 collotypes published by J. Bucher, with an introduction by Hans Arp) which were based on experiments using the technique of frottage (or rubbing) and depict a kind of mysterious, natural world of strange and fantastic landscapes, rocks, or creatures emerge from experimental procedures but give the precision of scientific illustrations.
    Arnaud Desjardin purchased one of these very rare portfolios, drawn to it by the fact that it was damaged by a purple fungus which had been eating away at the paper. He saw a strange beauty given by the mould, adding to the original textures in true, surrealist style. He set about creating a 'new' work which is ‘Mouldy Modern’, featuring both the original Ernst plates and mould- in equal measure- to magical effect!
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willats-vision-and-reality

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  • Vision and Reality
Ort Land
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  • 292 S., 23,3x14,2 cm, ISBN/ISSN 978-1-910010082
    Klappbroschur,
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  • This book presents a wide selection of interviews and photographs from the collaborations between Willats and residents in the many housing estate projects he makes. The first-hand observations and individual opinions, from the past four decades, record a variety of attitudes and perceptions towards the physical reality of their surroundings. Created outside of the norms and conventions of an object-based art world, the projects in this book, mainly on estates in and around London, but also in Bath, Leeds, Milton Keynes and Oxford, highlight the realities of everyday life in both tower blocks and low-rise planned housing. Text von der Webseite
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Paper

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  • Paper
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  • 44 S., 39x55 cm, Auflage: 500, numeriert, 2 Stück. keine weiteren Angaben vorhanden
    Blätter lose ineinader gelegt, Anschreiben beigelegt
ZusatzInfos
  • One would like architecture to be a stable ground, a fixed set. It would be reassuring to feel that the bakery of our childhood is still here, that the building we used to pass by everyday will be standing here forever. But behind the certainty of a brick wall or a concrete slab stands the uncertainty of its use, its life, its inhabitation, its domestication. Impossible to predict, this softness invites us to think architecture as a frame, an open structure, a malleable playground.
    Paper is a newspaper focusing on Common places in Beijing. Paper investigates the multiple forms of inhabitation at the smallest scale, as accidents within a given structure. Paper focuses on the non-monuments constitutive of the city of Beijing. It unfolds 43 photographs taken in Dong-Cheng District, and a bilingual text in English and Chinese. Paper was firstly launched on the 27th of October during a solo show exhibition 'Common places' at the Institute for Provocation.
    Text von der Webseite
Sprache
Stichwort / Schlagwort
Erworben bei Iris Lacoudre
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nothing-but-clouds

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  • Nothing But Clouds
Ort Land
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  • [232] S., 34x22,7 cm, Auflage: 2.000, ISBN/ISSN 978-1-910164983
    Broschur, jede Seite randabfallend bebildert
ZusatzInfos
  • Nothing but Clouds were the words used by the research commission in Andrey Tarkovsky’s 1972 film Solaris to deny video evidence suggesting traces of alien life on the planet. Taking this disclaimer as its title, this meditative book by Kristina Jurotschkin brings together images from her photographic archive made in various places across Europe over numerous years. Jurotschkin’s alienating views of everyday spaces examine the fabric of our social reality and propose an archaeological survey of our future.
    Text von der Webseite
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Erworben bei Mack
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jager-eleven-poems

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  • Eleven Poems
Ort Land
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  • [32] S., 28,7x8,3 cm, ISBN/ISSN 978-3-943514940
    Broschur, Softcover, in Papierbanderole
ZusatzInfos
  • Eleven Poems is a collection of 11 poems printed on single sheets that can be used as page markers to interrupt whatever else you are reading. Each poem is based on descriptions of natural phenomena, to talk about everyday situations of human social behavior. Valentina Jager’s work is primarily related to the world of actions approached via sculpture, written and spoken word, furniture design, and installation.
    Text von der Website.
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slanted-helsinki

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  • Slanted #29 – Helsinki
Ort Land
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  • 256 S., 24x16 cm, 2 Stück. ISBN/ISSN 18676510
    Klappbroschur. Vorne eingelegt ein Heft mit Contemporary Typefaces, international und aus Finnland
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  • Die Ausgabe wird thematisch ergänzt durch Illustrationen, Fotografien, Interviews und Essays
Sprache
WEB Link
Geschenk von
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29_christopher_vieweg
29_christopher_vieweg
29_christopher_vieweg

Vieweg Christoph: Twitterpapst geht offline, 2017

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Titel
  • Twitterpapst geht offline
Ort Land
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  • 106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
    Broschur
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  • Schwarz-Weiß-Drucke, Nr. 029 aus der Reihe 100for10.
    Christoph Vieweg is a drawer and illustrator, based in Berlin. He realizes his art mainly through drawings which focus on everyday observations. Most recently, Vieweg was engaged in the project SOWEIT DIE MELDUNGEN in which he attempts to artistically explore daily news delivered through radio podcasts. The challenge of the project is to keep up the artistic output of at least one drawing per day, each of it representing one received news item. Vieweg’s work presents itself in complex serial blocks which again and again aim to visualize and capture the undertone of the society we live in.
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Erworben bei Melville Brand Design
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34_peter_phobia
34_peter_phobia
34_peter_phobia

Phobia Peter: Never felt so good before, 2017

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Titel
  • Never felt so good before
Ort Land
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  • 106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
    Broschur
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  • Schwarz-Weiß-Drucke, Nr. 034 aus der Reihe 100for10.
    Peter Phobia is an artist and illustrator currently living in Vienna, Austria. Besides being a passionate golf player, he has an obsession with writing lists, loves bananas and carries his sketchbook everywhere he goes. Furthermore, Peter is a collector of absurd moments of everyday life which later on often serve as a source of inspiration in his work. He has worked with several magazines and brands in Austria and his artwork has been shown in numerous places around the globe, such as in Paris, Vienna, Berlin, Madrid, Switzerland and Mexico.
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Erworben bei Melville Brand Design
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39_alessandro_apai
39_alessandro_apai
39_alessandro_apai

Apai Alessandro: Dear routine, 2017

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Titel
  • Dear routine
Ort Land
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  • 106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
    Broschur
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  • Schwarz-Weiß-Drucke, Nr. 039 aus der Reihe 100for10.
    Alessandro Apai is a young freelance illustrator and graphic artist from Italy and current based in Barcelona. His works are inspired by perfectly normal everyday interactions and social experiences. His aim is to use the drawing’s practice like a vehicle to documents and interpret his daily observation of the world and to could translate whatever concept in images. He had work on commissioned projects for clients like the Guardian, Zeit Magazin, it’s Nice That and many others. He also use to work on personal projects like the weekly series “Relaxed Sunday with Family” started in 2014, that you can follow each Sunday.
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Erworben bei Melville Brand Design
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bom-dia-boa-current-programm-2019
bom-dia-boa-current-programm-2019
bom-dia-boa-current-programm-2019

Raeder Manuel, Hrsg.: Current Programm 2019, 2019

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Titel
  • Current Programm 2019
Ort Land
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  • [24] S., 29,5x13,6 cm, 4 Teile. keine weiteren Angaben vorhanden
    Drahtheftung, ein Streifen aus Papier, ein Anschreiben, alles in Briefumschlag
ZusatzInfos
  • BOM DIA BOA TARDE BOA NOITE — ‘good day, good afternoon, good night’ in Portuguese — conveys the idea that books can become part of everyday life, regardless of the time of day. BOM DIA was founded in 2011 by Manuel Raeder and Manuel Goller in Berlin, solely run by Manuel Raeder since 2013. BOM DIA is specialized in high quality artist books that are conceived as an integral part of an art work or as the art work itself that, often, plays with the format of the book and reflects its medium. A focus of BOM DIA lies in publishing contemporary artists from Latin America. The books of BOM DIA are produced in close collaboration with a group of fellow artists, among others Henning Bohl, Daniel Steegmann Mangrané, Mariana Castillo Deball, Haegue Yang, Leonor Antunes, Abraham Cruzvillegas, Danh Vo, Nina Canell, and BLESS.
    Text von der Webseite
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from-static-oblivion-grigorescu

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Titel
  • From static oblivion
Ort Land
Verlag Jahr
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  • [352] S., 30x16 cm, Auflage: 1.000, ISBN/ISSN 978-2-954197425
    Broschur, in silberner Kunststoff Schutzhülle mit Aufkleber
ZusatzInfos
  • A reflection about the status of the image as a balance of forces in tension and a paradoxical act of cancellation of the body through its own representation. In Ion Grigorescu’s work, as in the book, the body is continually shown in different ways - from photography to film, from performance to drawing - and yet it remains absent, obscuring its own identity in an attempt to question the collective one. As it is impossible to show his art during the regime, it ends up hiding, disappearing inside the image. Instead of showing, the image conceals, because it is non-documentary and non-transmittable. it is an act of birth, a prove of the artist’s resistance, especially as a human being inside (or against) any geographical or historical background. In the rituals of his gestures and in the symbolism of his performances, Grigorescu finds a way to stay alive, preserving his own intellectual status while also defending the dignity of everyday life. The book traces the progression, both expansive and inclusive, of his work, which inscribes itself into the space of the body and of the world. Grigorescu absorbs elements of the surrounding reality, showing us a continuity between art and life: his act of dissidence is not an outcry of provocation, nor is it extreme. it is an anti-aesthetic operation which uses experimentation and rough techniques to uncover the fiction of art, to denounce the artifice of representation and to affirm images as an instrument of subversive power.
    Text von der Webseite.
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hamilton_giedion_reaper

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  • Reaper
Ort Land
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  • 292 S., 23x17 cm, ISBN/ISSN 978-3-037645048
    Broschur, Einband einfarbig rot bedruckt, Schutzumschlag vierfarbig, Vorsatz/Nachsatz blau, Abb. Schwar-Weiß, einzelne Farbseiten. Druck auf Munken Print White 1.5, DZA Druckerei zu Altenburg
ZusatzInfos
  • The starting point of this publication—and its eponymous exhibition held in Zurich in Spring 2017—is the conceptual encounter between English Pop art artist Richard Hamilton (1922–2011) and Swiss historian and critic of architecture Sigfried Giedion (1888–1968), famous for his landmark book "Space, Time, and Architecture," an influential history of modern architecture published in 1941.
    In 1949 Richard Hamilton—then a member of the London-based Independent Group— realized the “Reaper” print series as a reaction to Giedion’s 1948 book “Mechanization Takes Command” in which he describes the mechanization of everyday life. Reproducing Hamilton’s complete “Reaper” series juxtaposed with selected examples of illustrations created by Giedion alongside many related illustrations, this publication brings together seven essays by renowned international scholars, all of whom question the relationships between visual arts, technology, science, and architecture. Among the many topics discussed are Hamilton’s early works and exhibition installation practice, postwar British biotechnology and architecture, “Hippie Modernism,” and the visual strategy of Giedion’s books.
    Published on the occasion of the exhibition "Reaper. Richard Hamilton and Sigfried Giedion" at the Graphische Sammlung ETH Zürich (May 3–June 25 2017), a cooperation between Graphische Sammlung ETH Zürich, gta exhibitions, and gta archive.
    Text von der Webseite
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fotografija-nr.1

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Titel
  • Fotografija NR. 1 (35) 2018
Ort Land
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  • [116] S., 27,5x23 cm, ISBN/ISSN 16487273
    Broschur
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  • We are heading into a future where our choices will be shaped – if not outright determined – by algorithms and artificial intelligence. This coming state has been labelled “the new dark age” (James Bridle, 2018).
    It remains to be seen what this brings to photography, and vice versa.
    One thing, however, seems clear: photography, which has already changed significantly in the 21st century, is affected by – and in some important ways is part of – this development. This issue of “Fotografija” explores how programmes, apps and AI-related technologies shape and change the discourse of photography, challenging traditional boundaries of the medium.
    Various programmes and services – Google, Photoshop, Flickr, Snapchat, visual recognition, etc. – provide new tools to conceive image-making and think photographically. Technological interfaces not only deliver instruments for making work but can become the very logic for creating photographic series.
    The presented artists offer perspectives to raise questions and discuss these technological shifts. From dealing with traumatic events (Indrė Šerpytytė) and inaccessible sites (James Bridle) through technological mediation to playing with our expectations of an all-pervasive Photoshop manipulation (Erin E’Keefe). From exploring so-called smart surveillance systems (Esther Hovers) and censoring politically sensitive sites (Mishka Henner) to everyday glitches (Mantas Grigaitis). From playing with the copyrights of such collective websites as Flickr (Penelope Umbrico) to exploring the shared language of being in some of the most photographed places on earth (Thomas Albdorf). And from using Photoshop to create images (Aaron Hegert) to an image that is barely photographic (Zachary Dean Norman). The four essays (Kate Palmer Albers, Roksana Filipowska and Marijana Rayl, Ilaria Speri, Alise Tifentale) map out the works in broader social, historical and art contexts.
    In short, the works deal with our technologized world. They talk about being in the middle of changes that few have envisioned. Being so immersed, one can feel it (almost) hurts.
    Text von Paul Paper.
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buttmann_schlantz_2019
buttmann_schlantz_2019
buttmann_schlantz_2019

Buttmann Verena: DIE SCHLANTZ, DIE KURED, DIE KON, 2019

Verfasser
Titel
  • DIE SCHLANTZ, DIE KURED, DIE KON
Ort Land
Verlag Jahr
Medium
Technische
Angaben
  • 19x19 cm, Auflage: 200, ISBN/ISSN 978-3-948200022
    Schallplatte (7 inch) in Hülle mit Umschlag und Beiheft, geklammert, in Klarsichthülle. Mit beigelegten Zetteln mit aufgedrucktem Downloadlink
ZusatzInfos
  • ”Hhhh Minne, off you go, she’s coming! The deadline is in 5 minuties. If the Mayonnage hears that I’m only just starting. Woah my heart is catching fire. Close the curtain, yes.“ As the mayonnage approaches, the excitement grows. Without ever taking on a tangible form, her presence in Verena Buttmann‘s audio piece „Die Schlantz, die Kured, die Kon” (The Slutch, The Khored, The Quee) lies above everyday events. The mayonnage is many things: the object of fear, the last salvation, the state of oppression, the bridge to a remote world or a dreamlike projection. On her record, the artist Verena Buttmann creates a social cosmos between theatre-like staging and private space. A dialogical poem and a scenic piece of music reveal a narrative that follows a peculiar temporal dimension and linguistic logic. Verena Buttmann takes language to the edge of meaning, where its musical quality unfolds. The publication contains a 7‘ inch vinyl record, a brochure with the original text in German and the English translation, as well as a download link.
    Text von der Webseite
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Pichler Michalis, Hrsg.: IDEA POLL, 2021

idea-poll-2021
idea-poll-2021
idea-poll-2021

Pichler Michalis, Hrsg.: IDEA POLL, 2021

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Titel
  • IDEA POLL
Ort Land
Medium
Technische
Angaben
  • 19,0x11,5 cm, Auflage: 1.500, ISBN/ISSN 9783962870027
    Broschur, Klebebindung
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  • Buch mit Statements anstelle der wegen Corona 2020 und 2021 ausgefallenen Künstlerbuchmesse Miss Read Berlin.
    Editor: Michalis Pichler, Contributing editors: Yaiza Camps, Moritz Grünke, Copy editor: Mark Soo
    IDEA POLL collected ideas regarding publishing activities and beyond. IDEA POLL 2020/21 was created through an online query and features about 100 responses from diverse international networks. Historical Note: In 1976, the periodical Art-Rite already conducted and published an IDEA POLL, marking a seminal moment in the state of affairs in the field of art and publishing. A collaboration of Miss Read and Conceptual Poetics Day.
    The seven questions were:
    Name five #hashtags that best describe your activities
    What are you reading?
    How do you distribute?
    Do you collaborate? If so, with whom and how?
    Is publishing economically viable? What would make it viable?
    What are the best potentials (or difficulties) of publications?
    What would be your utopian library? ...
    Text von der Webseite
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naturally_epcontemporary_2023
naturally_epcontemporary_2023
naturally_epcontemporary_2023

Coers Albert / Krempel Uschi / Mehnert Celia, Hrsg: naturally, 2023

Titel
  • naturally
Ort Land
Verlag Jahr
Medium
Technische
Angaben
  • 10x21 cm, Auflage: 500, keine weiteren Angaben vorhanden
    Einladungskarte
ZusatzInfos
  • Zur Ausstellung in der Galerie ep.contemporary, Berlin, 28.-30.04.2023
    Der Titel „naturally“ – in der deutschen Übersetzung „selbstverständlich“ – lässt zunächst an Dinge denken, die ohne weitere Erklärung verständlich sind, an Alltag, etwas, über das man nicht sprechen muss.
    Aber ist Selbstverständliches vielleicht gar nicht so „nicht erwähnenswert“. In unser Blickfeld tritt es, wenn etwas nicht mehr funktioniert, oder wenn der Blick darauf gelenkt, die Wahrnehmung scharf gestellt wird. Wir nehmen vieles für so selbstverständlich, dass wir atmen, unser Körper funktioniert, die Straßenbahn fährt, Strom aus der Steckdose kommt.
    Selbstverständliches ist eine Voraussetzung, eine Erwartung an Dinge und Handlungen, die wir eingeübt haben im Laufe unseres Lebens. Etwas für selbstverständlich zu nehmen, impliziert nicht nur Erwartungen in Gewohnheiten sondern auch in Konventionen. Wir denken nicht darüber nach – Selbstverständlichkeiten sind in unserer Wahrnehmung nicht vorhanden. Wir vergessen sie schlichtweg wie blinde Flecken. Erst, wenn Sand im Getriebe ist, verschiebt sich der Fokus, schauen wir hin und fangen an, Selbstverständliches infrage zu stellen. Irritierende Blickpunkte auf Alltägliches sind in der Ausstellung naturally / selbstverständlich zum Gallery Weekend zu sehen.

    The title „naturally“ – in the German translation „selbstverständlich“ – initially makes one think of things that are understandable without further explanation, of everyday life, something that does not need to be talked about.
    But whatever seems natural perhaps doesn’t result in being „not worth mentioning“. We become aware of the ordinary when it no longer works, or when we pay actively attention to it, when we focus our perception. We naturally accept so many things without questioning: that we breathe, that our body works, that the subway runs, that electricity comes from the socket.
    Taking things for granted is a prerequisite, an expectation of things and actions that we have practiced in the course of our lives. Accepting something as natural implies expectations not only in habits but also in conventions. We don’t think about it anymore – things taken for granted are not present in our perception. We simply fade these things out, they turn into blind spots. Only if there is sand in the gearbox, we start to refocus on it and we begin to question what we took as natural.
    The exhibition naturally/selbstverständlich invites to discover irritating perspectives on the ordinary during the Gallery Weekend.
    Text: Uschi Krempel, Celia Mehnert
    Text von der Webseite
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Verfasser
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  • Art in Everyday Life
Verlag Jahr
Medium
Technische
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  • 25,2x18 cm, ISBN/ISSN 093712205X
Stichwort / Schlagwort
TitelNummer

Verfasser
Titel
  • Choices: Making an art of everyday life
Medium
Technische
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  • ISBN/ISSN 0915557533
    mit rotem Samtbändchen mit Goldprägung, bedrucktes Kärtchen
Stichwort / Schlagwort
TitelNummer

dewaters-weapon-shapely

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Titel
  • Scattered Material Vol. 1 - Weapon, Shapely, Naked, Wan
Verlag Jahr
Medium
Technische
Angaben
  • [16] S., 23x15,3 cm, Auflage: 500, ISBN/ISSN 9780990749561
    Beidseitig bedruckte, mehrfach gefaltete Seiten
ZusatzInfos
  • Dillon DeWaters’ new book, Weapon, Shapely, Naked, Wan, is a rumination on the uncanny, on the anomalous phenomena within the everyday. Taking as their starting point a text, Walt Whitman’s “Song of the Broad-Axe,” and a place, Brooklyn’s Fort Greene Park, the photographs build a world of the unfamiliar within the recognizable. Using techniques of in-camera masking and multiple exposures, DeWaters creates a fictive world wherein memory becomes palimpsest, overwritten, erased, perhaps apocryphal. The places contained herein are supernatural, perhaps preternatural, on their surface but, beneath, there is a sense of the cozy, the familiar, even the banal. DeWaters is reordering our geometries and our color palettes to create in us a new vision, a new way of seeing. Is it our eyes that are turning space inside out? We watch, through the continuous image stream within the pages, as Whitman asserts, “The shapes arise!”
    Text von der Webseite
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offenhuber-waste-is-information-2017

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Titel
  • Waste Is Information - Infrastructure Legibility and Governance
Verlag Jahr
Medium
Technische
Angaben
  • 270 S., 23,5x15,8 cm, ISBN/ISSN 9780262036733
    Hardcover mit Schutzumschlag
ZusatzInfos
  • The relationship between infrastructure governance and the ways we read and represent waste systems, examined through three waste tracking and participatory sensing projects.
    Waste is material information. Landfills are detailed records of everyday consumption and behavior. much of what we know about the distant past we know from discarded objects unearthed by archaeologists and interpreted by historians. And yet the systems and infrastructures that process our waste often remain opaque. In this book, Dietmar Offenhuber examines waste from the perspective of information, considering emerging practices and technologies for making waste systems legible and how the resulting datasets and visualizations shape infrastructure governance. He does so by looking at three waste tracking and participatory sensing projects in Seattle, São Paulo, and Boston.
    Text von der Webseite
    Mit einem Beitrag über Paper Police von Jürgen O. Olbrich, Kassel.
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Erworben bei B.H. Blackwell London
TitelNummer

american_psycho

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Titel
  • American Psycho
Verlag Jahr
Medium
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  • 416 S., 22,86x15,24 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
    Broschur
ZusatzInfos
  • This book was made by sending the entire text of Bret Easton Ellis' American Psycho between two GMail accounts page by page. We saved the relational ads for each page and added them back into the text as footnotes. In total, we collected over 800 relevant ads for the book. The constellations of footnoted ads throughout these pages retell the story of American Psycho in absence of the original text. This retelling reveals GMail's unpredictable insensitivity to violence, racism, and sex. It serves as a blurry portrait of an algorithm that exists in our everyday communication simultaneously forming a new portrait of the lead character, Patrick Bateman.
    Text von der Webseite
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Erworben bei Lulu.com
TitelNummer

Verfasser
Titel
  • Everyday Sunshine
Verlag Jahr
Medium
Technische
Angaben
  • keine weiteren Angaben vorhanden
ZusatzInfos
  • Aus dem Booklyn-Archiv
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Erworben bei Booklyn
TitelNummer

ganzeer-zine-el-arab-1

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Titel
  • Zine El Arab #1
Verlag Jahr
Medium
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Angaben
  • [50] S., 28x21,5 cm, Auflage: 100 ca., signiert, keine weiteren Angaben vorhanden
    geklammerte Fotokopien, ein Blatt als Sticker eingebunden. Kopiert im August 2019
ZusatzInfos
  • ... If you know me at all, then you know I like to operate where I see vacuums in the culture. Zine El-Arab came about precisely for that reason. This was 2011, a time of great revolutionary upheaval that started in Tunisia, spilled over into Egypt, and kind of spread from there not just in the region but halfway across the world.
    By late 2011, there was really no denying the ripples of change pulsating through Cairo. It was evident on the streets, in music, conversations, at art galleries, on television, it was everywhere. But I was growing frustrated that there didn’t seem to be any regular publication that featured the voices of dissent that were otherwise all around you. It felt like there was a rift between everyday voices and what was being published, and how cool would it be if there were at least one? Especially if it were a crude one. ...
    ... Die Formel war scheinbar ganz einfach. Das Titelbild (von mir erstellt) wurde auf Social Media veröffentlicht und lud Mitwirkende aus dem arabischsprachigen Raum ein, darauf entweder mit Text oder Bild zu antworten (nur S/W). Entsprechende Einreichungen werden ausgewählt und zu einem digitalen Zine zusammengestellt, der als PDF mit detaillierten Anweisungen für Druck und Montage hochgeladen wird. Die Idee war, nicht nur den Inhalt, sondern auch die physische Produktion des Zine zu dezentralisieren, wodurch Mitwirkende und Leser ihre eigenen Kopien drucken und organisch unter ihren Gemeinschaften verbreiten konnten. In Wirklichkeit hatten beide Ausgaben ihre "Launchparties", Ausgabe eins in Makan in Jordanien und Ausgabe zwei in der Townhouse Gallery in Kairo, was bedeutete, dass für jeden Start etwa 100 Exemplare gedruckt und zusammengestellt werden mussten.
    Eine Sache, die ich tun wollte, war, die Tatsache zu nutzen, dass jedes Exemplar technisch individuell gedruckt und gebunden wurde. So gab es beispielsweise für die Ausgabe #1 Anweisungen, den Blutfleck manuell auf das Cover zu malen, und im Inneren befand sich eine Seite (mit mehreren Bildern verziert), die für den Druck auf Klebepapier bestimmt war, auf der die Leser ausschneiden und als Aufkleber verwenden konnten.
    Es sollte beachtet werden, dass es im Namen der Zine ein kleines Wortspiel gibt. Das Wort "zine" in arabischer Sprache ist die gleiche genaue Schreibweise wie das Wort "zain", was in etwa "das Beste" bedeutet. So schlägt Zine El-Arab nicht nur "die Zine des Arabers" vor, sondern wird gleichzeitig als "das Beste vom Araber" gelesen. ...
    Übersetzt mit DeepL
    Text von der Webseite
    Foto Innenteil von Ganzeer
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interstatial

Titel
  • Interstatial
Medium
Technische
Angaben
  • [36] S., 18x14 cm, ISBN/ISSN 0898221293
    Drahtheftung, Farblaserdruck
ZusatzInfos
  • 2. Auflage
    "Interstatial is a visually engaging photographic documentation of a coast-to-coast road trip taken in August of 2003. Glicksberg's photographs mark her geographical progress while hinting at an inner journey, reflected in images of crumbling buildings, isolated structures, and the Fresh Start convenience store advertising "New Beginnings Everyday."; with text by Piotr Orlov
    Text von der Webseite.
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