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About the series: TheFor Everard zine series chronicles the 1977 fire atNew York's Everard Baths, combining archival research with imagined narratives to re-focus attention to obscured histories. The series explores the media coverage ofthe subsequent investigation ofthe fire, andthe lives ofthe nine menwho perished. The zines bring together photographic images with primary news sources, as well as personal anecdotes collected from eyewitness testimonials.
About the individual zines: For Everard, Vol. 1, 2013, ed. 100 (nr. 65)
This zine chronicles theMay 25, 1977 fire atNew York's Everard Baths andthe media coverage ofthe subsequent investigation. For Everard, Vol. 2 (Bloodbrothers), 2013, ed. 100 (Nr. 81) In the second volume ofhis series chronicling the 1977 fire atNew York’s Everard Baths, Anthony Malone focuses on Bellevue Hospital’s blood drive forthe victims ofthe great bathhouse tragedy. Malone draws parallels between the 1977 restrictions placed ongaymenfor donating blood to their “brothers” and current FDA guidelines that indefinitely defer donations from menwho have hadsex with men since 1977. This black and white photocopied zine (ed 100) juxtaposes archival images, news clippings, and just a touch of fantasy. For Everard, Vol. 3 (Remembering Jimmy), 2015, ed. 100 (Nr. 94)
Volume 3 of the series, For Everard is dedicated tothe memory of Jimmy Stuard, who died inthe tragic fire atthe Everard Baths in 1977. Stuard was a rising star inthe disco music scene. He spun records first at Boston’s 1270 Club, and later atNew York’s 12 West, where he inspired an entire generation of musical artists andDJs. In this particular volume, Anthony Malone assembles images and archival texts that serve as a tribute tothe great Jimmy Stuard. For Everard, Vol. 4 (A Lovely Show), 2016, ed. 100 (Nr. 62) For Everard, Vol. 4 (A Lovely Show) is a tribute to Kenneth Hill, one ofthe nine menwho died inthe devastating fire atthe Everard Baths in 1977. Kenn played a vital role inthe East Village/Lower East side countercultural movement inthe late ‘60sand 1970s. He was a hippie, abar tender at Phebe’s (a watering hole and salon forthe experimental theater community inthe 1970s), one ofthe founders oftheOld Reliable Theatre Tavern, House Manager at La Mama Experimental Theatre Club, and a photographer. This zine celebrates Kenneth Hill by collaging archival documents with personal artifacts and pictures of Kenn from meaningful moments inhis life. For Everard, Vol. 5 (A Dearly Loved Man), 2017, ed. 100 (Nr. 95) For Everard, Vol. 5 (A Dearly Loved Man) assembles images and stories from the life ofIra Landau, a gifted and dedicated teacher who died inthe tragic fire atthe Everard Baths in 1977. Ira left behind a devoted family (his mother, brother, niece, and lover) and is still greatly missed byhis loved ones. This zine is a tribute tothe life and accomplishments of a remarkable manwho served inthe Peace Corps and committed himself to educating young minds both abroad (in the Middle East) and at home inthe US. It contains family photos and personal images generously contributed byIra’s niece. For Everard, Vol. 6 (Yosef’s Song), 2017, ed. 100 (Nr. 94)
Volume 6 of the series For Everard celebrates the life of a remarkable musical prodigy, Yosef Synovec. This zine tells the story of a young man with great aspirations who emigrated tothe United States from Czechoslovakia to study classical violin. In 1976, Holly Woodlawn overheard Synovec vocalizing as hewas painting the bathroom ofhis East Village apartment, and determined onthe spot that shehad discovered an emerging star. As a singer, Synovec used his extreme vocal range to imitate the voice and persona of Peruvian diva Yma Sumac. He performed Sumac’s exotic musical numbers at several New York City cabarets and show venues. Sadly, on May 25, 1977, Yosef perished inthe tragic fire atthe Everard Baths. For Everard, Vol. 7 (Tony from the Bronx), 2017, ed. 100 (Nr. 86)
This zine brings together images and stories from the life of Tony Calarco, one ofthe nine menwho died inthe fire atthe Everard Baths in 1977. Tony was only 26 when he died. He lived with his parents and siblings in a modest house inthe Bronx. He had recently graduated from college andwas working as a social worker inNew York city atthe time ofhis death. Tony had aspirations to become a lawyer andwas scheduled to begin law school in September of 1977. This zine celebrates Tony Calarco’s memory through photos of Tony, artifacts from his high school and college years, and recent photographs ofhis home and final resting place. For Everard, Vol. 8 (Looking for Amado), 2017, ed. 100 (Nr.84)
Amado Alamo, a young man only 17 years old, lost his life inthe fire atthe Everard Baths in 1977. In Volume 8 of For Everard, Anthony Malone documents his search forthe identity ofthe youngest victim ofthe Everard fire. The zine is an abstracted portrait of Alamo that assembles thefew extant fragments ofhis story culled from newspaper articles and documentary sources glued together with the artist’s imagination. For Everard, Vol. 9 (Last Call), 2017, ed. 100 (Nr.72)
Life was difficult for Hillman Wesley Adams. He was born in Jacksonville FL in 1938. His mother died just a few months after his birth, and bytheage of nine, he found himself in an orphanage with his older brother. Fast forward 30 years: Hillman moved toNYC, struggled to make ends meet while working onandoff as a bartender, and hemethis lover, Ralph, with whom he shared a modest apartment inNew Jersey. On May 25, 1977, Hillman died inthe fire atthe Everard Baths. Vol. 9 ofFor Everard is an assemblage of newspaper articles and vintage photos chronicling the life and untimely death of Hillman Wesley Adams. For Everard, Vol. 10 (In Memoriam: Patrick Nott), 2018, ed. 100 (Nr. 64)
Volume 10 ofFor Everard memorializes the life of Patrick Nott, one ofthe nine menwho died inthe fire atthe Everard Baths. Nott, a native of Wales with a passion for theater, literature, and music, pursued a successful career in hairdressing. He fell in love with hispenpal (a young woman from Brooklyn) and after their marriage, they moved toNew York City, where Nott worked atthe Vidal Sassoon Salon. This zine weaves together elements from his story (shared with the artist by Patrick Nott’s wife), with photographs, newspaper clippings, and artifacts. It acts as a humble tribute, an “In Memoriam” for this greatly loved man. For Everard, Vol. 11 (Thunderbird), 2019, ed. 100 (Nr. 79)
Brian Duffy was an aspiring artist. In 1966 hewas accepted to Pratt Institute ofArtand although he declined admission tothe school, he seized the opportunity to move toNYCand start a new life for himself. In the city, he worked hard at various retail jobs and tried to break into the theater, but everything changed when hemetthe love ofhis life, Bradley. The couple moved to a “quieter life” in Boston. They worked in restaurants inthe Back Bay area and created a community for themselves amongst their chosen family of friends. Volume 11 ofFor Everard celebrates the brief life of Brian Duffy, a young manwho died inthe fire atthe Everard Baths in 1977. This zine compiles photographs and stories shared with Malone by Brian’s sister and dear friend. The pseudonym "Anthony Malone" comes from a novel by Andrew Holleran (Dancer from the Dance). In this novel, Malone isthe protagonist and attheend he disappears. Some ofhis friends believe that hemay have committed suicide, others feel that hemay have run away from New York, while some say that they sawhim atthe Everard Baths onthe night ofthe fire. I imagine that Malone survived the fire and he isnow making books and zines telling the story ofthe tragedy.
His mustache looked like it would tickle. That’s probably the only reason why I didn’t want to kiss him. He was a weirdo, butnot weird enough, if youknow what I mean. He certainly had a flair for details. It wasn’t that. I mean, it’s not like hewas wearing a mullet, no. Nor like the kind ofguy to gift me a Chinatown Gucci bag. He hated scented soaps and he’d drag meout ofany decent party if he found scenty sticks near the toilet. That kind of thing drove him nuts. It’s not like hehad anything against grapefruit.
Early on inour friendship, he gave me a box of Gioconda pencils from Koh-I-Noor. He knew how toget me hooked. But that damn mustache. It was so thick, so neatly trimmed. He paid too much attention tothe kind of things I didn’t want topay attention to. The cappuccino foam in it, however, was a kind of turn-on.
This is no doubt whyyouare holding this book in your hands. His mustache, right? Admit it. It’s the bowl of bonbons bythe register. But then you go undercover, under the sheets to find a lot of nudity, thwarted porn. Ja, ja, ja: bodies. Corporeality. Corporation, cooperation. Protest. Violence. Religion. Collage. A torn sheet atthe back. A misbound book? A defect or just vulnerable?
Selbsthilfe ist auch keine Lösung (even self-help isnot a solution) and Protestvorbild Frankreich (protest “role model” in France?) is the only text youcan make out other than mine. You’re meant to struggle to read it, or maybe Erik (whohas no mustache) was being intentionally casual about theway hecutout these pictures. It’s an awareness of being sloppy that is so aware, it’s no longer sloppy. Aman standing with his fist held high. He’s standing inthe window frame of an apartment at least one story up from the ground. He is forty andmadand he enjoys hisBud. His form of protest is a form of solidarity from the sofa. A window protest: comfy. So fucking clever. Then there’s the picture abutting it of a woman holding outherbra. We are meant to take it. She’s offering it to us. Go ahead. She wants you to. And then there’s the spooning bodies with their tube socks in a wad next to… a bed. A solar bed. Yougot it? This book is brown sugar. Stinky Swiss cheese. Bad, bad, good, good.
April von Stauffenberg
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Atem Books is an independent publishing house based in Catalunya focused on photography & illustration, contemporary drawing and thinking created by emerging artists from around the world. Our aims are: to help emerging artists toget their work more known, create a collection of contemporary works, to gather illustrators, photographers & art lovers. Atem Books has been publishing Carpaccio Magazine since April 2009. Atem Books is a non-profit organization, so allthe money earnt is always invested innew publications. Why ‘Atem’?
‘Atem’ stands for “wind, breath” in german. This word is inspired by an illustrated poetry book published by Paul Celan (poet) andGisèle Celan (illustrator) called Atemkristall. Who weare
Atem Books curators areMaría Cerezo and Emma Llensa. We both doallthe works involved with mantaining Atem Books.
What wecan do
We’re also offering our services to help you self-publish your book (both digital -pdf, epub, mobipocket-, Ipad and Iphone apps and print). Whether ifyou need advise onhow to start self publishing a book oryou need our services as curators, designers, layouters and image retouchers, just ask us what wecan doforyou.
We’re also offering our services to help you create your own website and, if you need one, how to create an e-commerce to sell your own goods. And, of course, we can give you marketing and self-promotion advises and guidelines.
Atem Books is100% independent! We don’t receive any external money. This project survives with the earns we do selling our publications. Vonder Webseite
Vier Hefte über Dinge und Orte. Some Things That Anyone Who Knows Everything The Is ToKnow, Knows (I), Some Other Things That Anyone Who Knows Everything The Is ToKnow, Knows (II), A Partial List of Everything InThe World There Is ToKnow (III), Some Places That Anyone Who Knows Everywhere There Is ToKnow, Knows (IV).
31x23,6x1,5 cm, keine weiteren Angaben vorhanden Kassette mit zwei gefalteten Einzelblättern, beidseitig bedruckt, eins davon Werbemappe mit Werbeheftchen für Gordon's und Newsletter der Something Else Press, drei Poster, drei Hefte mit Drahtheftung und eine Schallplatte.
Ausgabe gestaltet von Quentin Fiore. Ausgabe besteht aus 9 Teilen: 1. Box, 2. "The Medium Isthe Massage" Poster-sized mosaic of pages from The Medium Isthe Massage by McLuhan and Quentin Fiore, 3. "The TV Generation" Poster of a color photo taken atthe Tribal Stomp atSan Francisco's Avalon Ballroom, 4. "Diary: How to Improve the World (YouWill Only Make Matters Worse)" Random observations by John Cage, 5. "The Electronics of Music" Essay on electronic music by Faubion Bowers and Daniel Kunin, 6. Phonograph recording. A Recorded Sampler of Electronic Music. Side A: In Memoriam of Edgar Varèse, by Mario Davidovsky. Side B: Horn, by Gordon Mumma, 7. "The Braille Trail" Bob Lewis and Alfred Etter describe a nature trailforthe blind, 8. "Psycles" Excerpts from The Bikeriders, Danny Lyon' book about the Chicago Outlaws motorcycle club. Prefaced by a meditation on motorcycling byBob Chamberlain, 9. Mappe mit Werbung mit einem Werbeheft für Gordon's und Newsletter der Something Else Press (Something Else Newsletter Volume 1, Number 6: May, 1967), weitere Werbehefte der Originalausgabe fehlen.
Zur Veranstaltung 08.09.-09.10.2022 inMünchen
VARIOUS OTHERS isthe international format ofthe Munich art scene. Its most ambitious players—galleries, artist-run spaces, and institutions—invite you toget toknowthe city’s most important art venues inall their diversity. In collaboration with international partners, VARIOUS OTHERS offers artists, collectors, curators, gallery owners, andart enthusiasts from all over the world contemporary art ofthe highest quality and relevance.
With its splendid kick-off during the second weekend of September, VARIOUS OTHERS heralds the start ofthe fall art season and is a fixed event inthe international art calendar. With its up-to-date, varied, and high-quality program of exhibitions and events, VARIOUS OTHERS promotes the visibility of Munich as a vibrant art city.
Through our partnership concept—galleries and artist-run spaces invite partners to jointly realize exhibitions—we strengthen international exchange and collaboration and share those values with our guests and partners. During four rich weeks, we invite our guests and friends to experience great sites of contemporary art in Munich andget toknowthe artists who work here—and thus discover new things. ...
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[32] S., 15x11,2 cm, Auflage: 125, 2 Stück. keine weiteren Angaben vorhanden Drahtheftung, zweifarbiger Siebdruck auf 170g Papier, mittig eingebundener gefalteter Flyer auf orangenem Papier
Zweite Edition. Die erste erschien 2018 alsein einzelnes Heft undist ebenfalls imAAP archiviert. Manche der Motive wiederholen sich, andere sind neu.
This is a small selection from theTomLaw collection which isnow inthe collection of Stanford Libraries. The whole collection features over 1400 hand bills from San Fransisco's 80's music scene from bands like Flipper, Sonic Youth, Dead Kennedys, Sun Ra, The Dicks, Hüsker Dü, Grateful Deadand many more. This zine is printed in different colours, therefore there is no copy like the other. What yousee here is just an example ofthe colours. A small story about the collection is also included.
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[32] S., 15x11,2 cm, Auflage: 125, keine weiteren Angaben vorhanden Drahtheftung, zweifarbiger Siebdruck, Infotext auf Flyer, mehrfach gefaltet und eingelegt
This is a small selection from theTomLaw collection which isnow inthe collection of Stanford Libraries. The whole collection features over 1400 hand bills from San Fransisco's 80's music scene from bands like Flipper, Sonic Youth, Dead Kennedys, Sun Ra, The Dicks, Hüsker Dü, Grateful Deadand many more. This zine is printed in different colours, therefore there is no copy like the other. What yousee here is just an example ofthe colours. A small story about the collection is also included.
Text vonder Website.
20,5x13,5 cm, keine weiteren Angaben vorhanden 4 Bände in Schuber. Schuber geprägt in Gold und Schwarz, Rückseite mit Umkehr der Farben. einzelne Cover mit Reliefprägung, geometrische Formen, Farbschnitt schwarz. Einzelne Bände in Schweizer Broschur (Umschlag nuraufRückseite angeklebt, Rücken mit Gewebestreifen eingefasst). Bd. 1130 S., letzte Seite mit Kalender als Fold-Out. Bd. 2160 S., Bd. 3 96 S., Bd. 4 Blindband, (Notizbuch), 72 S.
The Typographic Society Munich isthe largest organisation in Europe for typographers and people whoare interested in typography and design. Since being founded in 1874 the designers’ club establishes a foundation for sophisticated and interdisciplinary thinking and dialogues among content and form, text and photo, tradition and innovation, design and technology. Thetgm represents quality and education forthe branch of communication and offers a huge accompanying training program. As Chairwoman ofthe club I curated several lectures inthe last years, inviting design and typography celebrities.Throughout the years designers like Stefan Sagmeister, Mirko Borsche, Eike König, Mario Lombardo, Sascha Lobe, Fons Hickmann, Amir Kassaei or Kurt Weidemann to name a view, followed these invitations and appreciated the warm welcome ofour community. To show the wide range of offerings we traditionally create a yearbook. More over I tried to give the content based complexity ofour proposal a clear and neat arrangement. Therefore thenew release is a compilation of four different books, which should invite the reader to inform themselves, to browse, to experience and to participate. The first one exposes allthe topics, facts and dates forthe further education programs. Part two presents allthe people and their stories whoare involved inthe club, whoare on stage and behind the scenes. The third book is a journey into the past and also the future oftgm’s conferences, excursions and other specials. And finally there is room forthe reader’s own ideas, experiences and criticism as a foundation for a future dialogue with tgm.
Every offer under the roof oftgm is a result of solidarity. It is a result of people and companies whoare united bythe common interest in typographic quality. This project has only been possible with the support ofKösel Druck GmbH & Co Kg, Geese Paper, mycolorserver andthe collaboration with Boah Kim.
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[32] S., 19x13 cm, Auflage: 500, keine weiteren Angaben vorhanden Drahtheftung, Schwarz-Weiss Offsetdruck
ZusatzInfos
The William Crawford Estate is owned and represented by Ampersand Gallery. William Crawford's drawings were discovered in an abandoned house in Oakland, California. His work brings to mind characteristics of prison drawings, an impression confirmed bythe fact that several were made onthe backs of prison roster sheets dated 1997. These printouts, however, were cut down the middle, so the exact prison from which they originate is unknown. But given their origin intheBay Area andthe fact that several drawings include San Francisco landmarks, it's possible that Crawford made the work in a California state prison. Other than this information drawn from the archive itself, nothing is known about Crawford's life. Indeed, we only knowhis name because he signed just a few ofthe drawings, either as Bill, William or WM Crawford. The archive appears to have consisted of several books, with individual drawings in sequences of 30 or more adding up to tell complex visual stories. Several include written captions or fragments of conversation between male and female characters. These sequences, however, have been broken up over the years and reach usnow in a fragmentary and fascinating collection of hundreds of delicate pencil drawings. The work conveys the intense sense of sexual longing of a man with an urge to tell dynamic stories. The drawings, which resemble the eroticism of Eric Stanton, the exaggerated male anatomy ofTom of Finland orthe ample breasts of a John Currin, show scantily dressed women, drug use, cuckolding and orgies. The details ofhis interiors, the hairdos and style of dress suggest that Crawford might have come ofage inthe late 70s or early 80s. A cast of recurring figures populate the drawings, notably oneman with a short afro and a moustache who often figures atthe center of events, presumably the artist William Crawford himself. Remarkably, given the number of drawings, there is little to no repetition inthe work. Crawford’s inventive eyefor sexual positions, facial expressions and gestures of hand and body was vast and masterful. Simple geometric details and architectural subtleties define the unusual settings where the action unfolds. We see rooms shown from unusual angles, features that are hinted at, erased or altogether omitted and articles of clothing that are drawn with obsessive precision. This singular and original drawing style compels us to immerse ourselves inthe world William Crawford created, more dream than documentation, more fantasy than perversion. Crawford's drawings have been widely exhibited, notably at Galerie Susanne Zander (Cologne and Berlin), Zieher, Smith and Horton (New York), Freddy (Baltimore) and upcoming solo exhibitions at FARAGO (Los Angeles) and Richardson (New York). His work is also featured inthe latest issue of Richardson Magazine andwas included in "System and Vision" at David Zwirner, an exhibition organized in collaboration with Delmes & Zander. Reviewing it, TheNew Yorker wrote, "William Crawford's orgiastic illustrations onthe backs of prison rosters haven an erotic intensity that rivals anything by Hans Bellmer or Pierre Klossowski."
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[50] S., 28x21,5 cm, Auflage: 100 ca., signiert, keine weiteren Angaben vorhanden geklammerte Fotokopien, ein Blatt als Sticker eingebunden. Kopiert im August 2019
... If youknow me atall, then youknow I like to operate where I see vacuums inthe 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 inthe region but halfway across the world. By late 2011, there was really no denying the ripples of change pulsating through Cairo. It was evident onthe streets, in music, conversations, at art galleries, on television, it was everywhere. But I was growing frustrated that there didn’t seem to beany 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, andhow 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 (vonmir erstellt) wurde auf Social Media veröffentlicht undlud Mitwirkende ausdem arabischsprachigen Raum ein, darauf entweder mit Text oder Bild zu antworten (nur S/W). Entsprechende Einreichungen werden ausgewähltund zu einem digitalen Zine zusammengestellt, deralsPDFmit detaillierten Anweisungen für Druck und Montage hochgeladen wird. Die Idee war, nicht nurden 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 inder Townhouse Gallery in Kairo, was bedeutete, dass für jeden Start etwa 100 Exemplare gedruckt und zusammengestellt werden mussten.
Eine Sache, dieichtun 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 aufdas Cover zu malen, und im Inneren befand sich eine Seite (mit mehreren Bildern verziert), diefür den Druck auf Klebepapier bestimmt war, aufderdie Leser ausschneiden undals Aufkleber verwenden konnten. Es sollte beachtet werden, dass es im Namen der Zine ein kleines Wortspiel gibt. Das Wort "zine" in arabischer Sprache istdie gleiche genaue Schreibweise wiedas 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
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Foto Innenteil von Ganzeer
The relationship between infrastructure governance andthe 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 weknow about the distant past weknow from discarded objects unearthed by archaeologists and interpreted by historians. Andyetthe 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 andhowthe 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 vonder Webseite Mit einem Beitrag über Paper Police vonJürgen O. Olbrich, Kassel.
Kenneth Goldsmith wants you to rethink the internet. Many people feel guilty after spending hours watching cat videos or clicking link after link after link. But Goldsmith sees that “wasted” time differently. Unlike old media, the internet demands active engagement—and it’s actually making us more social, more creative, even more productive. When Goldsmith, a renowned conceptual artist and poet, introduced a class atthe University of Pennsylvania called “Wasting Time onthe Internet”, he nearly broke the internet. TheNew Yorker, the Atlantic, the Washington Post, Slate, Vice, Time, CNN, the Telegraph, and many more, ran articles expressing their shock, dismay, and, ultimately, their curiosity. Goldsmith’s ideas struck a nerve, because they are brilliantly subversive—and endlessly shareable. In Wasting Time onthe Internet, Goldsmith expands upon his provocative insights, contending that our digital lives are remaking human experience. When we’re “wasting time,” we’re actually creating a culture of collaboration. We’re reading and writing more—and quite differently. And we’re turning concepts of authority and authenticity upside-down. The internet puts us in a state between deep focus and subconscious flow, a state that Goldsmith argues is ideal for creativity. Where that creativity takes uswill beone ofthe stories ofthe twenty-first century. Wide-ranging, counterintuitive, engrossing, unpredictable—like the internet itself—Wasting Time onthe Internet isthe manifesto you didn’t knowyou needed.
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[40] S., 29,7x21 cm, keine weiteren Angaben vorhanden Farblaserdruck, gefaltete Einzelblätter, mit Gummiband zusammengehalten. PDF-Download vonder Webseite
“We want you to GO INSIDE — your house, and your self. Everything is about interiors now: the interior of your home, your mind, your archive, your hard drive. Mine itallfor insight and purpose.
Once that’s done, show off what you find – just because you’re alone doesn’t mean youcan’t share from within. There is no such thing as “too much information” now; COVID-19 took out “TMI.” In fact, there is no more “enough” — enough data, enough circulation, enough fodder. Binge on it. Burn out on it. Document it. Post it. Build a website for it. Get turned on by it. Get freaked out by it. Open up your screens, talk about your dreams, slide into those DMs. Get dressed up to go absolutely nowhere. Never goout, but leave nothing “behind the scenes” – there is no “behind,” and no “in front of” either. There is only “now,” and it isBigand Flat. Closeness happens at a distance here, but dialogue has never been this intimate. Your private hygiene is a matter of public health, your personal cloister backdrops community debate. Dualities — east and west, north and south, us and them, outand in — melt into each other and coat theold world like lava, like anact ofgod. In theNew Interior isolation is a commons, the self that inhabits it is a collective. Historical moments stack vertically and occur simultaneously, around the globe. Welcome tothe novel sanctum sanctorum, the single-occupant House of We.
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European-art.net connects different art archives and their digital databases. Widely ramified information (basic data, texts, images) on individuals, groups and institutions as well as details about exhibitions and literature can be obtained free of charge by means of a central search engine. As a meta-database, european-art.net does not itself provide any data on artists and other related subjects but refers tothe intrinsic data ofits institutional partners. The highly professional profile ofthe partner institutions stands forthe reliability ofits contents.
Names, groups and institutions are listed alphabetically. Youcan either search per letter andgetallthe listed references to artists, groups and institutions, or youcan type in a name (minimum 3 letters) andwillgetthe references tothe databases, where youcan find more material. If you misspell the name or ifthe artist is listed with more than one name, youwill find different entries.
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... I am writing you because I interviewed youfor my research project ARTZINES, in which I explored the world of zines made by artists. The project started in 2015, so the interview in question might have happened ages ago. If it was a video interview, it should be on Vimeo and here: https://www.youtube.com/@ARTZINESINFO
I have been collecting 88 testimonies from various people interested in zines for a very long time, and I wanted to gather all of them into a book about zines made by artists.
Then life happened, the good andthebad, until I metthe Objet Papier collective, who published Print It, aweb-to-print magazine generated from a website to be different each time. Forthe past two years, I worked with them to create an interactive and generative ARTZINES book that is different each time it is downloaded (I counted 130.749.696 possibilities, but that’s alow estimate).
I wrote my research journey as a " Choose Your Own Adventure Book," and I am happy to tell you that youare a character in this story, since your interview is featured inthe book! There are a maximum of 6 interviews in each generated PDF, so your interview won’t show in every book. If you want tosee what it looks like, youcan generate PDFs ofthe book directly from the platform ...
Auszug ausder Email vom 05.11.2024
... I am writing you because I interviewed youfor my research project ARTZINES, in which I explored the world of zines made by artists. The project started in 2015, so the interview in question might have happened ages ago. If it was a video interview, it should be on Vimeo and here: https://www.youtube.com/@ARTZINESINFO
I have been collecting 88 testimonies from various people interested in zines for a very long time, and I wanted to gather all of them into a book about zines made by artists.
Then life happened, the good andthebad, until I metthe Objet Papier collective, who published Print It, aweb-to-print magazine generated from a website to be different each time. Forthe past two years, I worked with them to create an interactive and generative ARTZINES book that is different each time it is downloaded (I counted 130.749.696 possibilities, but that’s alow estimate).
I wrote my research journey as a " Choose Your Own Adventure Book," and I am happy to tell you that youare a character in this story, since your interview is featured inthe book! There are a maximum of 6 interviews in each generated PDF, so your interview won’t show in every book. If you want tosee what it looks like, youcan generate PDFs ofthe book directly from the platform ...
Auszug ausder Email vom 05.11.2024
Altered book pages mail art project - August 2016. Youare invited to participate in a Mail Art project entitled “Altered book pages”. Youmay paint, make a collage, use photos and more on a book page. Youcanuseany kind of book pages you want and as many pages you want or an entire book. If you like I can send you some pages from Greek books touse. Theme: Altered book pages. Size, media, number of submissions: Free. No fees, no jury, no returns. Deadline: May1st 2017.
Text vonder Webseite.
Wide-ranging and multi-faceted this intriguing and beautifully produced book will change thewayyou relate to paper in an increasingly “paperless” society.
While sheets of paper are disappearing from our homes and offices, the medium is experiencing a renaissance inthe worlds ofart, design, and architecture. Suddenly, paper is everywhere— butnot only intheold familiar places or forms. This fascinating book looks at every aspect of paper: its history, composition, production, application, and trade. Beginning with the anatomy of paper andits earliest forms, this book looks at paper as a symbol of political and economic importance and as a carrier of ideas, from literature toart, design, and music. It looks atthe different surfaces, opacities, weights and volumes of paper andhow it is used for printing, typography, graphics, and maps as well as a vehicle for origami, architecture, and fashion. Sumptuously illustrated with photographs and drawings, this book includes a variety of papers for readers to examine and feel, highlighting the sensual aspects of this seemingly ordinary product. Engaging, entertaining, and informative, this book contains a wealth of useful and surprising information on every printed, colored, and textured page.
Text vonder Webseite Mit Literaturverzeichnis und Liste der Museum, die sich mit Papier/Buch befassen
PERPETUAL MOTION is a publication of Circle Arts, Inc., a non-profit arts organization serving as a resource forthe creative effort ofthe public.
CIRCLE ARTS InC. M. Jankowski 1439 Ocean Ave 2F Brooklyn New York 11230
...is a non-profit, tax exempt public arts resource organization dedicated to providing an open forum forthe promotion and nuturing of creative talent andart. Launched in 1982 and incorporated in 1983. Circle Arts activities include monthly performance parties and a quarterly arts journal. In addition, Circle Arts has acted as a clearing house for information forthe arts and artists intheNew York community. We are currently searching for contributions forthe next issue of Perpetual Motion. Please send your contributions of poetry. fiction, reviews, statments-on-the-arts, graphics, photography, etchings, music scores, screen adeptations.
HAVING A GREAT TIME
WISH YOU WERE HERE
There's no deadline yetfor this mail art project sponsored by Matty Jankowski at Circle Arts Inc., which is a non-profit arts resource organization. If you send tothe address below, youwill receive a mail artkit with a blank post card, a gummed label in a celo-phane envelope and a sheet of in-structions. Matty also asks that you contribute - "perpetual motion, public property, circular commotion, video art, mail artand last but certainly not least, rubber stamp art...."
PERPETUAL MOTION ist eine Veröffentlichung von Circle Arts, Inc. einer gemeinnützigen Kunstorganisation, dieals Ressource für die kreativen Bemühungen der Öffentlichkeit dient.
CIRCLE ARTS InC. M. Jankowski 1439 Ocean Ave 2F Brooklyn New York 11230
...ist eine gemeinnützige, steuerbefreite Organisation, dieein offenes Forum für dieFörderung und Pflege von kreativen Talenten und Kunst bietet. Sie wurde 1982 gegründet und 1983 eingetragen. Zu den Aktivitätenvon Circle Arts gehören monatliche Performance-Partys und eine vierteljährlich erscheinende Kunstzeitschrift. Darüber hinaus fungiert Circle Arts als Clearingstelle für Informationen über Kunst undKünstler inderNew Yorker Gemeinschaft. Wir suchen derzeit nach Beiträgenfür dienächste Ausgabe von Perpetual Motion. Bitte senden Sieuns Ihre Beiträge in Form von Gedichten, Belletristik, Rezensionen, Stellungnahmen zu Kunstwerken, Grafiken, Fotografien, Radierungen, Musikpartituren und Bildschirmdarstellungen.
HAVING A GREAT TIME
WISH YOU WERE HERE Es gibt noch keinen Abgabetermin für dieses Postkunstprojekt, dasvon Matty Jankowski von Circle Arts Inc. gesponsert wird, einer gemeinnützigen Organisation für Kunstressourcen.
Wenn Sie andie unten angegebene Adresse senden, erhalten Sieein Mail ArtKitmit einer leeren Postkarte, einem gummierten Etikett in einem Zellophan-Umschlag und einem Anleitungsblatt. Matty bittet auch um Beiträge zu den Themen „Perpetuum Mobile, öffentliches Eigentum, kreisförmiger Aufruhr, Videokunst, Postkunst und nicht zuletzt Stempelkunst....“.
Chances are that youwill befar more familiar with Brian Enoandhis work than you might realise. Whether youknowhim as a founding member ofthe gloriously influential 1970s art-rock outfit Roxy Music, or as the inventor of ambient music, in one breathless career Enohas actually released no less than 25 solo albums and contributed to countless projects and collaborations, but also left his fingerprints on dozens of seminal albums as a producer – think U2, Talking Heads or Coldplay, to name but a few – composed several film scores not to mention the start-up theme for Microsoft’s Windows 95. All of which is tosay that it is hard tonot be in earshot ofhis musical influence inoneway or another. With mono.kultur, Brian Eno talked about the impact of technology on culture, the similarities between producing music and parenting, andwhy they called Elvis ‘The Pelvis’. Given Brian Eno’s interest inhowartcan affect moods and emotions, ournew issue turned into somewhat of an experiment in chromatics, with the pages gradually traveling the entire colour spectrum from yellow to blue and back again, which not only affects the optical perception ofthe yellow text, but also howone responds tothe content ofthe interview. Suffice tosay: this must certainly rank asthe most colourful mono.kultur to date.
Text vonder Website.
Erste Ausgabe des Dodo Magazins. Das Heft hat - wie eine Kassette - zwei Seiten A und B und muss zum Lesen abdem Centerfold umgedreht werden.
Dodo isthe adventure, science and fantasy magazine you have been waiting for. This magazine isfor anyone that has ever wanted a treehouse. Dodo is a time machine, a theme park, a trip tothe moon, a horror story, a prehistoric site, an unsolved mystery, even a Zeppelin voyage. It’s a magazine that will make you feel as ifyou were reading it under your sheets with a flashlight. With every passing page, you’ll leave behind everything around you asyou enter your own world, a place where nothing badcan happen, where everything hasyet to be discovered; a place where youhad already been before buthad forgotten.
Text vonder Website.
140 S., 25x21,4 cm, ISBN/ISSN 9781907840104 Gelochte Seiten mit Musterbeutelklammern zusammen gehalten, in Klappumschlag, mit 18 roten Punkten beklebt. Innen teils andere Papiere
The Piracy Project is an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction. Through research and an international call for submissions, the Project has gathered a collection of more than 150 modified, appropriated and copied books from all over the world. The collection, which is catalogued online, is the starting point for talks and work groups around the concept of originality, the notion of authorship and politics of copyright. The Piracy Project isnot about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying, re-editing, translating, paraphrasing, imitating, re-organising, manipulating of already existing works. Here creativity and originality sitnot inthe borrowed material itself, but intheway it is handled. The Piracy Project is an collaboration between AND Publishing and Andrea Francke. The Piracy Project The Piracy Project is an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction. Through research and an international call for submissions, the Project has gathered a collection of more than 150 modified, appropriated and copied books from all over the world. The collection, which is catalogued online, is the starting point for talks and work groups around the concept of originality, the notion of authorship and politics of copyright. The Piracy Project isnot about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying, re-editing, translating, paraphrasing, imitating, re-organising, manipulating of already existing works. Here creativity and originality sitnot inthe borrowed material itself, but intheway it is handled. The Piracy Project is an collaboration between AND Publishing and Andrea Francke.
Text vonder Webseite
Schwarz-Weiß-Drucke
Mike Perry makes paintings, animation, sculptures, books, public art installations, monographs, exhibitions, drawings, silkscreens, and more. His creative purpose is to conjure that feeling of soul-soaring wonder you have when you stare into distant galaxies on a dark night, when you go on long journeys into the imagination, when you ponder what it is that this life isall about. In so doing, he celebrates form: of the human body, of shapes and lines that coalesce into lyrical masses, of the vastness ofthe cosmos andthe questions it calls us to. In Mike’s patterns, portraits, and dreamscapes, there are layers upon layers of meaning, some erased, some covering, some asking you to look deeper, some no longer there but still vibrating with a story that sought not to be forgotten. Hisuse of color, pattern, and form, at times child-like, expresses a joyful spirit and a reverence forthe bliss that is inherent inthe human experience.
Einladung zur Ausstellung "Youare my Wave II", vom 12.09-09.10.2020 im Apartment der Kunst, Schönfeldstraße 19. Mitder Ausstellung "Youare in my Wave ll" kuratiert vonderdänischen Kuratorin Lene Harbo Pedersen beschließen wirdie Ausstellungssaison 2020 im Apartment der Kunst. Anknüpfend andie Ausstellung "Youare in my Wave I", die Lene Harbo Pedersen gemeinsam mitJörg Koopman 2017 für die Kunsthalle Lothringer 13 konzipierte, wird das Konzept der Welle inder unbewußten Wahrnehmung wieder aufgenommen.
Wahrend sich die erste Ausstellung vorwiegen auf Sound (Schallwelle) als Medium konzentrierte, steht beiYouare in my Wave lldie Photographie (Lichtwelle) im Focus. In einer Zeit, in derdas Photo vorwiegend für Präzision und/oder für Kontrolle Synonym ist, hat Pedersen für diese Ausstellung 6 Künstler ausgewählt, diedem Unbekannten, Unkontrollierbaren und auch dem Unbewußten in ihrer photografischen Arbeit Raum geben. Rückblickend aufdieAnfängeder Photographie wardas Ungewisse und nicht Vorhersagbare ein immanenter Teil des Prozesses, der erst mitder Entwicklung des Photos abgeschlossen war. Die Welle als Übermittler von Information beinhaltet immer das Prinzip von Sender und Empfänger. In Youare in my Wave ll begegnet man 6 Positionen der analogen Photokunst, die sich schon im Prozess der Entstehung auf einem Feld des Unkontrollierbaren bewegen, in demein „Fehler“ keine negative Konnotation mehr haben kann, sondern nach der Übermittlung anden Empfänger mit Hilfe des Lichts Räume eröffnet werden, die sich dem Bewußtenundder Kontrolle entziehen. Pedersen bezieht sich hier inder Konzeption der Ausstellung aufdie Phänomenologie Husserls, in der anstelle rationaler Erkenntnis, der Erkenntnisgewinn inder geistigen und intuitiven Anschauung des Wesens der Gegenständeund Sachverhalte liegt.
Text vonder Webseite
56 S., 35,2x25,8 cm, keine weiteren Angaben vorhanden Lose ineinander gelegte Blätter, Druck auf Zeitungspapier, Einlage einer Doppelseite inder Mitte der Zeitung: Berlin Global, The Berlin Exhibition atthe Humboldt Forum
„Arts ofthe Working Class“ ist eine Straßenzeitung für Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthält Beiträge vonKünstlern und Denkern aus verschiedenen Feldern und in verschiedenen Sprachen. Sie richtet sich andie Arbeiterklasse, also an alle, und es geht um alles, das allen gehört. Jeder, dersie verkauft, verdient mit. Jeder Künstler, dessen Arbeit beworben wird, gestaltet mit.
Is our family like a tree, firmly rooted, or like a fan, unfolding in many directions? The notion of family has long been framed as a stable, secure entity. Yet today, family values are shaped by forces that generate profound insecurity— economic, ecological, and social. Drawing from Astra Taylor's insights inTheAge of Insecurity, this issue exam- ines how systems designed to create security, like money and property, paradoxically deepen our anxiety and uncertainty. As we approach theend of a year marked by wars and destabilization, we rethink the family nucleus as more than just a biological or historical unit. We explore it through artists like Ayumi Paul, Danh Vo, and Leiko Ikemura, who offer alternative visions of interconnectedness. Taylor’s argument that capitalism is an “insecurity-producing machine” applies here, as the traditional family model is manipulated by power structures to uphold inequality, creating both division and a false sense of safety.
Inspired by Japanese graphics from theEdo period (1603–1868), safeguarded atthe Langen Foundation— celebrating its 20th anniversary as a family-runart collection—we explore how contemporary artists reinterpret theera’s sustainable practices of togetherness, where human and ecological bonds coexisted in both peace and crisis. Through artists like Michikazu Matsune and Ayami Awazuhara, we seehow family ties, like other social structures, are fluid and shaped by their surroundings. Yet, as Taylor notes, insecurity invites solidarity. Even the privileged arenot immune to financial or environmental precarity, as Joshua Citarella and Catherine Liu discussed in their conversation onthe rise ofthenew managerial class. As curator Sohrab Mohebbi reminds us, “Art is where we practice freedom,” and that freedom opens new possibilities for collective strength. In this light, artists like Paulina Nolte, Malte Bartsch, and Katrin Mayer explore how expanding our concept of families—and by extension, cities and societies—can offer a path toward resilience. We hope you enjoy this edition, carefully curated to introduce Arts ofthe Working Class in Japan first as an e-paper andnow in print onthe streets of Berlin and elsewhere.
Ist unsere Familie wieein Baum, fest verwurzelt, oder wieeinFächer, der sich in viele Richtungen entfaltet? Der Begriff der Familie wurde lange Zeit als stabile, sichere Einheit verstanden. Doch heute sind die Werte der Familie von Kräften geprägt, die zu tiefgreifender Unsicherheit führen - wirtschaftlich, ökologisch und sozial. Aufder Grundlage von Astra Taylors Erkenntnissen inTheAge of Insecurity (Das Zeitalter der Unsicherheit) wird in dieser Ausgabe untersucht, wie Systeme, die Sicherheit schaffen sollen, wie Geld und Eigentum, paradoxerweise unsere Angst und Unsicherheit vertiefen. Da wirunsdem Ende eines von Kriegen und Destabilisierung geprägten Jahres nähern, überdenken wirdie Kernfamilie als mehr alsnur eine biologische oder historische Einheit. Wir erforschen siemit Hilfe vonKünstlern wie Ayumi Paul, Danh Vound Leiko Ikemura, die alternative Visionen der Zusammengehörigkeit anbieten. Taylors Argument, dass der Kapitalismus eine „Unsicherheit produzierende Maschine“ ist, trifft hier zu, da das traditionelle Familienmodell vonden Machtstrukturen manipuliert wird, um Ungleichheit aufrechtzuerhalten und sowohl Spaltung als auch ein falsches Gefühl von Sicherheit zu schaffen.
Inspiriert von japanischen Grafiken ausderEdo-Periode (1603-1868), die inder Langen Foundation - dieihr 20-jähriges Bestehen als familiengeführte Kunstsammlung feiert - aufbewahrt werden, erforschen wir, wie zeitgenössische Künstler die nachhaltigen Praktiken des Miteinanders dieser Epoche, in der menschliche und ökologische Bindungen sowohl in Frieden als auch in Krisen koexistierten, neu interpretieren. Anhand vonKünstlern wie Michikazu Matsune und Ayami Awazuhara sehen wir, dass Familienbande wie andere soziale Strukturen fließend sind undvon ihrer Umgebung geprägt werden. Doch, wie Taylor anmerkt, lädt Unsicherheit zur Solidaritätein. Selbst die Privilegierten sind nicht immun gegen finanzielle oder umweltbedingte Prekarität, wie Joshua Citarella und Catherine Liu in ihrem Gespräch überden Aufstieg der neuen Managerklasse erörterten. Der Kurator Sohrab Mohebbi erinnert uns daran, dass „Kunst derOrtist, an demwir Freiheit praktizieren“, und dass diese Freiheit neue Möglichkeiten für kollektive Stärke eröffnet. Vor diesem Hintergrund untersuchen Künstler wie Paulina Nolte, Malte Bartsch und Katrin Mayer, wiedie Erweiterung unseres Konzepts von Familien - und damit auch von Städten und Gesellschaften - einen Wegzur Resilienz bieten kann. Wirwünschen Ihnen viel Spaß mit dieser Ausgabe, die sorgfältig kuratiert wurde, um Arts ofthe Working Class in Japan zunächst als E-Paper undnun in gedruckter Form aufden Straßen von Berlin und anderswo vorzustellen.
13x13 cm, keine weiteren Angaben vorhanden Musik-CD in Papphülleund transparenter Kunststoffhülle, cover art: Stephane Leonard
ZusatzInfos
recorded atthe Electronic Church in 2007.
Saxophon recorded atthe Electronic Church in 2007. No overdubs, no manipulations.
When we (naivsuper) met Antoine in november 2007 to record his saxophone drones we didn´t really know what to expect because Antoine´s drones are perfect in a live situation. We weren´t sure if we could capture the richness ofhis sound, his working with the accoustics of a room andthe strange almost discomforting breathing noises he makes when circular breathing on a CD. We basically wanted to hear him moving inthe room, we wanted tosee with our ears. Forthe recording we chose the Electronic Church in Berlin because we have seen him perform there earlier the same year and itwas absolutely fantastic. Theday ofthe recording was an incredible cold day in Berlin anddue tothe fact that the Church has no heating we could seeour breath and feel the unbelievable cold humidity of a groundfloor room that hasn´t been aired in some time crawling upour pants. It took Antoine almost an hour to warm upthe saxophone and toget a satisfying tone. When hewas finally ready to record the first take hewas already a little bitout of breath. After 5 minutes of circular breathing his nose and lung started to freeze. We then tried a few more times but after another hour we were all coughing and sneezing andthe saxophone was frozen so that we decided to postpone this session.
When we listened tothe material at home we discovered that there was almost everything we wanted. We recorded how Antoine is fighting the cold andthe exhaustion. There isthe room, the breathing and movement. There is sound - almost an evolution of sounds - they are born slowly, grow upand then slowly disappear or extinguish. We highly recommend you to listen with headphones. A follow up to this great document is planned, too
13 S., 22,5x31,0x2,5 cm, numeriert, signiert, keine weiteren Angaben vorhanden Lose Blätter in Graukarton-Box, Offsetlithografie, Collageelemente (Tapete) und Bleistift, farbige Künstlerstempel, diverse Materialien, zum Teil handcoloriert
Beigelegt istein Dokument zur Überlassung von Publikationen Géza Perneczkys durch Ulli Kattenstroth an Hubert Kretschmer, sowie ein Versandetikett mit seiner Anschrift in Berlin.
Nr.196 einer nicht näher bezifferten Auflage. DieBoxist frankiert und gelaufen (Mail Art) an Ulli Kattenstroth. Signiertes Deckblatt und 13 signierte Originalarbeiten von Perneczky. DieBoxistmit einem Etikett über Titel, Inhalt, und einer Begriffsdefinition von "Transcendental Mail Art" versehen:
"Why transcendental? 1. It is a charming word. 2. There is only the Mail Art that doesn't knowany national or profession limits to time. It is viable without any capital and it does without the institutions. It goes through the world and infects the people like a funny influenza all over. 3. The Mail Art doesn't know style problems orthe infamous feeling ofthe eclecticism. It's style is free of such questions, it is an an answer tothe distances andthe differences. It is simple & direct. 4. The directly statement declares the form, the technic andthe iconography. Maybe the Mail Art isthe only trend inthe postmodern epoch which is able to create a new iconography and isfit to take pleasure inthedayandthe morrow. 5. The transcendental Mail Art breaks out from the ghetto ofthe alternative scene. Also further itwill stay a present forthe partners but it should be an expensive artforthe museums. This is complete normal / This isthe only scandalous thing. 6. The Mail Art is transcendental because also it is transient: it goes through all partitions and disappers by degrees. The missing pieces of a Mail Art action are gone into the transcendency. 7. The Mail Arthas been born with the help of my existence and itwill be transient by your existence. It is a metamorphosis by correspondence.
[32] S., 15x11,2 cm, Auflage: 125, 2 Stück. keine weiteren Angaben vorhanden Drahtheftung, zweifarbiger Siebdruck auf 170g Papier, in verschiedenen Farben gedruckt
Zweite Edition. Die erste erschien 2018 alsein einzelnes Heft undist ebenfalls imAAP archiviert. Manche der Motive wiederholen sich, andere sind neu.
This is a small selection from theTomLaw collection which isnow inthe collection of Stanford Libraries. The whole collection features over 1400 hand bills from San Fransisco's 80's music scene from bands like Flipper, Sonic Youth, Dead Kennedys, Sun Ra, The Dicks, Hüsker Dü, Greatfull Deadand many more. This zine is printed in different colours, therefor there is no copy like the other.
Text vonder Website
Edmund de Waal is a potter. His pots, plates, and vessels arethe result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained. Edmund de Waal is an artist. He arranges his objects in complex choreographies that are as mysterious as they are mesmerizing. Displayed in galleries and institutions worldwide, his considered installations play with architectural concerns, integrating ideas of space, light and obscurity. Edmund de Waal is a writer. Whether he sculpts with words or with clay, what Edmund de Waal works with are concepts, ideas, and desires. In a body of work that is at odds with our times andyet oddly successful, his writings and objects overlap and integrate each other in an attempt to understand and transcend our complex relationship with objects andour surroundings. In an interview with mono.kultur structured like an A-Z of notes and ideas, Edmund de Waal talked about his rules of attachment, the impossibility of repetition, andwhy ‘doubt’ is the most beautiful word. Visually, the issue takes inspiration from that most perfect of materials: porcelain. Printed entirely in double-sided splendour, thetwo finishings ofthe paper – shiny gloss and smooth matt – evoke the texture of ceramics before and after glazing.
Text vonder Website.
• 18,5x28cm Brief adressiert an Kattenstroth, Acrylfarbe orange, Stempel
• Briefumschlag transparent, Collage, gefaltetes Papierobjekt, handschriftliche Nachricht
• Kopie Schwarz-Weiß, 21,3x35,7cm, "Orange Issue" Afzet, Buntstift orange, Dezember 1984
• 11.12.1984; "About Afzet's Palmbank", 29x14,9cm, Schwarz-Weiß Xerox auf blauem Tonpapier, Stempel, gelber Aufkleber, zweifach gefaltet
ABOUT AFZET'& PALMBANK
This bimonthly publication is edited and mailed by Sonja vander Burg and Margot van Oosten. Ouralm lo to exchange ideas related tothe theme ofthe Issue, or to your interests ofthe moment, and to supply information on (mainly mail-art) projects.
TABLE OF CONTENTS As fornow each issue can be divided into the following chapters:
- Afzet's contribution (part ofthe editora)
- Portraitgallery (work related to your portrait)
- 5 х 5 раgе (advertisements and notes)
-VisitorsPalmbank (works related tothe theme, or free).
YOUR CONTRIBUTION So what to do ifyou would like to participate...
-Portraitgallary : send 60 copleß or originals that have something to do with your most recent portrait, max, size A5 (74,5 x 20,5 cm).
-5 x 5 page: send a design for your advertisement special note, and we copy 1t (black/white).
-VisitorsPalmbank: send 60 copies or originals concerning the theme, or something youare concerned with, max. size A5/folded A4.
Participants ofthe PORTRAITGALLERY & VISITORSPALMBANK will receive the edition that contains their contribution automatically.
SUBSCRIPTIONS If youdon't want to participate, but like to receive the publications ...or if you like to support ...:
Please send an International Money Order addressed to :
Sonja vander Burg/Margot Van Oosten (Afzet's Palmbank)
Postbox I4864 , 250I GWthe Hague the Netherlands
Subscribera in Holland can transfer directly toour account: Giro 4231869 (addressed as above).
Prize : forone year (6 numbers: Jan-Dec) 60
Dutch Gullders forone number- I5 Dutch Guilders.
I984-themes and deadlines
Nr. 4a - yellow - Feb. 9
Nr. 4b - green - March 28
Nr. 4c - blue - May 30
Nr. 4d - purple - August I
Nr. 4e - red - Oct.3 Nr.4f - orange - Dec. 5
Techno-somatics and physical experience - Memory onthe Internet - Our ears open a whole world to us: about the experiment to program an exhibition on a vinyl record
‘Curated by Weekly’ is a digital art project. It aims to raise questions regarding online formats, web-based distribution andthe acceleration of digital platforms in contemporary art. The project is made up of a website and a magazine, which will be released in irregular intervals. The latter will include essays and interventions about digital exhibition formats, the experiences of digital curation andthe questions about media and matter inthe post-analogue space. Every week, an artwork will be “curated” and published onthe website. In cooperation with different individuals, institutions and independent projects from theart field, artistic positions and works will be displayed. They can function as pieces ofart inthe digital sphere as well as be critical about it, or to contrast itself with the functions oftheweb. The project’s pace and composition orientates itself around the relevant visual environment ofthe present day. The format ofthe website is consciously purely visual, while complementary content will be published inthe magazine. This content will consist of essays and contributions around certain questions. For example: Hownew formats will be established in contemporary art, which technological tools are required orhow curation is practiced in a digital space. What should particularly be highlighted is determining which artistic media, surfaces and materialities provide an adequate digital environment.
'Curated by Weekly' aims for an experimental format, which uses the speed andthe possibilities ofthe digital space, but instead of reproductions and documentations we want to show artistic work itself, to address availability inthe digital space and touse catchy visual surfaces. At the same time, the discourse andthe self-reflection ofthe format is discussed inthe appearing magazines/readers online and offline.
Text vonder Webseite
Katalog erschienen zur Ausstellung in Arts Santa Mònica, Barcelona, 06.04.-28.05.2017
Legible-Visible. Between the Film Frame andthe Page explores the relationship between print publications and audio-visual documents, two ofthe most important media underpinning the social and cultural landscape ofour time which also define the evolution of contemporary art inthe 20th and 21st centuries. The emergence of relatively inexpensive home video technologies inthe 1970s brought with it an alternative model forthe creation and diffusion of artist publications, and a prolific period of exploration, reflected inthe work of Baldessari, Gilbert & George, Boltanski, Carrión, Rucha and Rosler, among others. The popularization of digital media atthe beginning ofthe 21st century sparked a revolution inthe systems of production of both audio-visuals and books, exemplified by a new generation of artists, such as McGeorge, Kentridge, Cine Quieto orVan Leijsen.
Mela Dávila proposes a theoretical and historical framework for works that the market long dismissed as secondary on account of their serial nature. This characteristic, together with the particular space of experience they generate, andthe linearity and temporality common to both media, have opened up a range ofnew narrative (or anti-narrative) possibilities which have enabled artists to redefine contemporary art.
Starting from a detailed study of 24 double works, Maite Muñoz looks athow different artists have taken advantage ofthe permeability between publications and audio-visuals, in which ideas and strategies of narration and editing intrinsic to both mutually infect and enrich one another through the play of opposition, complementarity and dialectics.
Text vonder Webseite
Katalog zur Ausstellung im Museion, Museum für Moderne Kunst Bozen, 13.09.-17.11.1996, Frankfurter Kunstverein, 21.01.-03.03.1997."Purely visual perception and viewing of pictures is impossible. We always encounter pictorial images - as in this book description itself - in contexts. It is to this complex of interrelationships between text and photography andthe aesthetic potential it holds that the book photo text text photo is dedicated. Based upon a representative selection of important examples of this work across media boundaries from recent photographic history since 1967, the theme ofthe fertile tension between words and images is explored in images (more than 100 works by 32 different artists) and words (texts by Andreas Hapkemeyer and Peter Weiermair). This revealing look attheart of combining text and photography begins with the milestone works of Conceptual Artists such Joseph Kosuth, Robert Barry, Douglas Huebler, On Kawara, John Baldessari and Hamish Fulton. Alongside other early examples from Italy - Maurizio Nannucci, Giulio Paolini, and Vincenzo Agnetti - the book also features representatives of utopian and critical approaches to social issues, including Josef Beuys and Klaus Staeck. The 1970s and 1980s are represented bythe artists Ketty La Rocca, Jochen Gerz, Karen Knorr andUrs Luthi. More recent and current positions are evident inthe works of Louise Lawler, Jenny Holzer, Barbara Kruger, KenLum, Heiner Blum, Laura Padgett and Marie-Jo Lafontaine. The publication photo text photo provides a long-awaited inventory ofthe most recent developments inthe aesthetic exploration ofthe relationships between text and images in contemporary art."
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31,5x22,5 cm, Auflage: 150, numeriert, signiert, keine weiteren Angaben vorhanden Boxaus braunem Stülpdeckel Karton, Siebdruck, eingelegt 16-seitiges redaktionelles Schwarz-Weiss Heft, 55 Arbeiten von 65Künstlern. Diverse Techniken auf Papier, dünnem Karton, Folie, Metall, plus 6 Multimedia Discs. Cover und Layout: Carlo Battisti. Zollinhaltserklärung beigelegt
BAUwas founded in 2004 in Viareggio, on the coast of Tuscany, by a group of artists and individuals interested inthe many-sided aspects ofthe culture ofour times. Thanks to a widespread and constantly expanding network of contacts, every year the project takes the shape of an expressly designed UniA4 sized box: BAU container of contemporary culture. This non-profit box is produced in a limited edition of150 copies (120for issue 1 and200for issues 9-10) and contains original works, signed and numbered, from a large number of international contributors. TheBAU container fits inthe vast tradition of assembling publications and artists‘ magazines that developed since the early sixties. It intends to experiment with new languages, technologies and materials, operating in a peculiar dimension of group work that is open also to contributions from non-artists: outsiders, travellers, collectors of curiosities, creative gastronomers, anomalous scientists. In a relational andnon competitive perspective that is responsive tothe relationships between artand science, politics and environment, BAU acts as a meeting point in order to stimulate dialogues, interactions and exchanges among the most diverse disciplines: graphics, collage, photography andthe visual arts in general, but also poetical and narrative researches, acoustic and performative experiences, documents pertaining the fields of fashion and design, etc. The operative network expresses itself also through the planning of exhibitions, meetings, festivals and events, organized in institutional spaces (libraries, galleries, museums) and in atypic locations.
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27x28,5 cm, keine weiteren Angaben vorhanden Plattenhülle, gestanzt mit 3 einklappbaren Teilen, beiliegend gestanzte Pappschlaufe mit handbeschrifteter DVD, Infoblatt zur Edition
What do Martin Luther and Pete Townshend, Ozzie Osbourne and Oscar Wilde, Ludwig Van Beethoven and Star Trek’s Dr. Spock have in common? They all painfully suffered from tinnitus, a permanent hiss heard inone or both ears. The condition affects a large percentage ofthe world population (5-10%) and represents a real “occupational illness” for musicians and rock fans. On the subject, surprisingly, an inexplicable silence is observed bythe music press and industry. At the current state of medical research, there is no effective cure for chronic tinnitus andthe unpleasant humming can only get worse ifyou donot protect the ears properly. In the works for nearly five years, the triple concept album Tinnitus Tales (a 10" vinyl record andtwoCDs) conceived by Le Forbici di Manitù (i.e. Manitù Rossi and Vittore Baroni, the second long suffering from tinnitus) with the collaboration of over fifty guest musicians, bands and international visual artists, breaks the veil of silence with a series of songs that address the topic blending humor and empathy. The songs are inspired by well-known cases of people suffering from tinnitus, such as Andy Partridge ofXTC or Bono andThe Edge of U2. To make this "educational audio project" a more collective effort, several oldandnew friends - many of them with tinnitus problems - were invited to record their own versions ofthe songs by Le Forbici di Manitù or to contribute original compositions onthe subject (included inthe CD 1 Songs).
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In our most colourful issue yet, we step into the life and work of architect Francis Kéré, known in equal measure forhis lighthearted and innovative architecture, his remarkable background, andhis infectious sense of optimism. Kéré has completed numerous projects both in Africa and beyond, including schools, medical centres, cultural institutions, and temporary installations, such asthe renowned annual Serpentine Pavilion in 2017. Frequently relying on local materials and infrastructure, his work is marked by a profound simplicity and refreshing lightness, meeting technical problems with surprising and seemingly effortless solutions. It reflects his attitude that architecture should, in its most primary function, seek to improve the lives ofthe people who inhabit it. With mono.kultur, Francis Kéré talked about his long trajectory from a remote village in Africa to Berlin, his steadfast belief in optimism, and what makes a tree a perfect piece of architecture. Designwise, we followed Kéré’s principle to work with what is at hand, sourcing papers from dead stock atour printers’, essentially using an assortment of leftovers. And colour, of course, with the issue based onthe national colours of Burkina Faso, paying tribute tothe idea of culture as a shared ground to build upon.
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ausgelegen zur Veranstaltung am 15. Dezember 2022 inder Villa Waldberta, mitdem Titel periferias.
BOALANDIA dokumentiert den kulturellen Widerstand inden Metropolen Brasiliens. Protagonist*innen sind die Cineclubistas, Aktivist*innen, diemit Kino für Veränderung kämpfen. Der Dokumentarfilm folgt ihnen indie improvisierten Spielstätten, in die Favelas und andie spontanen Filmsets. Dabei taucht erein indie Lebensumständeder Menschen inden
Randbezirken brasilianischer Großstädte, die geprägt sind von Unsicherheit und politischen Spannungen. Cineclubes reagieren darauf und sind eine soziale Institution ebenso wieein agiler Kommentar aufdie Missstände, belebt vonder Faszination für das Potenzial eigener Filme. Die Cineclubes sind Orte von Hoffnung und Selbstbestimmung. ... The young twin migrants Saad and Dnewar from Berlin & Cairo travel around the world via Random-Street-View. They are going home and asking themselves, what is home? lt depends on where you feel you belong. Going through Berlin - Cairo - Beirut- Japan - an Unknown Island - Taiwan - Chile - the Stars in 11 minutes, what doyou want to leave
behind? Where would you like to go ifyouhadthe possibility of a new start? ...
This book is published onthe occasion ofthe project Dandilands at Troodos, Cyprus, August 2014 to October 2015. This publication isthe unfolding ofthe first part of Dandilands, an art project in collaboration with visual artists, Marc Bijl, Mustafa Hulusi, Mahony, Jumana Manna, Michelle Padeli, Liliana Porter, Kevin Schmidt, Socratis Socratous, Kostis Velonis, and Carla Zaccagnini, which took place between autumn of 2014-15. A random audience could walk along a circular trail of7km through a rocky path overlooking wild trees with a view beyond the forest and over the island of Cyprus, and come into contact with a standing sign exhibiting the artists’ work. A sign as both site and object. a place of intention and image. a setting ofthe social.
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The independent publisher's quarterly by Drucken Heften Laden. Drucken Heften Laden discusses and analyses the conditions and possibilities for independent publishing inthe context ofartand city (politics). Drucken Heften Laden derives from an eponymous exhibition, workshop and series of events at neue Gesellschaft für bildende Kunst (nGbK) in Berlin which took place in January 2015. Since then a small group of Berlin-based producers and publishers gathers regularly: “We share experiences and resources, and build a discourse around production methods and values as well asthe distribution of books and booklets.Publishing is always set in distinct time and space. Today’s diversity of media fosters hybrid formats between the analogue andthe digital. We are interested to negotiate and sharpen our idea of what „independent“ and „self“ publishing means today.Drucken Heften Laden filters and disseminates information, and creates a public platform for exchange and discussion, accessible to everyone interested in such practice.”
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[124] S., 18x13,5 cm, ISBN/ISSN 9782954197401 Broschur, Buchrücken aufklappbar, gefaltetes Plakat in eingeklebter Papierhülle, Posterformat 85,4x64cm, in Schutzhüllemit Aufkleber
A journal written atthe third person that seeks to depict Antoine d’Agata’s quest – the inexorable course from void to void.A literary and photographic experiment where words, sometimes descriptive, sometimes poetic, intersect with images in a narrative continuity. An example ofthe photographer’s existential choice and form of resistance which leads toward the subject’s disappearance andtheego’s negation within the neutral spectrum ofthe image while insisting on an intimate involvement with its matter and a perfect superposition ofartand life. The pictures have been treated and reduced tothe simple black and white contrast, following the main axis of this editorial project: shaplessness andthe sense of fading-out. This flattening to a drawing effect releases the image as a shadow, a border between a recognizable sign and a blurry, ambiguous one, so that the photograph is both “trace” and “other”. The book, whose main language is English, also foresees a separate and folded poster, including texts in French onone side and, forthe first time, in Italian onthe other printed on a background colour image. Thetwo languages allow to include texts in their original version, but allude as well tothe artist’s double origins. In line with the book, the poster also reflects d’Agata’s search direction towards the interlacing of word and image and it finally refers tothe idea of a topographic description of passions. Member ofthe Magnum agency, Antoine d’Agata (1961) is one ofthe most influential photographers ofhis generation. He lives in both Paris and Marseilles and he works around the world. He is represented bythe gallery Les Filles du Calvaire, Paris.
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Inspired bythe press images from the Vietnam War that told a very different story tothe official government statements, James Nachtwey found his calling that he would pursue with determination and compassion that are admirable: to document the effects ofwar, terror and disease. In the hope of raising awareness and inspiring intervention and change, his photographs are neither easy to look atnor easy to forget. Having witnessed and reported onthe defining conflicts and tragedies ofthe past three decades – from the revolutions of South America and Eastern Europe tothe famines in Africa, from 9/11 to the wars in Iraq and Afghanistan – Nachtwey’s photographs focus onthe costs ofwar: the suffering of civilians, the damage andthe scars. There is no doubt that Nachtwey’s images are a challenge – to the powers that be by proposing an unflinching look atthe reality onthe ground, at the effects of politics on human lives, but also to us as their audience, by questioning our implication and, quite simply, by opening our eyes tothe world. In a rare and frank interview with mono.kultur, James Nachtwey talked about his struggles with photography, the different realities ofwar, andwhy images have the power to create change. Graphically, the issue is atits most reduced, giving ample space toletthe words and images unfold: coming intwo separate booklets, it presents a personal and uncommented selection of James Nachtwey’s work inone, and a highly intriguing and challenging conversation inthe other.
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Schwarz-Weiß-Drucke, Nr 038ausder Reihe 100for10. 75 g/m² started as a black and white photocopy exhibition. The project was initiated by Maycec, a photographer, self-publisher and graphic designer who draws inspiration from alternative culture andher personal life. She is co-founder of Vesselroom Project and Atelier29. The first 75 g/m² exhibition took place in Berlin in 2014 with Maycec alongside Vonverhille and Damien Sayer whom both grew up inthe suburbs of Paris. Vonverhille started inthe graffiti scene inthe90s. He diversified his means of expression and explored photography and experimental electronic music. He now lives in Berlin where he founded Erratum galerie. Damien Sayer has photographed his family, friends and encounters over the course of five years. His small format pictures remain simple documentary pages, simple facts or portraits recorded on a sheet of paper. Alizee Lenox joined the exhibitions 75 g/m2 part IIand part III. She is a poet DeepLy influenced byPop Culture mostly because you cannot not be influenced by a soft machine that creates so many idols youcan hate and worship atthe same time. She is currently working onher first chapbook manuscript.
37,3x29 cm, ISBN/ISSN 20499892 Blätter lose ineinander gelegt
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Loud And Quiet is an independent, monthly music publication, printed theold fashioned way, physically and on news print, in London, England. Youcan pick up a copy ofour current issue from any ofour stockists around the whole ofthe UK. It’s free! And ifyoucan’t find it, we can post you copy wherever youare inthe world.
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TheNewArt Practice was a term created for a generation of artists inthe former Yugoslavia active inthe late 1960s and throughout the 1970s. These artists shifted their practice to spaces outside the traditional studio, onto city streets, into artist-run spaces, and in multimedia performances and experimental publications. Focusing on artists working inthe city of Zagreb, this exhibition documents aspects of this shift and highlights the ability of artists' publications to record these often ephemeral gestures and ideas. While artists such as Goran Trbuljak, Braco Dimitrijević, Sanja Iveković, Mladen Stilinović, and Vlado Martek, among others, worked in a variety of mediums, they shared a common impulse to produce publications. These artists questioned and played with ideas about the place of an artist within this particular political and socioeconomic context. Their work often involved public participation and blurred traditional notions of authorship through collective activities, chance operations, andthe appropriation of language and imagery from the state and commercial media. The materials in this installation resonate with other contemporaneous scenes in Eastern and Central Europe and with broader international trends, while also providing an insight into very local networks of experimental artists and writers in Zagreb. All materials are drawn from the collection ofthe Museum of Modern Art Library.
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17.-19.08.2018.
Suture means sewing. This isthe idea wewill be following on each and every level ofour festival. Suture Soven Music Festival emerged out ofthe wish andthe need to bring musicians and their audience together in a way that enhances deep listening and watching musical appearances that provide the potential for creating something new in a cheerful and caring atmosphere. We will watch and hear the beautifully radical positions and ideas of international musicians. In terms of musical style, we are situated atthe intersection of jazz, free improvised music, classical modernism andnew music. The first Suture Soven Music Festival will take place in anold farm house inthe countryside. the concerts will be held inthe barn and inthe attic of anold stable. By locating the genre defying music inthe beautiful countryside of Lower Saxony (Wendland) we invite local people from the area as well as from the cities to make the connection between different worlds and points of views for three days in Suture Soven. We are striving to shape the surrounding area ofthe festival and make it as sustainable as possible, while working with local farmers and craftsmen. We offer a space and time that taps on an urge to create a sensual narrative. The music we listen to, the words we hear and speak, the food and drink weare provided with, in a setting that will be home to usfor three summer days offer usthe possibility of making sense.
10,8x7,3 cm, keine weiteren Angaben vorhanden weisse Faltschachtel, golden bedruckt, darin ein einfarbig violett gedrucktes 16 seitiges Booklet (drahtgeheftet) und 36 beidseitig farbig bedruckte Karten 10,5x7
a colour boxset with 36 alternative saints ofthe FUNtastic Nations by international authors (Giacon, Ruijters, Zattera, Chiarotto, Staffa, King, Echaurren, Biancuzzi, etc.) plus 16 pp booklet. F.U.N. (Funtastic United Nations) is an independent and supranational organization that intends to stimulate a cooperation amongst all kinds of imaginary countries and worlds, coordinating meetings, publications, exhibitions and events. We offer our skills and resources to create a bridge between creative and funtastic geographical entities, representing numberless and mutable virtual countries, multiethnical and transgender, where the passports, postage stamps and banknotes are real butnotthe wars. F.U.N.’s vocation to interact in an horizontal “networking” attitude with local and distant, real and imaginary situations, to create unexpected interferences between artand daily life, is a strategy aimed at preserving the biodiversity of cultures and encouraging aneco-friendly, free and open participation tothe creative experience. F.U.N. is the logic evolution of over twenty years of networking activities inthe fields of mail art, of independent music (The Great Complotto, Le Forbici di Manitù), of collective multimedia projects (Trax), of multiple names (Lieutenant Murnau, Mind Invaders, Luther Blissett), of imaginary worlds and characters (Stickerman-Stickerland) and of counter-cultural documentation (various fanzines, AAA Editions).
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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 2020/21was 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 inthe state of affairs inthe field ofartand publishing. A collaboration of Miss Read and Conceptual Poetics Day. The seven questions were:
Name five #hashtags that best describe your activities
What areyou reading? How doyou distribute? Do you collaborate? If so, with whom andhow? Is publishing economically viable? What would make it viable?
What arethe best potentials (or difficulties) of publications?
What would be your utopian library? ...
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There are many Joachim Schmids. Some play a role in public life, others don’t. People who wish to learn what we do or what wedid, what we wrote or what we said, begin by searching the internet. It’s all there: names, dates, pictures andthe rest. Thanks tothe search engine the world has become transparent and there are no more secrets. Or so we think. If it’s meyou’re looking for, most ofthe information you’ll find isnot correct.
This book was first published in 2012. The original print-on-demand edition is discontinued and replaced by this second edition, re-designed in a different format.
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Attention! This isnot a drill! Please be advised that the following pages youare about to read may give youthe impression that you actually have no idea what space isand never have. Later on, this may turn out to be true. It should also be noted that exploration ofthe subject requires controlled conditions and safety measures even when conducted by professionals. Contemplations about the definitions of space are highly dangerous procedures and should not be attempted at home. All liability for collateral damage from any cognitive activities undertaken by laymen as a result ofthe ideas contained herein is hereby excluded. Thank youfor your understanding.
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Flyer ausder Ausstellung The Most Dangerous Game - DerWegder Situationistischen Internationale indenMai 68, im Haus der Kulturen der Welt, 27.09.—10.12.2018
Dear Reader, In your hands isthe Athenian issue of Krytyka Polityzcna. The Warsaw-based journal unites polymorphous freedom struggles in geographic Europe. This book is an anarchist, anti-capitalist, anti-fascist artwork. A hypothesis, andyetone that continues to be written actively onthe ground. It clashes migration and education ofthe status quo, the effect andthe cause of current violence. The publication documents an initiative, Universitas*, and accompanies the forthcoming Symposion, The School of Everything.
This book contains the contributions of people who have recently moved to Athens from the Middle East, of Athenians who have lived here a long time, as well as of those whoare based in Berlin but frequently visit Athens. brought together, they form a de-elitized and de-colonized remix of knowledge. The chapters in this book are intertwined and in each part the reader will find contributions relevant tothe whole. The authors areall united by their portrayal in anti-phrenological drawings. In Athens, despite the invention ofthe State, streams of interlapping cultural influences never stopped pulsating. Such an experience of fluid identity demonstrates that citizenship is an outdated concept of class separation and nationalism. The devastating contradiction: human rights are only valid inthe economically privileged zones. The failure to collaborate with the revolution in Syria dispels the last illusions of an occidental civilization and unveils the truth: we all live inthe absolute financial dictatorship.
This publication includes several essays and statements on education. These are written by thinkers, philosophers, “activists”, and artists whoare affiliated with the Avtonomi Akadimia, a disobedient grassroots university in Athens which claims education as a form ofart. These texts, poems, manifestos and sketches of educational models are published in lieu oftheabstracts for an upcoming Symposion entitled: “The School of Everything”. We build an educational system which consists of indignant initiatives for sharing knowledge, and of proposals by thinkers whosee education askey. We shift from learning to sharing. We decriminalize sharing because we would like to enjoy the pleasure of giving. We liberate ourselves from the strictures of “Homo Sapiens”, a construct imposed upon life. We will transform the educational system of Europe. The clash of migration and education will release a Promethean fire.
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Lieferverzeichnis des Backworks Buchladen 1976. Documents and Relics of Experimental Art 1952-1970. Table of contents: Fluxus and related objects and documents, Reuben Gallery, other performances and events (Musik, Dance, Happenings). Co-owners Moore and Hendricks established Backworks in SoHo in 1976, based on their mutual curatorial interest inthe objects and events ofthe downtown artand performance scenes, particularly by artists associated with the Rueben Gallery, Judson Memorial Church, Happenings and Fluxus, with which they were both connected as collaborators and curators. Moore and Hendricks, each ofwhohas written extensively about figures such as George Maciunas, Yoko Ono, Allan Kaprow andBen Vautier, among others, have been instrumental inthe development of major collections, including the Gilbert and Lila Silverman Fluxus Collection at MoMA, andthe Barbara and Peter Moore Fluxus Collection at Harvard. Backworks closed in 1983.
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Politics andthe dance floor make for uneasy bedfellows, and it is this uneasiness that drives most ofthe work of Terre Thaemlitz, confronting head-on issues that are usually off limits in electronic music. Thaemlitz is a producer and DJ, also known under their monikers of DJ Sprinkles, Social Material, and K-S.H.E, among others. But they are also a writer, educator and activist of sorts, with very fluid notions of gender, switching continuously between male and female drag. Born in 1968, Terre Thaemlitz left the rigidly conservative and violently homophobic environment of their home state, Missouri, in themid-1980s forNew York. They became involved inthe queer and transgender scenes both socially and musically at a time when house music wasnot a genre but simply the wide open sound of a specific social and political space. As New York’s underground queer music scenes dissolved under gentrification, Thaemlitz eventually relocated to Tokyo atthe beginning ofthe ’00s. In a challenging interview with mono.kultur, Terre Thaemlitz talked about the politics of sexuality, his disillusion with the music industry, andwhy roller disco was so amazing. Visually, the issue is a dark affair, steeped in a dirty, gritty black. Printed on no less than six different paper stocks and juxtaposing several grids and graphic systems, it creates itsown visual logic – only to disturb our most fundamental habits of reading and navigating a magazine by opening backwards, from right to left.
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Tape-Mag.com is a Non-Profit Online-Archive & Information-Database for Audio-Tape-Culture (Cassettes/Tapes/Reels) and 20th Century Art- & Music-related Small-Press Publications, Magazine-Culture.
This Archive-Database focuses onthe following styles/genres.
- Mid 70's to late 90's Industrial, Experimental, Free Improvisation, Post- Punk, New Wave, Minimal, Synth, Ambient and further musical directions oftheDIY-Cassette-Culture.
- early 50's to late 90's Sound Art, Sound Poetry, Text-Sound-Compositions, Poesie Sonore, Verbosonics, Lingual Music, Music Concrete, Audio Art plus related printed Mail Art, Concrete Poetry, Visual Poetry, Lettrisme, Fluxus
Here youare able to browse and research thousands of releases, find further information about the Artists, the Organisations, Press & Label-People behind the scene and/orthe published Small Print, Magazines, Information-sheets and Artists-Manifests that all defined a very exciting culture andera. Most ofthe releases listed here were only released in very limited amount andare hard to find these days but they had without any doubt their important role inthe development of contemporary audio & sound-artand music-history. These protagonists of a DIY (Do-It-Yourself)-Culture-Movement in which everybody can be an artist, label, distributor and press-editor or organisation deserves a comprehensive overview in a broader context with allits connections and a framework. With this Database the collected, provided and connected Information can become knowledge. Knowledge that Media in Internet-Agecan hardly supply with the current Information Overload.
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Edition of 2000
Martin Parr’s Scottish Postboxes have been described asthe prolific photographer’s ‘only contribution to landscape photography’. However, what Mr. Parr has achieved with these images is more a series of portraits ofthe lonely outposts of civilisation. The Postboxes in each place, standing outredand awkward against the lonely and beautiful Scottish backdrops each have a personality and a character of their own. The postboxes arenot only characters inthe places they inhabit, they are symbols. the steadfast outposts ofthe institution that isthe British postal service set against the untamable Scottish landscape invite the viewer the pause and ponder on their own place inthe world.
“When youare inthe middle of nowhere, in a bleak landscape and in wild weather, these little post boxes are strangely comforting, a sign that other people are around, that life is going on, and that youare connected tothe world” – Susie Parr
This box contains twelve of Parr’s Postboxes, presented as postcards – a most appropriate form forthe images to find themselves in, whether their fate is to be collected and cherished or themselves posted and shared.
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Teil einer Installation, die inder Ausstellung "Marlene McCarty – Mund Verkehr: In die Hose gegangen" in der NGBK Berlin, 6.06.–12.07.1992 gezeigt wurde. Ausder Pressemitteilung zur Ausstellung:
Marlene McCarty’ (1957) Interesse gilt dem Machtgebaren undden patriarchalen Strukturen, dervon ihnen geprägten männlichen Umgangssprache. Die alltäglichen Sprüchedieihr, einer Frau, aufden Straßen New Yorks zugerufen werden, die unverstellten oder unverschämten Aufforderungen mit denen sie konfrontiert wird, sind das Ausgangsmaterial für ihre künstlerischen Strategien wiefür ihre Kunstobjekte.
Marlene McCarthy zur Installation: “This is a floor sculpture and it’s 15,000 matchbooks. They’re standard matchbooks youcan order from a catalog. On one side they have pinup girls on them, and onthe other side I had them print, ‘I got a clit sobig I don’t need a dick.’ If you’ll notice, clit and dick are handwritten. The company had called me upand were like, ‘Ummm, we have a problem. We can print dick but wecan’t print THAT OTHER WORD.’ She wouldn’t even saythe word clit. So I said OK, take the mechanical—this was inthe olden days—and just slice the dick andthe clit off. Then I got some friends together and we wrote them all in by hand. I’m reproducing these forthe retrospective, butthe curator is worried about whether wecan have NYU students writing dick and clit 15,000 times. Maybe the seniors can do it.”
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Martino Gamper isthe kind of product designer weall have been waiting for: Brimming with ideas, energy and humour, his designs are disarmingly irreverent and irresistibly fun, and unlike anything onewillsee inthe puristic galleries of contemporary design. Crossing over from studying sculpture to completing an MA in product design atthe prestigious Royal College ofArt under Ron Arad, Gamper hashad little time to worry over the theoretical do’s anddon’t’s ofhis profession – instead, he has followed a simple rule of learning by doing, meaning: the more you do, the more you learn. With mono.kultur, Martino Gamper talked about his idea offun, why a chair isthe ultimate challenge and what design has in common with cooking. Visually, the issue is bursting with references and ideas, reclaiming image material from left and right, while unveiling the structure of a book with three booklets of different sizes all lovingly assembled into one – and manually at that, which makes for some rough edges or rather what we like to call extra personality.
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The Bermuda Love-Triangle, from 1988, is Tom Grothus's most elaborate production. The printing isall offset-lithography on quality stock. The black, red, and yellow cover includes some spot varnish highlights. The 24 leaves inside are printed in blue and black ink, for 48 pages of content. Interspersed among thepen-and-ink drawings are several beautiful duotones of pencil and ball-point-pen drawings. Some ofthe images in this book are like those of a dream that haunts you with an elusive meaning. The common literary thread throughout is a list of various proposed freedoms, such asthe "Freedom to Obey Puppets." These may fill in some ofthe gaps left inthe U.S. Constitution by that nation's founding fathers. Editor's Note: Gripping, lovely, haunted, serene, and impeccably surreal, this book of gentle hallucinations defies categorization. You might call them cartoons, but they will make you laugh silently for weeks. This isone ofthe nicest books we have ever held.
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18x9 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden gefaltetes Poster in Hardcover Ledereinband mit Goldprägung
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Where have you been when you knew that Michael Jackson had died? This book of condolences contains a fold out poster with 100 Tweets from the hour when Michael Jackson's deadwas announced. Within 140 characters pop-cultural news overlap with political happenings, trivia and gossip. The pointilistic map allows both revealing interconnections and absurd cross references
[24] S., 26,5x26,5 cm, Auflage: 1.000, numeriert, keine weiteren Angaben vorhanden Drahtheftung, Heft in Pappschuber mit Aufkleber
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Edition 09 inthe ongoing Artist Music Journals series features the work ofthe Montreal based artists and musicians Chloe Lumand Yannick Desranleau, known as Seripop. Known for their original illustration and design work, as well as their longstanding tenure as founders and members ofthe musical outfit Aids Wolf, Seripop have a broad following around the globe. For their AMJ, Seripop compiled years of original gig poster work, the first collection ofits kind forthe studio, which has made thousands of prints over the years.
About Seripop: Yannick Desranleau and Chloe Lumare visual artists and musicians who started collaborating in 2002 under thenom de guerre Seripop. Based in Montreal, Seripop has earned international attention forits stylistically distinct, silkscreened street posters. In 2005, Lumand Desranleau began experimenting with sculptural print installations which merge notions of city politics and visual perception. Theduohas been speaking and exhibiting their work at various art institutions including Baltic Centre for Contemporary Art in Gateshead, England, Peacock Visual Arts in Aberdeen, Scotland, andthe University of North Texas, Denton, USA. In addition to Seripop, Lumand Desranleau play in AIDS Wolf, a noise-rock band and Hamborghinni, a drums and electronics project.
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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 “thenew 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 inthe 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 ofthe 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 butcan 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 anall-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 ofthe 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) mapoutthe works in broader social, historical andart contexts. In short, the works deal with our technologized world. They talk about being inthe middle of changes that few have envisioned. Being so immersed, onecan feel it (almost) hurts.
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Unfinished Memories: 30 Years of Exit Art is an intimate portrait of an institution that from 1982 to 2012 challenged social, political, aesthetic and curatorial norms. Committed to experimenting atthe intersection of disciplines, publications and design, the gallery Exit Art remained steadfast inits mission to provide new possibilities and opportunities for artists, curators and viewers through its expansive historical shows, exhibitions of emerging and under-recognized artists, experimental theatre and performance works, as well as national and international film and video programs.
Conceived by Exit Art’s founders, Jeanette Ingberman and Papo Colo, this volume is a resource on more than 200 exhibitions, events, festivals and programs featuring more than 2,500 artists, presented within the larger context oftheart world. More than seventy eyewitness accounts and idiosyncratic recollections from artists, curators, critics and friends create a vivid sense ofthe exhibitions, performances, screenings, discussions, ideas and people that were part of Exit Art during its three-decade run.
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[300] S., 28,5x21,3 cm, Auflage: 100, numeriert, signiert, keine weiteren Angaben vorhanden Hardcover mit Schnürsenkel verschlossen, Digitaldruck, 11 eingelegte Risodrucke, gedruckt bei Extrapool/Nijmegen, mit handschriftlicher Widmung
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So what was it like before everything went hell-bent batshit crazy? Enter Prof. Dr. of Pseudology, Anna McCarthy, with herHOW TO START A REVOLUTION book andits endless footnotes and twists and turns. She explains to usthe chronology of politics and personal occurrences through this haze of a microcosm. HOW TO START A REVOLUTION is a multi-layered work that deals with clichés of rebelliousness. It is embedded in socio-political events from 2007 to 2015 and their mediated and subjective reception. It deals with rebellion in limbo, in which change seems ominent, mirroring the current political atmosphere. Geographically anchored in Munich and Bavaria, it reaches beyond the local peculiarities and relocates them into the context of historical global events. A microcosm of reoccuring people and places stand in as exemplary figures for global events in a humorous, absurd, and critical manner. Examples are documentaries such as 'Bored Rebel in Oberpfaffenhofen' or ridiculously provocative political actions in public spaces, numerous "in-flux" archives, a pathetic musical, which was first performed in 2013 at Haus der Kunst, and even a permanent installation in Tito’s ex-Bunker inthe hills of Bosnia and Herzegovina. The project has been exhibited internationally, including at Nottingham Gallery for Contemporary Art, Chisenhale Gallery London, Schloss Ringenberg, Galleribox Akureyri Iceland, Goethe University Frankfurt, D-0 Ark Underground, Konjic, and at Transmission Gallery in Glasgow, amongst other locations. ...
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09640974 Drahtheftung, Rückseite mit Metallfolienprägung, eingelegter Aufkleber, in transparenter Kunststoffhüllemit beigelegtem Blatt, Aufkleber
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Theman, the myth, therat! Rat Salad! This issue of BLAD is dedicated tothe number onebad attitude rock and roll star out there. We will take you down and in tothe dark and stinky obscure world ofRat Salad! Here youcan find nice slapstick cartoon drawings made bytheman himself, ads about his legendary gigs all around the world, and last butnot least a splendid in-depth interview with theRat talking about his career, band and life onthe road in general. This is an absolute must to have forall dedicated fans of this obscure character andfor heavy rockers with the right attitude in general. As Rat Salad would say "Eat Shit andDie!".
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240 S., 34x22,5 cm, ISBN/ISSN 9781419706292 Broschur mit Klappumschlag
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Punk was born onthe East Coast inthe late 1960s, later crossing the Atlantic and exploding in London and Paris. This dynamic countermovement churned out heaps of professional magazines and photocopied, hand-stapled fanzines, all expressing ideas on music, art, and current events. By creating itsown press, the punk movement secured its place inthe history of 20th-century culture. Featuring collages, cutouts, and handcrafted typography, Punk Press compiles the stunning graphics created by these publications, spanning from the East Village to East London tothe Left Bank. With unforgettable images of punk’s greatest bands—the Ramones, theSex Pistols, the Clash, theDead Kennedys, Iggy Pop, and more—this is a captivating look at some of music’s most fascinating personalities and greatest talents.
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2 S., 29,7x21 cm, keine weiteren Angaben vorhanden Ausdruck einer Email vom 28.2.2015
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Independent. Contemporary. Art. 24 April – 31 May 2015. OFF-Biennale Budapest is a series of exhibitions andart events inand beyond the city of Budapest. Its concept is different from traditional biennials as weknow them. Not affiliated with any institution, it is a voluntary collaborative initiative of artists, groups of artists, curators, art managers, gallerists and collectors. OFF-Biennale Budapest is a civil initiative, whose aim is to bring a segment of culture, contemporary art, closer tothe public at large. OFF proclaims the importance of independent thinking and action, breaking away from clichésand habitual routines. It is meant to demonstrate that contemporary artcan foster and catalyse this kind of activity – in other words, that contemporary art is much more than mere luxury and a source of aesthetic pleasure.
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The title says itall, two hundred little known alternative facts. Count them. They are painstakingly researched and they are true. The full truth about MrT, allyou need toknow in this time of fake news and demagogy. This is a great brochure. It’s true. It’s one ofthe best brochures ever. This very special brochure is only available as long as Mr T is in office. It's sold atthe fantastic price of just € 3 per copy. And things get better: There is a special unlimited quantity discount – just € 25 for a bundle of 10 copies. Get them for your friends. Theday he resigns or gets impeached or assassinated or is replaced by another president, the remaining stock will be sent to hell. Until then a free copy of this great brochure will be included in every book order. And that is a fact.
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Die 70. Ausgabe des Ikea-Katalogs als Podcast. Über drei Stunden und 40 Minuten kann man sich die Angebote des schwedischen Möbelhauses ausdem aktuellsten Katalog auditiv vorstellen lassen (März 2021). 13 Kapitel á 15 Minuten, gesprochen von einer amerikanischen weiblichen Stimme.
It’s the same IKEA catalog youknowand love, now as a handy, and hands-free, audiobook. Not only does this catalog save on paper, it’s also contactless, convenient, and filled with style inspiration and vivid product descriptions for your listening pleasure. Die Entscheidung, das Kapitel „IKEA Katalog“ zu beenden, ist eine Folge desveränderten Medienkonsums und Verbraucherverhaltens. Wir werden die vielen Menschen künftig über neue Wege erreichen, mit ihnen interagieren undsiemit unseren Einrichtungslösungen inspirieren. Die Audiodateiein sind aufder Webseite von IKEA nicht mehr zu finden
The Bloomberg website says ofthe 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 andthe 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 ofthe 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 initsown right
Originalausgabe von 2011.
During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space forthe dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality andthe materiality ofthe magazine to challenge the conventions of both artistic medium and gallery. In Artists’ Magazines, Gwen Allen looks atthe most important of these magazines in their heyday (the 1960s tothe 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.
Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists’ postage stamps, and collectible chapbooks, Avalanche (1970-1976), which expressed the countercultural character ofthe emerging SoHo art community through its interviews and artist-designed contributions, and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum forthe Pictures generation. These andthe other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy oftheday. Artists’ Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium. In den 1960er und 1970er Jahren wurden Zeitschriften zu einem wichtigen neuen Ortderkünstlerischen Praxis und fungierten als alternativer Ausstellungsraum für die entmaterialisierten Praktiken der Konzeptkunst. Künstler schufen Werke speziell für diese massenproduzierten, von Hand herausgegebenen Seiten und nutzten die Vergänglichkeit und Materialitätder Zeitschriften, um die Konventionen sowohl deskünstlerischen Mediums als auch der Galerie in Frage zu stellen. In Artists' Magazines befasst sich Gwen Allen mitden wichtigsten dieser Zeitschriften in ihrer Blütezeit (1960er bis 1980er Jahre) und stellt ein umfassendes, bebildertes Verzeichnis von Hunderten weiterer Zeitschriften zusammen. Zu denvon Allen untersuchten Magazinen gehören Aspen (1965-1971), ein multimediales Magazin in einer Box - die Ausgaben enthielten Super-8-Filme, Flexi-Disc-Schallplatten, kritische Schriften, Briefmarken vonKünstlern und Sammelbücher, Avalanche (1970-1976), das durch seine Interviews undvonKünstlern gestalteten Beiträge den gegenkulturellen Charakter der aufstrebenden Kunstszene von SoHo zum Ausdruck brachte, und Real Life (1979-1994), dasvon Thomas Lawson und Susan Morgan als Forum für die Generation Pictures herausgegeben wurde. Diese unddie anderen von Allen untersuchten Magazine unterschieden sich in Form und Inhalt vonden Mainstream-Medien: Sie stellten ihre hausgemachte Do-it-yourself-Qualitätder Glätte eines Artforums gegenüberund schufen Arbeiten, die sich der formalistischen Orthodoxie der Zeit widersetzten. Artists' Magazines, mit zahlreichen Farbabbildungen von Titelseiten und Inhalten, bietet einen unverzichtbaren Leitfaden für ein wenig erforschtes Medium.
Übersetzt mitwww.DeepL.com/Translator, Text vonder Webseite Erwähnt werden neben vorwiegend amerikanischen Magazinen auch europäische Magazine
George Maciunas wasthe founding member and leader ofthe most radical and experimental art movement of th 1960s: "Fluxus". Associated with artists such as Joseph Bueys and Yoko Ono, Fluxus rejected traditional systems of high artand practised a form of "anti-art" encompassing everything from photography and pavement art to poetry and drama. This biography ofone ofthekey figures inthe history of 20th-century art recounts in text and archive photographs the life story of this contradictory and unorthodox man. Emmett Williams provides anecdotes and impressions from former Fluxus colleagues and other friends (and enemies), to produce a portrait of this crusader, whose mission was to change the world - beginning with the world ofart. Although tempered with witand wisdom, his iconoclasm wonhimfew friends amongst theart establishment during his lifetime, but Fluxus prevailed as an acknowledged force behind the upheavals intheart ofthe 20th century.
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Publikation zurNew York Art Book Fair 2017. Printed Matter presents the twelfth annual NYArt Book Fair, from September 22 to 24, 2017, at MoMA PS1, Long Island City, Queens. Free and open tothe public, the NYArt Book Fair isthe world’s premier event for artists’ books, catalogs, monographs, periodicals, and zines. The 2017 NYArt Book Fair will feature over 370 booksellers, antiquarians, artists, institutions and independent publishers from twenty-eight countries. This year’s NYArt Book Fair will include an ever-growing variety of exhibitors - from zinesters in (XE)ROX & PAPER + SCISSORS andthe Small Press Dome representing publishing atits most innovative and affordable, to rare and antiquarian dealers offering out-of-print books and ephemera from artand artist book history, plus the NYABF-classic Friendly Fire, focused onthe intersections ofartand activism. NYABF17 will host an array of programming and special events, including: The Classroom, a curated engagement of informal conversations, workshops, readings, and other artist-led interventions, forthe eighth year running, as well asThe Contemporary Artists’ Book Conference (CABC), in its tenth year, featuring two full days of conversation on emerging practices and issues within art-book culture.
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Andrea Stultiens (1974, NL) received a BfaandMfa in photography atHKU University ofthe Arts andAKV St Joost in Breda respectively, and a Ma in photographic studies from Leiden University. Currently she divides her time between the Netherlands and Uganda.
Stultiens' artistic practice deal with photography in relation to understandings ofthe presentations of histories. Since 2007 her work originates mostly onthe African continent and always develops in collaborations with others.
Since 2002 Stultiens has been teaching at Academy Minerva in Groningen (NL), where shewas involved in setting up, andand recently started leading, a research group that looks attheuse of photography in cross-disciplinary and cross-cultural artistic practices (PRICCAPractice). Stultiens won several awards, among others the Steenbergen Stipendium 1998, Bouw in Beeld Prijs 2009, GiDi Photo Art Award 2012. She exhibits and publishes internationally, with a focus on Uganda andthe Netherlands.
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I had been in Cuba for almost a year studying inthe Behavior Art School. One night, when my parents and I were having dinner at a tourist restaurant during one of their visits, I observed that most ofthe tables were occupied by couples made up of middle-aged tourists and Cuban girls. At the time (2008) the only option Cubans had to leave the country legally was to make a tourist man or woman fall in love with them and marry him orher. Love had become a kind of passport to freedom—or to the illusion of freedom, and winning someone’s heart and seducing them allowed Cubans to dream with a new life, a better—or different—life, regardless of it being real or unreal. That very day I decided to marry a Cuban man in order to understand and draw attention to what was happening inthe country, that exchange of interests, that market of dreams, sexand company. My plan was to follow the same pattern. I would marry a Cuban man; I would give himthe means to obtain the coveted papers and permits to leave the country in exchange of being able tousehim in a work ofart. I would use love to fool Cuban and Spanish bureaucracy. This ishowthe project Humanitarian Help was born. With that in mind, I organised a kind of public open call in which I offered to marry the Cuban manwho wrote me “the most beautiful love letter inthe world”, offering also topayforthe wedding expenses, his ticket to Spain andallthe formalities to obtain Spanish nationality. This offer was aimed at those Cuban menwho were interested in emigrating. A jury made up of three Cuban prostitutes would pick the winning letter and, therefore, my future husband. Mirroring the interested conditions that are usually applied in humanitarian aid, I required inthe terms that the selected man be at my disposal forany request forthe duration ofthe marriage. Once he acquired the Spanish citizenship, we divorced in accordance with the agreed terms and conditions. In the event that the work is sold, the profits will be shared out in equal parts.
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Virtual Reality, Installation und Live Acts im Rahmen von FREISPIEL im Rosa Stern Space 25.05.-22.06.2022 We are happy to announce the fourth edition of FREISPIEL: a series of short-term residencies and presentations by (inter)national artists dealing with issues of cultural orders and their aesthetic and socio-political influences inour future-driven present. Our next guests will be Munich based artists Barbara Herold feat. Kim Twiddle LIVE with the synaesthetic challenge PARCOUR – suspend traditional patterns of perception, explore visual borderline experiences and enable a new transcendental seeing while generating surreal soundscapes! In her artistic practice, Barbara Herold explores playful systems inthe threshold space ofthe real andthe digital and develops interactive ARand VR worlds that can be physically experienced inthe overlapping ofthe virtual andthe real. In collaboration with e-composer Kim Twiddle, Barbara Herold developed the colour-form-music composer PARCOUR, a VR experiment on „Neues Sehen" (according toW. Benjamin). Through optical abstraction, stereoscopic overlays and interactive sound modulation, retro video game landscapes become an aesthetic sensual andnew consciousness experience.
PARCOUR will be premiered at Rosa Stern Space. The VRwill be graphically extended into the physical space, accessible via a gate. Kim Twiddle will realize electronic live acts and a sound installation based on sound material generated by VR users at Rosa Stern Space and other venues – PARCOUR on tour (tba)...
Barbara Herold, VG Bild-Kunst, Bonn, 2022
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13x13 cm, keine weiteren Angaben vorhanden Musik-CD in gefalteter Papphüllemit Beiblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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music by Daniel Lopatin aka Dania Shapes.
Soundsystem Pastoral was recorded by Daniel Lopatin aka Dania Shapes during the winter of 2004 using synthesizers, a first generation digital sequencer, and a freeware sound editor. It was remixed in 2006 forthe release on naivsuper.
Celebrating the potential of amateurishness, decadence and romance inthe realm of digital audio arts, Lopatin looks to marry the aesthetic sensibilities of experimental electronics with his allegiance tothe classic 'beauty' in music. 'Glitch' is less a process for Lopatin -- rather it is an aesthetic impression which Lopatin emulates by hand. Pairing the residual effects of romantic, heart string melodies with steroidal, detailed, maximalist noise, Dania Shapes' audible bricolage is a tribute to both the beautiful andthe broken all at once.
Working with simple tools such as handheld tape recorders, retro synthesizers, and a personal computer, Lopatin creates conceptual systems and processes to create a solo music that's beautiful and inventive, with interesting textures and unexpected sonic interventions. The music has a lush, ambient quality, but an edge as well. Throughout the CD, one finds a subtle use of repetition. The pieces are formally well-conceived and never contrived. The music is clearly indebted to heroes of electronica such as Christian Fennesz, William Basinski, and Brian Eno. and ithas links to classic experimentalists such as David Tudor and David Behrman. Yet Lopatin maintains a more song-based musical position that results in an accessible product that will attract fans of ambient, post-rock, and experimental music
One ofthe most well-known of Ruscha's books from his early period is Every Building onThe Sunset Strip, showing a famous stretch of real estate along Sunset Boulevard inLos Angeles, published in 1966. In July, 1973 he followed the same procedure while documenting Hollywood Boulevard.
Loading a continuous strip of 33 feet of Ilford FP-4 black & white 35mm film into his motor-drive Nikon F2and then mounting it on a tripod inthebed of a pickup truck, he drove back and forth across the 12 miles ofthe street shooting, frame-by-frame, both the north and south sides ofits entire length. The negatives were developed, contact sheets were made, andthe materials were placed in storage.
Thirty years later, in 2003, a digital record of Hollywood Boulevard was created and it served as a reference guide forthe traditional film/still documentary of 2004. For this shoot, the same type of camera equipment was used to re-photograph the street on 35mm color-negative film. The resulting material of both shoots — 4500 black & white and 13,000 color images — have been scanned and digitally composed into four panoramics ofthe complete 12 miles. In THEN & NOW, the original 1973 North side view is shown along thetop ofthe page and juxtaposed with its 2004 version underneath. Along the bottom ofthe page, you find the original 1973 South side view shown upside down, also juxtaposed with its 2004 version. The panoramics face each other and they are aligned.
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Rampike magazine, in print since 1979, featuring stellar international writers, critics and artists invites you to subscribe and/or submit articles both creative and scholarly (juried). Edited by Karl Jirgens, featuring post-modern artand writing from around the world with a strong focus on Canadian expression. The journal has received substantial support from the Canada Council andthe Ontario Arts Council andhas published interviews and works by internationally acclaimed figures ... . Rampike has been praised by critics such as Wayne Grady (Globe & Mail), and Marjorie Perloff (Stanford U) and is distributed internationally.
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Rampike magazine, in print since 1979, featuring stellar international writers, critics and artists invites you to subscribe and/or submit articles both creative and scholarly (juried). Edited by Karl Jirgens, featuring post-modern artand writing from around the world with a strong focus on Canadian expression. The journal has received substantial support from the Canada Council andthe Ontario Arts Council andhas published interviews and works by internationally acclaimed figures ... . Rampike has been praised by critics such as Wayne Grady (Globe & Mail), and Marjorie Perloff (Stanford U) and is distributed internationally.
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Cover art: Ints Plampe
184 S., 24x16,5 cm, ISBN/ISSN 978 88 6749 351 7 Broschur mit Klappen; Einband mit aufgeprägtem Foto, Papier Einband mit textilähnlicher Struktur, Vorsatz/Nachsatz bedruckt mit Foto schwarzweiß, innen verschiedene Papiersorten für Fotos, Texte und Zeichnungen. Druck: Tipografia Valdostana
Erscheint zur Ausstellung im S.M.A.K., Gent, Belgien,11.03-04.06.2017.
"Welcome tothe world of Dirk Zoete. Because that’s what his work is: a conceived universe. Theway someone leaning over a table makes a plan and imagines the world. While technology takes us into several intangible dimensions with virtual reality and other applications, Zoete makes us believe the world is still flat. Everything seems to have only a front and a back. As if we still believed that the earth is just a disk, and wecan fall off. Zoete’s drawings are clumsy, intermittent, naive, adventurous, simple. It’s like a child’s imagination, depicting in a heap what you otherwise cannot fit on a piece of paper." Philippe Van Cauteren. Published in occasion ofhis first major solo exhibition in a Belgian museum, To be determined. According tothe situation, held at S.M.A.K. in Gent in 2017, this catalogue explores Dirk Zoete’s peculiar practice. Enriched by essays and texts by Philippe Van Cauteren, Stephan Berg, Koen Peeters andAnn Hoste, the book is a journey through the artist’s process—who, starting from a drawing, generates models, sculptures, architectural constructions, photos, films. An all-encompassing approach that makes the Belgian’s work outstand as a natural successor ofthe German Bauhaus and Russian Constructivism, but with a more human touch. The catalogue features a wide selection of images, presenting the many different stages of transformation of a drawing into a three-dimensional piece, andthe hybrid nature ofthe exhibition set-up, amix of a museum show and an artist’s studio, both essential characteristics of Zoete’s art."
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Heft mit einem "fotografischen Alphabet" bestehend Schwarz-Weiß Bildern, diebeider Buchstabensuche als erstes Ergebnis bei Google Bildern erschienen sind.
"Nowadays the alphabet, like other cultural paradigms and communication evolutions, hosts a new series of menaings. The digital era, despite it being liked by some andnot by others, has arrived andnot only that, but is there to stay. The following document tries to be an object of reflection, andthe same time, a file forthe posterity, as this precise digital era raises doubts about the sustainability ofour culture over time that is to come, andthe intangibility of it. With this document we capture the past in order to project it into the future. Based on a series of temporary parameters (pictures uploaded inthe last 24 hours) and a format (black and white photography, medium size) we extract the following pictures to create the photographic alphabet of Google Images. This confirms the initial concept; the documentation which is exhibited here never again belonged tothe momentary alphabet onthe3th of December inthe present year, so we manage to capture the present (already the past asyou read these precise words) and we leave it physically alive inthe future, making the common belief of printing asold fashioned and didgital as actual lose its sense, finding theway to make contemporary, in other words, tangible or visible today, something which doesn't exist ontheweb anymore."
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31x31,4 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden Schallplatte in schwarzer Papierhülle, 2 Einzelblätter, Umschlag, alles zusammen in bedruckter transparenter Kunststoffhüllemit zwei zwei Papierklebestreifen verschlossen
Limited Gold Vinyl Edition of100vom 13.12.2019.
There's not much inthe world that is more exciting than a record label's album release number one. If you feel about music like we do, then youwill most probably agree. This sets a tone and foundation and weare very excited about this album being our #01. After many collaborations and work as producer, composer for famous artists, this now is ENIK's 4th official solo album andhis first solo album in years. The Deepest Space ofNow is a truly unique and trippy soundtrack.
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"So it was evening, then itwas morning: and itwasthe first day." How does the beginning of everything look like? That eternal energy that generated the first beginning, the early morning ofall time, for Simona has to do with an explosion: the fire, linked tothe Latin verb foveo and tothe Greek words φῶς (phos), light. Imploded energy, the Genesis ofall moments. It is with one ofthe simplest destruction tools, the Molotov bomb, that the artist opens her personal exhibition, where an explosion accompanies us on a journey that with great delicacy investigates the boundaries of human exploration, in its higher sense. That manwho wants toknow, measure, ennoble. How much space does the highest point ofthe Earth occupy? "I asked Silvio Mondinelli, the sixth mountaineer inthe world to have climbed all fourteen ofthe eight-thousand ofthe Himalayan chain, (without the help of oxygen) to recover through memory the space ofthe summit of Everest. He traced its perimeter in1: 1 scale on a piece of paper" says Simona. This perimeter was used as a template to create a marble base, where Silvio Mondinelli’s signs and writings make that memory immortal inthe most faithful way possible. In that memory, Francesco Šljiva Venturi gives life to a primordial sound that once again seeks a point of contact with the origin, through theuse ofhis voice and a single instrument: a shamanic drum, purpose-built by a craftsman forthe performance. He will climb "on thetop of Mount Everest" to sing a variation of Ives' Unanswered Question, in the lowest possible pitch. It is the elaboration of an impossibility: to go as high as possible while going aslow as possible.
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09610672 Drahtheftung, Rückseite mit Silberprägung, eingelegtes gefaltetes Plakat, in transparenter Kunststoffhüllemit beigelegtem Blatt
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Mushrooms are among the mysterious plants on earth, therefore we thought it would be necessary to make a complete guide to mushrooms. This issue contains beautiful illustrations combined with good toknow facts about mushrooms, andforthe culinaric reader we even added some nice and delicious receipes. Many would maybe consider this issue of BLAD as a little far-fetched guide tothe world of mushrooms. But remember nothing istoofarout after you have tasted some nice and trippy mushrooms.
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620672 Drahtheftung, Rückseite mit Goldprägung, in transparenter Kunststoffhüllemit beigelegtem Blatt, Aufkleber
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Mushrooms are among the mysterious plants on earth, therefore we thought it would be necessary to make a complete guide to mushrooms. This issue contains beautiful illustrations combined with good toknow facts about mushrooms, andforthe culinaric reader we even added some nice and delicious receipes. Many would maybe consider this issue of BLAD as a little far-fetched guide tothe world of mushrooms. But remember nothing istoofarout after you have tasted some nice and trippy mushrooms.
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Heft desKünstlers Brian Cotnoir, der auch der Gründer des Verlages Khepri Press ist. Er beschreibt sein Heft selbst wie folgt: On the Mystic, Magick, Talismanic, Alchemical Practice of Zine Making is a description of alchemical practice through the making of zines. Alchemy istheartand science of bringing something toits final perfection or completion. And, being perfected, can in turn perfect. It is about making change inthe world forthe betterment ofthe world andthe soul. Youknow, like Marx said, “the philosophers have only interpreted the world, in various ways; the point, however, is to change it.”
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Fluxus Bucks: It's currency foryou to alter, create (depending onits state when you receive it) Carry it with you a while, butoneyou're done with it please mail it to... Documentation & Bucks in return.
Text vondem Geldschein.
Postkarte zur Ausstellung "Catch me ifyoucan" vom 26.01.-15.03.2024 inder ERES-Stifung München. DieLöwinwarlos im vergangenen Sommer. Mitder Katastrophen-Warn-App NINA wurden inderBevölkerung archaische Urängste vor vierbeinigen Fressfeinden wachgerufen. Gepanzertes Schwergerätpflügte durch diesüdlichen Wälder Berlins. Ein unscharfes Videodokument reichte, um ein Sondereinsatzkommando der Polizei ausrücken zu lassen und Jagd auf eine gefährliche »Löwin« zu machen, die dann doch nurein Wildschwein war. Werwar hier eigentlich der oder die Gejagte? Die Ausstellung »Catch me ifyoucan« folgt derFährte des menschlichen Jagdinstinkts. Wie viel von dessen Ursprünglichkeit steckt heute noch inuns? Sollte dieser etwa genetisch angelegt sein? Wasistausden »Jägern und Sammlern« geworden, fürdiedie Jagd biszur neolithischen Revolution ein existenzielles Handwerk darstellte? Die digitalisierte, global vernetzte Welt mit ihren nicht zuletzt durch den Klimawandel veränderten ökologischen Systemen steht diesbezüglich vor neuen Herausforderungen. Gegenwärtige Jagdstrategien äußern sich im Natur- und Umweltschutz durch Wildtiermanagement oder kontrollierte Bejagung invasiver Arten. Sie verlagern sich aber zunehmend auch auf eine virtuelle Ebene, ein elektronisch abgestecktes Territorium zwischen trophäenorientiertem Gaming und Online-Schnäppchenjagd am Black Friday. Ein weites Jagdfeld, an das sich diekünstlerischen Positionen der Schau hintersinnig und humorvoll heranpirschen.
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DenKünstler als Rockstar darzustellen, fasst die Ambition dieses Luxusfanzines zusammen und scheint für denNew Yorker Steve Gianakos formuliert worden zu sein, so sehr haben ihn seine natürliche Nonchalance und sein verdorbener Geschmack zum Herold der dunklen Seite derPop-Art gemacht. Das Unterbewusstsein desKünstlers, das live anden Bildertank angeschlossen war, ließ das puritanische Amerika unter seinen 10.000 Volt Lust ausrasten. Mädchen, Mädchen, Mädchen, aber auch Biber und Pinguine bringen das Herz dieses ewigen griechischen Jungen zum Rasen, dessen Laune und grausame Schärfe keine Schandtat verschont. Das dichte Portfolio lässt vierzig Jahre Malerei Revue passieren, diemitden unermüdlichen Fantasien desKünstlers für Fleisch und Bild beladen ist.
"Pleased to meet you. Hope you guess my name: Steve Gianakos."
Steve Gianakos Ein Stecknadelprofil haben; den Kopf aufden Fersen; eine Schlange inder Unterhose! Die Zeichnungen, Collagen und Acrylbilder desNew Yorkers Steve Gianakos (geb. 1938) könnten Sprichwörter sein, so sehr destillieren siemit einigen dunklen Strichen ihre trivialen Wahrheiten. Ein naiver Stil im Stil von Vintage-Comics und Kinderbüchern unterstützt obszöne, komische oder grausame Sketche, dievon kannibalischen Pin-up-Girls und kleinen Mädchen mit hochgeschobenen Röcken bevölkert sind. Diegroße amerikanische Kunst, ihre Moral und ihre metaphysischen Ambitionen bekamen einen Schlag aufden Hintern, ebenso wieder American Dream. Alsgroße Figur der amerikanischen PopArtist er Teil der Sammlungen des MoMA, Guggenheim
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[12] S., 66x47,5 cm, 2 Stück. keine weiteren Angaben vorhanden Blätter lose zusammengelegt, einmal gefaltet, eine Arbeit des United Dead Artists Kollektivs
[12] S., 66x47,5 cm, 2 Stück. keine weiteren Angaben vorhanden Blätter lose zusammengelegt, einmal gefaltet, eine Arbeit des United Dead Artists Kollektivs
[12] S., 66x47,5 cm, 2 Stück. keine weiteren Angaben vorhanden Blätter lose zusammengelegt, einmal gefaltet, eine Arbeit des United Dead Artists Kollektivs
[12] S., 66x47,5 cm, 2 Stück. keine weiteren Angaben vorhanden Blätter lose zusammengelegt, einmal gefaltet, eine Arbeit des United Dead Artists Kollektivs
[12] S., 66x47,5 cm, 2 Stück. keine weiteren Angaben vorhanden Blätter lose zusammengelegt, einmal gefaltet, eine Arbeit des United Dead Artists Kollektivs
[40] S., 40x30 cm, keine weiteren Angaben vorhanden Drahtheftung, eingelegt eine Schallplatte inHülleund Heft "Pascal Doury est Mort" mit lose ineinander gelegten Blättern, eine Arbeit des United Dead Artists Kollektivs
Nachdem er 1968 das Cover von Janis Joplins „Cheap Thrills“ gestaltet hatte, wurde Crumb einer breiteren Öffentlichkeit bekannt und begann, neben Artworks für seine eigenen Bands, Auftrags- und Freundschaftsarbeiten für Künstler wieBob Dylan, Chuck Berry, Frank Zappa oder Grateful Dead zu machen, interpretierte aber weiterhin Porträts und Cover alter Blues- und Jazz-Legenden wie Artie Shaw, Bo Carter oder Blind Boy Fuller in seinem charakteristisch antiquierten, satirischen Stil.
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La Tranchée Racine wird anlässlich der Ausstellung von Stéphane Blanquet inder Halle Saint Pierre, Paris, von September 2020 bis Juli 2021 für 42 Ausgaben wöchentlich erscheinen: ein verrücktes Projekt, das fast ein Jahr lang mit einer Ausgabe pro Woche ein umfangreiches Forum für Art Brut, zeitgenössische Kunst und Zeichnung bilden soll. La Tranchée Racine istdas grafische Periodikum der United Dead Artists. ... La Tranchée Racine versammelt von Stéphane Blanquet (der alle Titelseiten der Ausgaben illustriert) ausgewählte Bilder, Strips, Fotografien und Texte und spiegelt die rohe Identitätdes Verlags wider. In jeder Ausgabe werden die Werke von zahlreichen Autoren in einer rauen, aber akribischen Präsentation vorgestellt.
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Heft mitden "kinetischen Linien" von Superhelden-Comics. Lediglich die Bewegungslinien der Comics sind abgedruckt, diederKünstler mithilfe von digitalen Bearbeitungsprogrammen freigestellt hat.
Innenseit des Umschlags: La estella de aire congelado que deja un automóvil al partir - The frozen airtrail that every automobile leaves when departing
Charley is a contemporary art publication series edited by Maurizio Cattelan, Massimiliano Gioni andAli Subotnick. A do-it-yourself magazine, Charley is an inclusive publication relying on assimilation, rather than on selection : Charley is a machine for redistribution, a mechanism for spreading and exploiting information, rumors, and communication. Like most information, it is partial, unstable, and untrustworthy. There are no hierarchies and no favorites in Charley : it flirts equally with celebrity and failure. Charley is a multiform creature, bound to transform with each issue. Charley is a pre-digested combine, with pages assembled from catalogues, brochures, press clips, postcards, and other visuals. But what is Charley really? Charley is a new publication on emerging artists. Prominent curators, writers, artists, and other arts professionals from around the world were asked to suggest up to 10 up-and-coming artists and/or submit materials onthe artists for inclusion in Charley. 400art makers from around the globe responded, and each of them is represented byone page of Charley
Reinhard Grüner is a collector from Monaco. His passion isart books, which he collects – and sometimes exhibits – since the 1960s. His website, www.buchkunst.info is a real “online museum”, where international artist books are catalogued and photographed. Amongst the artists there are Marc Chagall, Anselm Kiefer, Henri Matisse, Pablo Picasso and Andy Warhol. Books, but also works ofart made of images and text, created bythe artist often in collaboration with a writer and a publisher. Forthe high artistic quality – original graphics, unique designs, paintings and collages – these works are different from the usual picture books. Their manifestations are multiple: books with graphic effects, objects-book, artist’s books, sometimes printed in offset or illustrated by works of artists. At the centre of Grüner’s attention there are Eastern German and Eastern European books (mainly Russia, Hungary, Lithuania). many of these works were created in response to specific social, political and cultural issues, with unimaginable insights into the culture of modernity.
Reinhard first came in contact with theart in book form with the English Edition, printed privately, of “A Dissertation Upon Roast Pig”, printed in 1975 by Shoestring Press on paper ofthe legendary Chiswick Press: from here begins a life of a book maniac among thousands of books. As Grüner states in an essay, the acquisition of artist books is more than a simple purchase: the artist, the life as a collector and thoughts are tied together, they influence each other, and a network of contacts with other collectors begins. With nearly allthe books inhis collection Grüner forms a symbiotic relationship: each of them describes, explains, and gets tothe heart of some chapters ofhis life.
Download thepdf file with the essay onthe collection of Reinhard Grüner (in English)
40 S., 29,7x21 cm, keine weiteren Angaben vorhanden Lose Blätter ineinander gelegt, Farbkopien nach PDF
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A simple and straightforward layout, an awesome format, no advertising, 500 hand numbered copies and a free and selected distribution. Unpublished is a democratic and exchange place where photography meets the public, without any filter. Unpublished gathers the best unpublished images of young photographers from all over the world, selected not only for their aesthetic value, but through a careful analysis ofthe cultural context, the artistic and human paths.
A large project that ends each edition of Unpublished with a group exhibition in which itwill be possible tobuy at affordable prices the original and signed prints ofthe published works, donated and assessed bythe authors themselves. No art dealers, no galleries and outside the market logic. Unpublished isa "call for freedom", a pure and direct line that connects the artist andhis work with the outside world. And vice versa. Vonder Webseite
20 S., 21x15 cm, Auflage: 40, numeriert, signiert, keine weiteren Angaben vorhanden Drahtheftung, Farbkopien auf verschiedene Papiere, 2 aufgeklebte Spielzeug-Augen auf Vorderseite, Rückseite mit Prägedruck
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Future Fantasteek! brings together a trichotomy of investigation. art-zines and independent publishing. artist as social commentator and drawing as a means of immediate visual communication. The series explores obdurate boundaries between journalism and authorial illustration using satire to reflect notions of ‘Britishness’. The series can be read as a sequence, from just prior tothe ‘credit crunch’ through tothe ‘age of austerity’. The series is independently published as a limited edition art-zine, with two issues per year. The approach is experimental, incremental and reflective focussing on both the microcosm and macrocosm of living inthe UK. Visual humour is developed throughout as a vehicle for change, combining techniques such as pastiché, parody and socratic irony. Typography and images are juxtaposed to create new narrative possibilities. Language is explored using different ‘voices’ such as anecdotal, colloquial or profane. This text is then translated into drawn commentaries on etiquette, politics and advertising. The ‘anxiety ofthe individual’ is a running theme throughout the series with many reoccurring protagonists and antagonists soliloquizing their notions of ‘Das Unheimliche’. The series also explores changing technologies with regard to notions of ‘the book’ with online versions of Future Fantasteek! available via a blog and online PDF reader (issuu and .swf).
Text vonder Webseite
[40] S., 32x22 cm, 2 Stück. ISBN/ISSN 7629999015104 Drahtheftung. Verschiedene farbige Papiere. Eingelegt ein gefaltetes Poster
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The publication Spheres isthe creative documentation of a close collaboration between an artist andthe editor, graphic designer Philippe Karrer. Every issue is dedicated to a young artist and their work, in each case exploring character, surroundings, every-day life, inspirations and ideas using unconventional innovative formats so as to create a different, more visual approach and understanding ofthe artist andhis orher work. The focus lies on what is important tothe artist during the time period of working together forthe publication, hereby capturing a certain essence ofthe artists work atthe moment. Not only canthe reader dive in tothe artist‘s world, receiving li ttle personal snippets ofthe life inand around his orherart, but also (and perhaps even more importantly) — howthe artist chooses to present things inthe publication gives the reader an idea ofhis orher whole artistic sphere.
Melanie Bonajo explores the relationship ofthe individual toits surroundings in a commodified, globalised culture. In her work, she uncovers howour ideas of identity, genre, value and such structures formed by conventions are ever shift ing to feelings of uncertainty and instability. She approaches these issues by trying to newly create, to turn around overpowering views and conditions that are today so influenced byour consumer society and tries toget nearer to traits that are rooted in human nature.
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In the context of a continuous and persistent spiritual quest inthe field of Greek artandits history, the artist Christos Bokoros appears —through simple themes and earthy, warm materials— to win an important battle. He has silently found a subtle and significant way of stripping bare certain symbols—hisown ‘signs’: a way of isolating those symbols from anything unnecessary and superfluous, and of drawing the community’s attention to them by revealing them to be purified, resurrectional and full of fire.
Through the presentation of a series of paintings entitled ‘ODOS ELEFTHERIAS’, Bokoros ventures a direct discourse of these ‘signs’ with buildings and streets that are adjacent to, or end up at, Lefkosia’s Green Line. Many of these buildings have suffered damages and decay. One could say that in their ownway they constitute a second crevice near the Green Line that divides the state. It is in these fissures that the artist sets up - plants - his ‘ODOS ELEFTHERIAS’, in the hope of giving the city’s centre new fruits and joyous vibrations—in a silent and honest alliance with allthe indigenous revitalizing forces
Stickers have become an essential element of contemporary street art used bythe most underground of artists. With stickers, anyone can plant their flag, gain notoriety, recognition and attain instant coverage while the action itself is inconspicuous. This book documents the best submissions from the first international sticker awards which have been established to record this constantly evolving movement. Low-tech and prepared in advance, stickers are made from a multitude of materials and techniques from hand, photocopies, posters and wheat pastes to walls. From drainpipes and crosswalk boxes to street signs and walls, stickers can be found almost anywhere ateye level on public surfaces blending into and becoming part ofthe streets. Motifs vary from scribbles and characters to intricate figurative images, often personal logos or tags functioning as trademarks. Stickers have created a revolution in communication – proving to be effective tools in establishing dialog, inspiring reaction and feature messages that are subversive, funand often cryptic.
This extensive volume presents over 800 examples from around the world and includes 2 pages of award winning real stickers forthe reader’s enjoyment.
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Sticker aus Asien, Israel, Latein- undSüd-Amerika, Nordamerika, Europa
From the author of Strapless and Guest of Honor, a book about a little-known road trip Andy Warhol took from New York to LA in 1963, andhow that journey—andthe numerous artists and celebrities he encountered—profoundly influenced his life andart. In 1963, up-and-coming artist Andy Warhol took a road trip across America. What began as a madcap, drug-fueled romp became a journey that took Warhol on a kaleidoscopic adventure from New York City, across the vast American heartland, alltheway to Hollywood and back.
With locations ranging from a Texas panhandle truck stop to a Beverly Hills mansion, from the beaches of Santa Monica to a Photomat booth in Albuquerque, The Trip captures Warhol’s interactions with Dennis Hopper, Peter Fonda, Marcel Duchamp, Elizabeth Taylor, Elvis Presley, and Frank Sinatra. Along theway he also met rednecks, beach bums, underground filmmakers, artists, poets, socialites, and newly minted hippies, and they each left an indelible mark onhis psyche. In The Trip, Andy Warhol’s speeding Ford Falcon isour time machine, transporting us from the last vestiges ofthe sleepy Eisenhower epoch tothe true beginning ofthe explosive, exciting ’60s. Through in-depth, original research, Deborah Davis sheds new light onone ofthe most enduring figures intheart world and captures a fascinating moment in 1960s America—with Warhol atits center.
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The Soviet Union was unique inits formidable and dynamic use ofthe illustrated book as a means of propaganda. Through the book, the U.S.S.R. articulated its totalitarian ideologies and expressed its absolute power in an unprecedented way—through avant-garde writing and radical artistic design that was in full flower during the 1920s and ’30s. No other country, nation, government or political system promoted itself more by attracting and employing acclaimed members ofthe avant-garde. Among them were writers like Semion Kirsanov, Vladimir Mayakovsky, Ilya Selvinsky, Sergei Tretyakov and Kornely Zelinsky. artistic designers like Gustav Klutsis, Valentina Kulagina, El Lissitzky, Sergei Senkin, Varvara Stepanova, Solomon Telingater and Nikolai Troshin. and photographers including Dmitry Debabov, Vladimir Griuntal, Boris Ignatovich, Alexander Khlebnikov, Yeleazar Langman, Alexander Rodchenko, Georgy Petrusov—not to mention many ofthe best printers and book binders. The Soviet Photobook 1920–1941 presents 160 ofthe most stunning and elaborately produced photobooks from this period and includes more than 400 additional reference illustrations. The book also provides short biographies ofthe photobook contributors, some of whom are presented here forthe first time.
Text vonder Webseite.
erschienen zur Ausstellung 30.04.-25.07.2010 Mit Essays von Benjamin H.D. Buchloh und Birgit Pelzer sowie einem Text von Herman und Nicole Daled. The Brussels-based collectors Herman Daled and Nicole Daled refuse to perceive art as decoration and to, thereby, exploit it. They approach art in a fundamentally different way: Basis for their activities are their relationships and conversations with artists. In keeping with theaim of Conceptual Art that places the intellectual content of a work above its realisation, they consider themselves not collectors but communicators and producers: They provide artists with the opportunity to also realise works outside of established market mechanisms. Their intense engagement with Conceptual Art, one ofthe most important movements in recent art history, goes far beyond usual collecting practices. This isnot only apparent inthe actual works, but also inthe meticulously archived documents containing actions and works. One ofthe most important influences for Herman and Nicole Daled was Marcel Broodthaers, more than 80 ofhis works are in their collection. Moreover, the collection holds several works by Daniel Buren, Dan Graham, On Kawara, Sol Lewitt, Niele Toroni, Lawrence Weiner, Cy Twombly and many more.
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Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been atthe center of upheavals and revolts the world over, from the painters and poets inthe Paris Commune tothe poster makers and street theatre performers ofthe recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. Signal 01 includes: The Future of Xicana Printmaking: Alec Dunn and Josh MacPhee interview the Taller Tupac Amaru (Favianna Rodriguez, Melanie Cervantes, and Jesus Barraza), The Adventures ofRedRat: Alec Dunn interviews Johannes van de Weert, Hard Travelin’: A photo essay with IMPEACH, Early 20th-Century Anarchist Imprints, Mexico 68: The Graphic Production of a Movement: Santiago Armengod interviews Felipe Hernandez Moreno, Adventure Playgrounds: A photo essay, Designing Anarchy: Dan Poyner interviews Rufus Segar.
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“We Are Cypriots” is a chronicle that takes us behind the scenes sharing personal histories that official histories often ignore.
Between 2015 and 2018, during the reunification talks and after they failed, the author Lisa Fuhr visited Cypriots from both communities and photographed them in their surroundings. These intimate photographs and accompanying in-depth conversations shed light on life in Cyprus today.
Travellers, Cypriots living abroad, foreigners who have chosen to settle there, and last butnot least, the people of Cyprus itself just might discover in these pages something they didnot expect.
This book, furthermore, is intended as a contribution tothe current European-wide discussion on national identity, separatism, nationalism or unification, and reconciliation. In his comprehensive preface, the Berlin journalist, Klaus Hillenbrand, traces the historical and contemporary, as well asthe social and political developments that have so profoundly shaped this island and Cypriots today.
Photo Exhibition and Book Launch at Goethe-Institut Nicosia, Cyprus, in the buffer zone next to Ledra Palace. Opening Wednesday 15May 2019. Duration ofthe exhibition until 11 June 2019
13,5x13,5 cm, Auflage: 1.000, 7 Teile. keine weiteren Angaben vorhanden CD Box ohne CD, 3 Booklets, 1 gefaltetes Plakat, 1 Aufkleber in Kartonbox, 3 Seiten Pressematerial
The catalogue from Pezzini Editore consisting of three illustrated booklets, a poster, a sticker, [a cdand a dvd] in original die-cutbox designed by Gumdesign, documents the sound based Multimedia Festival curated by Vittore Baroni andBAU atthe historical Villa Paolina in Viareggio on 7-8-9 August 2009. The exhibition included installations and audio art works from 20 international artists, plus the collective project Bzzzoing! with musical instruments created by over 60 authors. In the course ofthe three days, audiovisual works of over 40 authors have been projected and over 20 poets, artists and musicians performed atthe villa. In the centenary of futurism, a singular and rich overview ofthe many interferences between sound and image, paying tribute inthe logo to Luigi Russolo’s Noise Machines.
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Catalogue of Klang! exhibition/sound art festival held at Villa Paolina, Viareggio, Italy, august 7-9 2009, comprising sound installations, exhibition and performances of invented musical instruments, and performances by visual artists, sound poets and electronic musicians.
Cardboard box published in500 copies freely distributed during the festival days, including 3 booklets, a sticker and a poster; 300 copies were later produced with additional cd + dvd documentation ofthe festival.
Text von discogs Webseite
A compelling visual portrait of a time, place, and subculture that raised a middle finger to modern society from the collection of Toby Mott. Oh So Pretty: Punk in Print 1976-80 is an unrivalled collection of visually striking ephemera from Britain’s punk subculture. It presents 500 artefacts - 'zines,' gig posters, flyers, and badges - from well-known and obscure musical acts, designers, venues, and related political groups. While punk was first and foremost a music phenomenon, it reflected a DIY spirit and instantly recognizable aesthetic that was asrawand strident and irrepressible asthe music. As disposable asthe items in this book once were, together they tell a story about music, history, class, andart, and document a seismic shift in society and visual culture.
Text vonder Verlagswebseite
Das Buch erschien im Rahmen der gleichnamigen Ausstellung "Streetopia" (2012) die inder Luggage Store Gallery inSan Francisco eröffnet wurde und sich gegen ein geplantes Bauprojekt und damit gegen die Gentrifizierung der Stadt richtete.
After San Francisco’s new mayor announced imminent plans to “clean up” downtown with a new corporate “dotcom corridor” and arts district - featuring thenew headquarters of Twitter and Burning Man - curators Erick Lyle, Chris Johanson, andKal Spelletich brought over one hundred artists and activists together with neighbourhood residents fearing displacement to consider Utopian aspirations and to plot alternate futures forthe city. Opening inMay 2012 atthe Luggage Store Gallery, the resulting exhibition Streetopia was a massive anti-gentrification art fair that took place in venues throughout the city. For five weeks, Streetopia featured daily free talks, performances, and skillshares while operating a free community kitchen out ofthe gallery.
This book brings together all oftheartand ephemera from thenow-infamous show - featuring work by SWOON, Barry McGee, Emory Douglas, Monica Canilao, Rigo 23, Xara Thustra, Ryder Cooley, and many more. Using the format of an exhibition catalog as a jumping off point, the book also includes essays and interviews with key participants that consider the effectiveness of Streetopia’s projects while offering a deeper rumination onthe continuing search for community - andfor Utopia - in today’s increasingly homogeneous and gentrified neo-liberal cities in anera of unprecedented wealth disparity.
Text vonder Website
2 S., 11x16 cm, keine weiteren Angaben vorhanden Postkarte
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Fabrica Features isthe brand communicating the ideals and creative output ofthe Fabrica design studio. It is defined bythe attitudes and creations ofthe young international people who work there, refreshed bythe coming and going of studio members. Their process is informed by enquiry into rituals and materials, defining a language that is thoughtful, eclectic and alternative. The focus is on conceptual objects, limited collections and prototypes, produced under the brand – which isthe meeting point between the studio andthe outside world. Such encounters happen in galleries, museums, online and designated Fabrica Features spaces found throughout Europe. Text von Website
no one should call you a dreamer / 60 Minutes Later - A Collaborative Zine about Identity / ok werner / We Need Our Days To Be Quiet / days of each other,
[20-36] S., 21x14,8 cm, 5 Teile. keine weiteren Angaben vorhanden Drahtheftung, Schwarz-Weiß-Fotokopien
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"Ok Werner" is a handmade fanzine made in collaboration with my brother, Glasgow-based musician Brian McEwan about our favourite filmmaker, Werner Herzog. The zine was made over a period of 4 days in late July 2012 at my house in Yorkshire on a self appointed 'Herzog holiday' and contains our personal and collaborative responses to Herzog andhis films via interviews, quotes, images and writing.
"We Need Our Days To Be Quiet" is a sketchbook in zine format, containing collected drawing and collage, text and photography and thoughts, reading and findings from summer 2012.
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40 S., 28,5x20,5 cm, Auflage: 2.600, numeriert, ISBN/ISSN 20148542 Drahtheftung, Fanzine Deluxe Limited Edition Number
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This is an innovating project with personality..!
Box1466 concept is directly related tonew tendencies, being music and visual arts in general the leitmotiv of each issue.
Photography, music, fashion, illustration, drawing, words and fantasies…!
Seeing, looking, reading, watching, listening..
Thanks toall those QR codes youwill find inthe magazine, youwill be directly guided to more information online..! Thenew concept of Box1466 is inits interactivity, that made it totally fresh and different toany other publication.
A new endless way to discover, to learn, to find out.. Theaim of Box1466 is to transmit and divulge from an original point of view, its contents of interviews and visual proposal of fashion.
Box1466 is an Arty numbered deluxe limited edition independent publication.
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Man bekommt, wasman findet. Das Werk von Erik Steinbrecher (*1963, Basel) hat sich in zwei Hauptrichtungen entwickelt: in die Bereiche Architektur und Skulptur im Zusammenschluss mitder Fotografie. DerKünstler realisiert immer mehr Projekte im öffentlichen Raum und setzt sich auch mitden Massenmedien auseinander.
Steinbrechers "Superfundi", eine Sammlung von Fotografien mitHügeln, Gräbenund Gräbern, ähnelt einem Magazin. Als zusammenhängende Bilderserie könnte "Superfundi" aufein skurriles, geheimnisvolles Territorium verweisen, das gleichzeitig unberührtund verwüstet ist.
Übersetzt mitwww.DeepL.com
What you find is what youget The work of Erik Steinbrecher (*1963, Basel) has developed intwo main directions: the areas of architecture and sculpture andthe realm of photography. The artist not only realizes more and more projects in public spaces, but also takes a passionate interest in mass-media.
Steinbrecher’s “Superfundi,” a collection of photographs featuring hills, trenches, and graves, resembles a magazine. As a connected series of pictures, “Superfundi” could refer to a ludicrous, mysterious territory, pristine and devastated atthe same time.
Text vonder Webseite
TheNew Yorkers' Guide to Military Recruitment is a free 64-page, pocket-sized book including everything a New Yorker needs toknow about military recruitment and resources for counter-recruitment inNYC. The guide is copyleft and is available for download as a PDF as well as a printed 4x5" book. In spring and summer 2006, 7,500 copies will be distributed free-of-charge to students and others in danger of being recruited, their families, and concerned citizens intheNew York metropolitan area.(Text vonwww.crguide.babyclaw.com)
Schwarz-Weiß-Drucke, Nr. 037ausder Reihe 100for10
Before studying Arts I did my Bachelor Degree in Arts and Multimedia. In my first academic studies I was confronted with most digital media andhow touse them in creative, functional or artistic way. I appreciate the wide field of modern creativity tools that I got toknow. But actually I felt deeper connected to handcraft because I can express myself more immediate. So I decided to go back tothe roots and applied atthe Academy of fine Arts in Munich. I visited my Professor with giant artworks of naked bodies and peculiar cartoons. The painting showed strong emotion, pubertal suffering and indignation. Although it became more calm inside myself, I still stand for an type ofart that results out ofthe psyche. So please enjoy watching my pictural diary.
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43,0x30 cm, keine weiteren Angaben vorhanden Braune Papiertüte von United Markets, Rückseite bedruckt
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Have You Seen Me? was created by Larry and Kelly Sultan with students from Bahia Vista Elementary School andSan Rafael High School. Have You Seen Me? is sponsored by Public Art Works, anon-profit arts agency, with generous support from United Markets.
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Das Buch mitdem Untertitel "Allyou'll ever need toknow about schocking & abstracting" vom australischen Künstler Alexander Jackson Wyatt, der in Wien lebt. Die Ausgabe ist in Kooperation mitder Stadt Wien entstanden. Bestehend aus Text, Anleitungen und dazu passenden Illustrationen soll das Buch ein Ratgeber sein, für mehr Enthusiasmus und Zufriedenheit, denn "peer-pressure and pessimism, like any other pervasive task, calls for a certain amount of effort, care and common sense".
Kombinierte Text aus Gebrauchsanweisungen und psychologischen Ratgebern
78 S., 29,7x21 cm, keine weiteren Angaben vorhanden Farbkopien nach PDF, lose ineinander gelegt, Dokumentation der Ausstellung
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This survey of experimental artand design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space forthe presentation of artworks and text. Throughout the 20th century, international avant-garde activities inthe visual arts and design were often codified first inthe informal context of a magazine or journal. This exhibition, drawn from the holdings ofthe MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections tothe past lineage of artists’ magazines and little architecture and design magazines ofthe 20th century, as well as a clear sense ofthe application ofnew techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library’s sustained effort to document and collect this medium.
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[44] S., 25,3x17,8 cm, keine weiteren Angaben vorhanden Drahtheftung, in losem Pappumschlag, zwei verschiedene Papiere, in transparenter Kunststoffhüllemit Aufklebern
Begleitheft zur Ausstellung "Gasworks Yaoi" vom 26.11.2010 - 23.01.2011 im Gasworks in London.
"Gasworks Yaoi" is the first solo exhibition by Spanish artist Francesc Ruiz in London. The show isthe culmination of Ruiz's research inthe local area, conducted during his residency at Gasworks. Inspired bythe longstanding gay establishments in Vauxhall, the artist has created a semi-fictional narrative that overemphasises the clichés around sexuality and lifestyle inthe area. For "Gasworks Yaoi", Ruiz will transform the front ofthe gallery into a bookshop specialising in yaoi comic books. Originating in Japan, this genre (translated as 'boys love') depicts male homoerotic narratives. However, unlike male-oriented gay erotica, yaoi comic books are both produced and consumed by women. The yaoi comics, featured in Ruiz's bookshop at Gasworks are allegedly produced by female amateur illustrators who portray the encounters of a group ofmen whose nightlives revolve around Vauxhall's sprawling gay club andbar scene. By adopting the yaoi comic format and resorting to female authorship, Ruiz distances himself from the stories and characters he depicts, allowing forthe imagination torun wild, indulging in stereotypes and idealised situations. Through the comics' humour and distortion of reality Ruiz gives himself license to explore a specific subculture andtheway it sits within the wider fabric ofthe neighbourhood.
Turned into a specialised comic bookshop for women, Gasworks' space becomes an environment where sexuality, local context andits social dynamics are fictionalised and packaged into a product for consumption.
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352 S., 21x15 cm, ISBN/ISSN 9782915859416 Broschur mit Banderole, eingelegt ein Informationsblatt
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Originalausgabe erschienen bei Artists Press, Bern, 1980.
This book isthe third and final version ofthe first artist’s book published in 1960 by herman de vries, who is currently the author of more than one hundred publications. The story of this book dates back to 1960. Closely associated with the Zero Group, but also drawn tothe buddhist concept of emptiness, herman de vries had just produced a series of white monochromes when he self-published a twenty-page booklet in Arnhem. It had no title, its cover was blank andits pages were unprinted. It contained nothing but a short final poem celebrating, in four languages, the superabundance of white: “wit is overdaad”. In 1962, this manifesto appeared in another version, now entitled wit: two hundred blank pages, four white collages bythe artist and an introduction, itself completely blank, by the poet J. C. van Schagen, published in arnhem in only five copies byM. J. Israel. It was followed in 1967 by a second “revised” edition, wit weiss: two hundred and fifty blank pages, pocket-sized, in five hundred copies, published by Hansjörg Mayer in Stuttgart. The only printed elements were the artist’s name, the title andthe publisher’s name onthe cover, the word “introduction” andthe name ofits author onthe very first page and a colophon onthe final page. In 1980 the Artists Press in Berne published the “third revised edition”, in a larger format and with more pages. The original title witwas translated into english and japanese and into sanskrit with a word that means “white” in the sense of bright, pure, immaculate. The title itself does not appear onthe book, which remains completely blank. It is printed with the paratext on a broad strip of paper inthe form of a detachable publicity strip. The inside flap contains a brief statement initially dating back tothe 1962 edition, stating that this book incorporates all aspects of reality. Of the five thousand copies advertised, only a hundred were published. It is this last edition, the most radical, which is republished here, the only addition being the french translation ofthe statement. On 1 april 2012, herman de vries wrote ofhis book, insisting onthe importance ofthe final comma:
white is white
0 = 0 no name no idea not even emptiness,
24 S., 28x21 cm, keine weiteren Angaben vorhanden Drahtheftung
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Illustrated with charming line drawings of urban love, this score includes music and lyrics for eight voices and clavichord, bell, flute, violin, oboe, horn, cymbal, drum. Each ofthe three acts are introduced with a plot synopsis ofthe amorous adventures of protagonists Pearl and Anthony. The libretto ends with a thoughtful epilogue: As young lovers Pearl and Anthony must acknowledge the reality of their sentiment for each other as a separate and a whole reality from their surroundings they must effectively substitute the ...skylines that they could inhabit forthe places and constructs as spiritual parts of themselves and tothe intuitions and instincts to their intentions and to their youth as ingenuous their present and their future have become realized as each other they must consider a different sort of naiveté
The Office for Anti-Propaganda was founded by Marina Naprushkina in 2007.
Started as an archive on political propaganda with the focus on Belarus the „The Office for Anti-Propaganda“ drifted to a political platform. In cooperation with activists and cultural makers Office lounges and supports political campaigns, social projects, organizes protest actions, and publishes underground newspapers. The emphasis lies on projects which work outside the white cube andhas social and political relevance. The 16-page newspaper-size novel illustrates the events which happened in Belarus during 2010 Presidential Elections. This is a story about the elections and, in particular, of thedayand night of December 19, when the citizens’ peaceful demonstration against falsified elections was brutally suppressed bythe police. The novel presents two views onthe developments in parallel. The first one shows howthe events are interpreted bythe state regime and currently widely publicized by state-run newspapers and television. The other version was assembled from information presented by independent media, which forthe most part can exist only inthe Internet, i.e. blogs, oppositional websites, users’ comments, testimonies of victims and political activists.
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“Lorem Ipsum Dolor Sit Amet” is the third in a series of exhibitions and publication based on a wide-reaching research about writing with the title “Possible Content for 18 Pages”. The original typewritten manuscript ofVilém Flusser’s essay “The Gesture of Writing” provides the thematic and formal-aesthetic foundation for reflecting theact of writing atthe intersection of linguistic, visual, physical and spatial communication.
“To write,” says the philosopher about the basic requirements that should lead to a complete piece of writing, we need “a blank surface, for instance a white leaf of paper, an instrument which contains a matter that contrasts with the whiteness ofthe paper, the letters ofthe alphabet, the convention which gives a meaning tothe letters, ‘orthography’ = correct writing, the rules which order that language, what is called ‘grammar’, an idea to be expressed in a language, and a motive to express that idea”.
Understanding theact of writing as a culturally embedded gesture, “Lorem Ipsum Dolor Sit Amet” covers artistic, literary, as well as curatorial and editorial fields of action and combines them. The book is published onthe occasion ofthe eponymous performance by Lois Bartel atthe Akademie derKünste in Berlin (June 11, 2016) and contains a curatorial-editorial statement by Franz Thalmair. Furthermore, the artist Michalis Pichler andthe professor for media theory and aesthetics Oliver Ruf situate the publication in an actual context of literature and criticism. The participating visual artists expand the topic ofthe research with artistic contributions especially made for „Lorem Ipsum Dolor Sit Amet“.
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2004 winner of I.D. Magazine's Design Distinction award, Absence isthe third book to come out of Printed Matter’s Publishing Program for Emerging Artists, a program made possible through the generous support ofNew York City's Department of Cultural Affairs, The Andy Warhol Foundation forthe Visual Arts, the Elizabeth Firestone Graham Foundation, andthe Heyday Foundation. The generosity of Whitney trustees Melva Bucksbaum and Raymond J. Learsy was instrumental tothe Museum’s participation inthe publication of this exciting new work.
Both a book and a sculptural object, Absence is a memorial tothe twin towers ofthe World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture atthe Massachusetts Institute of Technology, chose not to produce a traditional design proposal forthe World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial inthe form of book. At almost two pounds, Absence has a considerable physical presence, but it is in every waythe ghost of a presence, and it is this ghostliness that gives itits particular emotional weight. A solid white block of thick stock cardboard pages, the book’s only "text" consists ofone pinhole andtwo identical squares die-cut into each ofitsone-hundred-and-twenty pages – onefor each story ofthe towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint ofthe entire site ofthe World Trade Center isdie-cut into a delicate lattice of absent structures. Of all ofthe proposed monuments and grand designs forthe twin towers to emerge inthe last two years, Absence is remarkable forits employment of an under-used strategy: restraint. The simplicity of Yoon’s materials andheruse of repetition speak, without words, about unspeakable loss. Quiet, respectful, mournful, the book does notaim to represent the magnitude ofthe disaster. Instead it appeals tothe vastness ofthe reader’s imagination and capacity to grieve. The human scale ofher memorial operates on a personal level – it delivers the memory of lives lost into the reader’s hands. At the same time, as a scale model of a vanished architectural site, it operates on a larger cultural level by commemorating the site itself.
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Onomatopee 95. 11”x17” by Elisa van Joolen is an on-going project that examines and challenges the fashion industry’s prevailing value systems and proposes new methods of production. The project began in 2013 with a series of conversations with representatives of various fashion brands including G-Star, O’Neill, gsus sindustries, Rockwell by Parra, Converse, moniquevanheist, and Nike. These companies then contributed by donating clothing and footwear inthe form of samples, archival pieces and stock. A selection of these, complemented with pieces of second-hand and no-brand clothing have undergone a process of cutting outand reconstructing to become 11”x17” Sweaters and Invert Footwear. 11”x17” creates a network. It unites different categories of clothing and different values within fashion. an eclectic mixture ofmid-market, second-hand, and high-end items.
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Poems by Patricia Smith, Photographs by Michael Abramson.
Bump contests and blues. Love goddesses and shake dancers. The Sexy Mamas and Their Mack. Funky. Sexy. Music and voodoo. Every night like New Year’s Eve. This wasthe scene that Abramson recorded. Patricia Smith, took a look at Abramson’s photos nearly four decades later and brought his night world back to life. “These fiercely breathing visuals are a last link,” she says, “to the unpredictable, blade-edged and relentlessly funky city I once knew.” Her words andhis pictures open the doors and give us a front-row (or a back-row... even better) seat to a time and place long gone. So: Watch. Listen.
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Outsiders, a special exhibition of unforgettable images opening attheAGO March 2016, highlights photographers and filmmakers working inthe United States from the late 1950s tothemid-1980s in a time of intense political and cultural turmoil. It's no accident that artists atthe time turned to photography and film - mass media then largely "outside" the realm of mainstream artandits focus on painting and sculpture- to express a broader range of human experience. Photographs by some ofthe greatest artists ofthe period depict musicians, cross-dressers, biker gangs, protests, press conferences, and even animals, bringing to light the complex social realities andthe yearning for greater collective and individual equality. As part ofthe exhibition, theAGOwill be presenting films by artists Kenneth Anger, Marie Menken, Robert Frank, Shirley Clarke, and others.
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This volume byand about the sculptor and pioneer land artist Richard Long explores his work from the 1990s tothe present day. Long's ability to make works of physical and intellectual beauty is unrivalled, and this new journey takes the reader around the world: to the Sahara Desert and down theRio Grande, from coast to coast in Ireland and Spain, to Tierra del Fuego and Mongolia, and tothe forests of Honshu in Japan. Some ofthe artist's sculptures were made during his walks through the world's landscapes, while others bring the material of nature - stones, boulders, driftwood, clay andmud - into a more public or sheltered environment: museums, galleries, houses, gardens. These works feed the senses, whereas the texts and photographs recording the artist's walks feed the imagination.
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Lieferverzeichnis des Backworks Buchladen Januar 1977. Co-owners Moore and Hendricks established Backworks in SoHo in 1976, based on their mutual curatorial interest inthe objects and events ofthe downtown artand performance scenes, particularly by artists associated with the Rueben Gallery, Judson Memorial Church, Happenings and Fluxus, with which they were both connected as collaborators and curators. Moore and Hendricks, each ofwhohas written extensively about figures such as George Maciunas, Yoko Ono, Allan Kaprow andBen Vautier, among others, have been instrumental inthe development of major collections, including the Gilbert and Lila Silverman Fluxus Collection at MoMA, andthe Barbara and Peter Moore Fluxus Collection at Harvard. Backworks closed in 1983.
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Wordpharmacy combines the structure of language with the healing principles of various medicaments. Like pills, language is something to be consumed bythe body, and in turn it does not only affect our conceptions of things, but it also comes to designate our very corporal movability inthe world. Consequently, words arenot only something we consume, they are refractory entities that in turn define and consume us. Wordpharmacy can be seen as a poetical gesture endeavouring tolet words work their magic from within the body itself. The Wordpharmacy is written and produced bythe danish poet Morten Søndergaard. The Wordpharmacy has be shown in several cities like Paris and London and Berlin and Bangor and Tromsø and Voss. The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian Ramsø and isnow available insix languages.
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Schwarz-Weiß-Drucke
Patrick Hartl (*1976) is a German contemporary artist with a passion for handwriting and lettering. As of age 15, he was painting Graffiti and learning the ropes ofart within the urban sphere. His graphic studies revealed a love for calligraphy and stylised writing with deep roots inthe gothic script ofhis native Germany. Patrick Hartl connects old craftsmanship with modern street style. On closer inspection, Hartl’s seemingly monochrome works turn out to bethe result of a multitude of layers of paint and a colourful diversity. His favourite canvas is a ten-years-old wall, which has been bombed, cleaned, bombed again, crashed, washed, damaged, but which always tells a newand unique story. As a master of handcrafted designs and analogue works, andone ofthe foremost urban calligraphers, Patrick Hartl has been involved in making artfor more than two decades. An avid collaborator, Hartl belongs tothe “CALLIGRAFFITI AMBASSADORS” and, in addition to exhibiting in traditional galleries from New York to Buenos Aires to Tokyo, and hehas painted murals across Europe and beyond.
Schwarz-Weiß-Drucke, Nr. 041ausder Reihe 100for10.
Thomas Lail is an artist and musician who exhibits inthe United States and internationally. He is represented inNew York by Masters Projects. Lail performs and records with soundBarn and Location Ensemble. He has published numerous reviews and essays including two catalogue essays onthe work of Robert Longo and publishes poetry and experimental writing through soundBarn Press. Thomas Lail is Associate Professor of Fine Arts at Hudson Valley Community College, SUNY in Troy, NY. He lives and works in Kinderhook and Brooklyn, NY with artist Tara Fracalossi and their son, Coltrane.
A guide forthe book artist – as the producer, publisher and distributor of their own artwork, to discuss some ofthe practical issues arising from this. A series of case studies explores artists’ experiences of making and marketing their books inthe UK, France, Germany, EIRE, Spain, Denmark, Japan, Argentina, Australia andtheUSA. We selected a range of artists with 2 - 30+ years experience in artists’ books, zines and multiples and asked them to share their working practice, experience of book fairs, interaction with purchasers, discuss problems and offer advice. We also asked private and institutional collectors to tell us about the ways in which they would prefer to interact with artists selling their books andany issues arising from their own collecting.
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Meg Stuart’s work isnot about the elegance and beauty of dance, or at least not inthe conventional sense. It is about exploring the outer edges of movement, where bodies age, fail, and surrender, where individual spaces disintegrate and bleed into each other, where physical memories are exposed like open wounds. Meg Stuart’s work is located atthe vanishing point where dance meets visual arts. Within just two decades, Stuart’s dance company Damaged Goods, which she founded in 1994, have produced a lengthy and diverse list of projects, ranging from countless full-length feature works to multi-disciplinary dance installations, improvisations, and films that spread far beyond the theatre stages ofthe world, into museum spaces, film festivals orthe wide open street. With mono.kultur, Meg Stuart talked about her first physical memories, the healing power of dancing andthe thrill of disorientation. Following Meg Stuart’s interest in abundance and complexity, the design discards all notions oftop or bottom, left or right, with text and images set in different and ever-changing directions. A magazine as a physical object that wants to be handled and turned. Reading as a dance.
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The starting point of this publication—andits eponymous exhibition held in Zurich in Spring 2017—is the conceptual encounter between English Popart artist Richard Hamilton (1922–2011) and Swiss historian and critic of architecture Sigfried Giedion (1888–1968), famous forhis landmark book "Space, Time, and Architecture," an influential history of modern architecture published in 1941. In 1949 Richard Hamilton—then a member ofthe 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,” andthe visual strategy of Giedion’s books.
Published onthe occasion ofthe exhibition "Reaper. Richard Hamilton and Sigfried Giedion" at the Graphische Sammlung ETHZürich (May 3–June 25 2017), a cooperation between Graphische Sammlung ETHZürich, gta exhibitions, andgta archive.
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Wordpharmacy combines the structure of language with the healing principles of various medicaments. Like pills, language is something to be consumed bythe body, and in turn it does not only affect our conceptions of things, but it also comes to designate our very corporal movability inthe world. Consequently, words arenot only something we consume, they are refractory entities that in turn define and consume us. Wordpharmacy can be seen as a poetical gesture endeavouring tolet words work their magic from within the body itself. The Wordpharmacy is written and produced bythe danish poet Morten Søndergaard. The Wordpharmacy has be shown in several cities like Paris and London and Berlin and Bangor and Tromsø and Voss. The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian Ramsø and isnow available insix languages.
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A perfomative art-piece to raise questions about the very concepts of preservation, ‘heritage’, immateriality and meaning.
Symbolic values build the conceptual frame forthe research onthe relationship between words and images inthe digitized world, transhistorical authorship, coded connectivness, digital diversification andthe residues ofthe significant other. What remains gallery will focus the limits of perception through the digitized perspective ofnon-linear history.
DIRECTORS´S NOTE
Dear Viewer, dear Reader, the following issue of what remains gallery magazine focuses the artist´s role andhis work through the lense of a public imagery andthe needs of a visual culture. The series wants to sharpen the focus on different aspects of an exposure toartandits objects. The changing scenes and actions are taking place impromptu and exemplify the limits of control from an artists perspective, when a piece ofart gets abandoned andthe idea of originality gets fostered. The perspectives onthe scenarios are fully invented and have nothing to do with any form of reality. Der Inhalt bezieht sich auf diverse Kunstwerke ausden Jahren 2004 bis 2015.
28 S., 14,8x14,8 cm, ISBN/ISSN 9783940548221 Drahtheftung, in Transparenthülle
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Sketches and Experiments from the artwork:
ALARMA MAN | LOVE FOREVER. The record was published by sinnbus records in 2010. In the process of drawing and designing the cover a small book emerged andwas meant to be published and shared with the world.
´LOVE´ is a selection of drawings on found footage photographs bythe artist Stephane Leonard and those drawings processed and edited bythe designer Martin Eichhorn. The first half ofthe book is dedicated toallthe drawings andthe second half to various layout sketches and experiments forthe artwork ofthe swedish band Alarma Man´s 2010 record LOVE FOREVER. The photographs display different stages within relationsships - from childhood to marriage to death. Leonard´s drawings and drawn words react and interact with the photos scratching offthe obvious, exposing invisible emotional aspects ofthe scene
13x13 cm, keine weiteren Angaben vorhanden Musik-CD in Papphülleund transparenter Kunststoffhülle, cover art: Stephane Leonard
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recorded in 2007 attheLeo Mars studio.
´Lightears´ is the long awaited debut album by Berlin duoLeo Mars. After a year of trial and error, alot of sessions, sound collecting and analysation of possibilities a precisely crafted, yet astonishingly free floating album came to life. In times of almost infinite sounds, instruments and styles it took theduo some time to come up with the basic material, form a language and then of course learn to speak it. Hours were spent inthe studio and their favourite lebanese restaurant discussing the world of sound.
´Lightears´ intelligently smudges the borders between a classic drone, an underground noise, a playful improvisation and anold fashion musique concrete record. Allthe genres fall into place rather unpretentious with pure sound excitingly assembled to challenge ones listening habits. It is a rather harsh production always bouncing back and forth between digital, crisp electronics and field recordings pushed way over the edge.
With minimal gear andset upLeo Mars managed to manoveur themselves somewhere inbetween a bedroom thrashing noise keyboard project and a theoratical paper score composer duo. Performing in a trance - allowing things to happen - awaken - making a conscious decision - slipping back into space
Networking Currents ist Chuck Welshs 1986 erschienener Überblick überdie Mail Art, ihre Ursprüngeund zeitgenössischen Praktiker. Es ist auch eine erweiterte Meditation überdie Idee von Netzwerken, die Mail Artund andere Formen „subversiver“ Korrespondenz als politisch aufgeladene Formen des Widerstands begreift. Das Buch enthält einen illustrativen Anhang mit Reproduktionen der besprochenen Werke.
Text vonder Website, übersetzt mit DeepL
Cover Design vom Autor
CONTENTS
Introduction and Acknowledgements
Part I Networking Currents
1 The Open Letter Manifesto
4 The Wooster Gallery Mail Art Melee
6 Origins and Fluxus Factors 11 Mail Artand Mass Media 14 Archives for Further Research 15 The Mail Art Product and Process 17 Networking and Mail Art Options 20 Money and Mail ArtDon't Mix! 24 Mail Art Fame 27 Tourism 28 Networking Currents 33 Networking New Spheres of Influence 35 Fighting Censorship Through Networking 41 Networking in Eastern Europe 42 Networking Marginal Resistance 44 Solidarity Through Networking
Part II Flags for World Peace 47 Flags for World Peace
Part III WNYC Radio Broadcasts 55 WNYC Radio Broadcasts 56 Interview with Buster Cleveland and Carlo Pittore 68 Interview with Mark Bloch and John Evans 81 Interview with David Cole and John P. Jacob
Appendix 94 Illustrations and Text
Notes 123 Notes, Part I 129 Notes, Part II
Bibliography
131 Primary Sources
132Secondary Sources
Index 137-144
A nuclear facility in Iran before and after an explosion, a village in Pakistan before and after a drone attack, a Cambodian river valley before and after a flood. The before-and-after image has become the tool of choice for analysing events.
Satellite photography allows us to scrutinise the impact ofwar or climate change, from the safe distance of orbit. Butone thing is rarely captured: the event itself. All wecan read isits effect on a space, and that’s where the architectural expert is required, to fill thegap with a narrative. In this groundbreaking essay, Eyal and Ines Weizman explore the history ofthe before-and-after image, from its origins in 19th-century Paris to today’s satellite surveillance. State militaries monitor usand humanitarian organisations monitor them. Butwhocansee in higher resolution? Who controls the size ofthe pixels? Interpreting these images is never straightforward.
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The Pepsi Challenge
Oversized ‘promises’ in the form of real estate advertisements are promoting thenew city along the lines of global real estate and living standards. ‘The perfect union toallyou desire’ and ‘We believe luxury is best served in small quantities’ first seen along Varthur Road in Whitefield, Bangalore, caught my attention. The second one leaves a particularly ironic, tangy, protestant-flavoured impression, seen from the German point of view.
Questions emerged about the Indian caste system, the sense of community, modesty and personal goals. The design of this urbanity also reminds me of earlier journeys tothe United Arab Emirates and Shanghai. Thenew urbanity becomes exchangeable, custom-tailored andits ‘ultra-luxurious villas’ accessible ‘forthe chosen few’ of the Pepsi Generation. But what happens tothe majority of a city’s population andits needs, uncertain ownership and neglect of basic amenities? Can it withstand the pressure flashed on every corner ofthe city? Do these promises affect social cohesion? ...
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Dritte Auflage.
Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy andyet, officially, only eight mosques inthe whole country. One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses andold factories. This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed bythe right wing party Lega Nord. The dull images ofthe many and diverse buildings that house the makeshift mosques are printed on folded pages. You open upthe gatefold to reveal the scenes inside the mosques, shot in full colour. The size ofthe gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups oftwo or three Muslims. Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely inourown hands. In 2014 Hidden Islam was awarded the Gold Award - Deutscher Fotobuchpreis, First Book Award - Paris Photo/Aperture Foundation and Author Book Award - Les Rencontres des Arles.
Text ausdem Vorwort von Martin Parr.
AusgabeMai 2022. „Arts ofthe Working Class“ ist eine Straßenzeitung für Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthält Beiträge vonKünstlern und Denkern aus verschiedenen Feldern und in verschiedenen Sprachen. Sie richtet sich andie Arbeiterklasse, also an alle, und es geht um alles, das allen gehört. Jeder, dersie verkauft, verdient mit. Jeder Künstler, dessen Arbeit beworben wird, gestaltet mit.
Anniversary launch Issue 21. Arts ofthe Working Class is glad to invite you on June 8 to the launch ofits fourth anniversary issue AROUND THE WORLD IN 80 PAGES. Organized in collaboration with Callie’s and a.p. Starting at 6.30 PM, the event will take a tour and discuss matters of tourism and forced displacement through the words and works ofits contributors. The title of both the event andour latest issue take Jules Verne’s proto sci-fi book as a starting point forour shared research. Verne, the poet and writer whose narratives took us on a journey into imaginary and inconceivable worlds, left us with an invaluable lesson– we perceive the world inits entirety only through technology, the very same technology that can only be progressive if accessible to everyone, rather than as means for individual convenience.
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Sarah Bodman made her first artist’s book tribute to Kurt Johannessen after Tanya Peixoto introduced her tohis books at bookartbookshop.
She produced ‘An Exercise for Kurt Johannessen’ in 2010, in tribute tohis book ‘Exercises’. The titles ofthe100 short stories she wrote and buried forher exercise, have since been taken up by BookArtObject an international book arts group, founded in Australia by Sara Bowen, with 84 artists currently making a book using one of Sarah’s short story titles.
As it is nowthe 10th anniversary of bookartbookshop in February 2012, andthe celebrations are based on theme of: x or what is to be done? Sarah asked Kurt Johannessen ifshe could select a further 10 (x) exercises from his artist’s book to carry out.
The result is ‘X Exercises for Kurt Johannessen’ an image only artist’s book, published as a free download, DIY self-assembly book on 21.02.2012. The exercises can be identified through reading the texts in Kurt Johannessen’s ‘Exercises’. Sarah has made her book as a free PDF download foryou to print outand assemble yourself, youwill need 4 sheets of A4 paper and a stapler
17,6x13,8 cm, Auflage: 500, ISBN/ISSN 9780982969427 Buch zu einer Ausstellung inderBoo-Hooray Gallery New York, eingesteckt inein mehrfach gefaltetes A2-Format-Blatt mitden Farbabbildungen der im Buch beschriebenen Bücher
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"Artists' book" is a troublesome term. There seems to be no single well-understood or generally-accepted working definition. Say "artists' book" in general conversation andyou'll likely get a blank look, if not outright confusion. even with a specialized audience of bibliophiles, or art world cognoscenti, it may be necessary to clarify exactly what you mean...
Artists' Book Not Artists' Book is an exhibition co-curated by Johan Kugelberg and Jeremy Sanders. In it are about one hundred books and of course all of them either are, or arenot, artists’ books, but whether it is even possible tosay which ones fall into which category is a matter that's not entirely clear. And inany case, it's likely notwo viewers would draw exactly the same conclusions.
Artists' Book Not Artists' Book. Vonder Webseite des Verlages
The food industry has provided us with some ofthe most funny, hilarious and absurd logos and illustrations to promote their products. The good thing, they are everywhere. And we collected a big bunch of them, some well known, but most of them not. In this 80 page extended issue of BLAD we give youour best finds, sliced and in pieces! The magazine also includes a text by Erlend Hammer. Hope you enjoy a nice meal after reading this issue.
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Schwarz-Weiß-Drucke, Nr. 026der Reihe 100for10.
Christopher is a graphic designer living and working in Atlanta. In 2014, he established Christowerks as a studio for graphic design. Before opening Christowerks, he worked atthe studios of Laurie Rosenwald, Young Professionals and completed major work for Sony Music Entertainment. He has taught design at PIArt Center in Manhattan andhis work has been featured in Print Magazine andTheNew York Art Book Fair 2014. He graduated in 2012 from The Creative Circus in Atlanta.
Infoblatt zur Ausstellung inder Tate Modern, London, 11.07.2019-05.01.2020. In Eliasson’s captivating installations you become aware of your senses, people around youandthe world beyond.
Some artworks introduce natural phenomena such as rainbows tothe gallery space. Others use reflections and shadows to play with theway we perceive and interact with the world. Many works result from the artist’s research into complex geometry, motion patterns, andhis interest in colour theory. Allbutone ofthe works have never been seen inthe UK before. ...
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Englische Version des Buchs "KRITZEL" der gleichen Autorinnen.
"Doodled is almost everything, always and everywhere. Even horses! Who knows what a great line is? A straight, clean one or a crooked, smeared one? In the picture book DOODLE, Doodle himself is talking. And we listen, look closely, andask ourselves questions like, “When is a line anarm?” In this book, thearm isthe beginning of a story. DOODLE shows kids that youcan do quite a lot with just a few quick strokes. And that you should never underestimate Doodle."
… We live a time of technology and great opportunities. Art creates new visions and interpretations ofour living, though sometimes it looks like mere reinvention of subjects already present inthe XIXth and XXth century. Our intent, however, is to leave a mark and make our contribution to an authentic identification ofour times. The engagement of artists is to create a cultural heritage to pass on to future generations, whowill probably understand our sensibility. Alas, it is notfor us toknow what will remain of contemporary art….
Vitaliy & Elena Vasilieva
1 S., 29,7x21 cm, keine weiteren Angaben vorhanden Laserausdruck nach Email vom slowenischen Autor
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My work »69. butyou have no idea of it« means a concept ofnon-linear reading and some hundred thousends milliards of combinations of possible connected readings, i.e. the same number of readers could read this book each inhisown combination. Youcan read my book in276! different combinations, which is this many: 276.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000
[69], S., 27x19,2 cm, Auflage: 150, ISBN/ISSN 9789616400619 Leineneinaband mit Schutzumschlag. Ausdem Buchblock ausgestanzte Seiten inden Ausschnitt eingelegt, kopfüber beidseitig bedruckt. Beigelegter Brief
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My work "69. butyou have no idea of it" means a concept ofnon-linear reading and some hundred thousends milliards of combinations of possible connected readings, i.e. the same number of readers could read this book each inhisown combination. Youcan read my book in276! different combinations, which is this many: 276.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000.000
Zwei verschiedene Motive, USAVooDooundThe Last Acts of Saint Fuck You, Schwarz-Weiß Version des gleichnamigen Buches von Bern Porter mit Xerox Sutra Editions.
Originally published in 1992 as a chapbook. The date ofthe edition yougot, Idon’t know. Afew people have recently been reprinting it. Part of a larger work called POLYNOISE which is still online.
Gefunden bei Mark Pawson aufder Small Publishers Faire in London 2019
Die amerikanische Künstlerin Romaine Perin analysiert in diesem kleinen Buch "Flecken" verschiedenster Art: Ungeziefer, Röntgen-Bilder, Computerausdrucke, Erdbeben, Ess-Flecken und mehr.
Dieses Buch istdie erste Künstlerbuch-Publikation des Verlages Hubert Kretschmer. Von Romaine Perin selbst gestaltete Anzeige zu diesem Büchlein im ersten Verlagsprospekt von 1980.
Text: The wine spilled out ofthe bottle and stained the tablecloth
Stains arethe effects of a cause, the proof of circumstance, the evidence of events. Stains are made by daylight, weather and natural disasters, on surfaces that reflect, and inthe danger zone.
Daylight at sunrise, the stain of daylight soaked the brick wall of my house and dripped onto the side walk. I stood outside and turned my face tothesun. My shadow trickled into the dusty gutters and stained the street behind me.
Weather During the night the rain struck the roof. The pellets of water pockmarked the muddy ground andthe swollen river entered the ocean andwas stained with salt.
Natural Disasters. The stains of earthquakes inthe broken stones.
Reflections ofthe gloomy tundra stain the mirror through the dusk.
Stains ofWar inthe Danger Zone in a corner ofthe continent, on a treeless snow covered plain, armies laid down their guns. The whistling ofthe cold wind abruptly ceased. A white flag drooped inthe still airandthe silence was stained with the loud breathing of soldiers
[60] S., 25x19 cm, Auflage: 200, keine weiteren Angaben vorhanden Vorder- undRückseite mit Siebdruck in Gold
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Sourcebook presents the detritus and collected imagery of a year of contemplation, frustration and ambivalence with the nature of photography. From an initial starting point ofthe typographic reference book, within its pages a myriad of situations and pictures present themselves - each at once recognisable and indecipherable.
Drawing heavily on ideas of representation andthe 'reading' of an image, the work within is open-ended, a liquid, unstable mix of ideas and images that attempt to elude the conclusive, finite nature ofthe captured image orthe printed photo. Instead, Sourcebook aims to be fluid - at once a source of reference and stimulation for future creative processes, and a photographic document littered with unanswered questions, oblique strategies and glimpses of meaning.
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82 S., 24,3x17,2 cm, keine weiteren Angaben vorhanden Broschur
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From what started as a music blog aimed at sharing the best music acts of ‘tomorrow’, nearly 3 years on, TMRW isnot only a quarterly printed lifestyle magazine, but an industry-recognised brand and voice. As a fresh faced, naïve 21 year old, Founding Director and Editor, Joe Brine was oblivious tothe potential of what hehad incepted. Having made the conscious step in tothe world of print, Joe adopted a simple but effective design, which would give TMRW a niche andsetthe magazine apart from any other onthe market. The attention to detail shows exactly this. The thicker paper stock andthe smaller size made the quarterly print high quality and aesthetically pleasing, because of this the magazine is more sought after and such is looked after more by readers and shared around with friends and family. Forany brand associated with TMRW it means that the reader is more inclined to notice and is more inclined to make a purchase.
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This book presents a wide selection of interviews and photographs from the collaborations between Willats and residents inthe 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 ofthe norms and conventions of an object-based art world, the projects in this book, mainly on estates inand around London, but also in Bath, Leeds, Milton Keynes and Oxford, highlight the realities of everyday life in both tower blocks andlow-rise planned housing. Text vonder Webseite
59x42 cm, keine weiteren Angaben vorhanden Plakat,
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The Office gallery presents new works bythe Austrian artist Bernhard Hosa inhis exhibition Hyperkinesia, starting on June 30, 2016.
Hosa's photo collages, objects and installations are reduced, almost minimalist in appearance and usually based on concrete themes. His starting point isthe tension between the individual and a normative society. Based on an engagement with the biological view ofthe inside and ofthe outside, on man as an object of scientific study and onthe measurement ofthe human body, he develops hisown formal language onthe interface between conceptual artand an aesthetic approach. Hosa deconstructs his reflections with artistic strategies such as reproduction, variation or sequence, and practices such as dissection andthe creation ofnew compositions. The resulting series of collages or objects and stringent arrangements ofthe space adopt the character ofthe contents ofhis research.
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Bast Fooks wasone of mynew years resolutions for 2016. I haven’t given up smoking yet, but I didend up spending mynew years eve in, printing and sewing the first Bast Fook issue. There and then I had decided that it would be a project in 12 parts and that I would produce a book for each month of 2016. Each Bast Fook is a repository of ideas (in the form of notes, thoughts, readings and misreadings, assumptions, aphorisms, contemplations, stories, lists, observations and lost projects). Bast Fooks have evolved into a platform through which, Ican organise - in a pretty disorganised way-ideas as they happen and material produced in different ways, under different circumstances, at different places and times and sometimes by totally different versions of myself. Bast Fook is an anagram of Fast Book and in a way each issue is offering a slow consumption of a fastness that often reads a lot like a facebook newsfeed, decentered, fragmented, multivoiced.
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A survey ofthe work of Michael Gibbs whose activities included poetry, performance, film, and publishing, andhis immersion in what he called “a genuinely ‘underground ’ culture… which owed nothing tothe official art establishment ”. As well as visual poetry and texts, the book includes his major study of blank books ‘All or Nothing ’, written in 2005, a selection of critical writing that originally appeared in Kontexts, and Artzien, journals that he edited and published, as well as articles from the photography journal Perspektief, andArt Monthly, for which he wrote a regular column. A chronology of examples ofhis visual and concrete poems, books and photography is reproduced, along with documentation of performances.
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1. Ausgabe.
From one ofthe most influential artists ofhis generation comes a provocative, moving novella about what it means to be a creative person under today's digital regime. In the course of a gripping, headlong narrative, Price's unnamed protagonist moves inandout of contemporary non-spaces on a confounding and enigmatic quest, allthe while meditating onart inthe broadest sense: not simply painting and sculpture but also film, architecture, literature, and poetry. From boutique hotels and highway bridges to PC terminals andoff-ramps. from Kanye West and Jeff Koons to George Bush and Patricia Highsmith. from the playground tothe internet tothe mirror, Price's hybrid of fiction, essay, and memoir gets tothe central questions not only ofart, but ofhow we live now
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This gorgeously illustrated deluxe volume shows the full range of Warhol’s work for magazines—which will surprise even his most ardent fans—and includes cover art, editorial illustration, and ad work.
Beginning with the cover of a 1948 issue of Carnegie Tech’s student magazine, Cano, and ending with a 1987 issue ofJet Society International, this stunning book explores, forthe very first time, the full story of Warhol’s collaborations with some ofthe most influential publications ofthe 20th century, including Harper’s Bazaar, Vogue, Time, TV Guide, Vanity Fair, and Playboy. Generously illustrated with images ofthe magazine layouts, this landmark publication collects more than 400 issues, revealing the artist’s full range of styles while also charting his artistic development over the decades. From charming drawings of shoes, hats, flowers, and cats to iconic illustrations of cars and cosmetics, from glitzy celebrity portraits to sexy pinups made with collaged Polaroids, this catalogue raisonné sheds new light onthe influence ofthe media and consumerism on contemporary art (and vice versa) even as it offers a unique perspective on Warhol’s deep and lifelong connection to popular culture.
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Englische Ausgabe. Erschienen anlässlich der Ausstellung "The Line of Fate" im mumok, Wien, 04.03.-29.05.2011.
Seven Books Grey is an updated, expanded version of Tacita Dean’s Seven Books (2003), and is an exploration of Dean’s oeuvre as it straddles film, drawing, photography, writing and book-making. Each book has a different focus and together they are an accurate survey of Dean’s work to date.
Book One: “Complete Works and Filmography 1991–2011”
Book Two: “Selected Writings 1992–2011” (Dean’s writings)
Book Three: “A Panegyric, Gaeta, Edwin Parker” (three projects made with and about Cy Twombly)
Book Four: “Film Works with Merce Cunningham”
Book Five: “Footage” (artist’s book with a text by Marina Warner taking a cultural-historical look atthe foot andthe significance of limping)
Book Six: “Post-War Germany and ‘Objective Chance’: W.G. Sebald, Joseph Beuys and Tacita Dean” (essay by Christa-Maria Lerm Hayes)
Book Seven: “Essays onthe Work of Tacita Dean” (texts by Wolfram Pichler, Peter Bürger, Douglas Crimp and Achim Hochdörfer)
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Although the history of photography andthe history of photo and artists’ books is widely documented, collected, exhibited, and discussed, the legacy of women using photography in print is underdocumented, cursory, fragmentary andtoo often, inaccurate. Women were always atthe forefront of innovation andthe political debate on photography, despite the harsh conditions in which they often lived and worked, but their voices and their historical contribution are still marginalised. As the feminist art historian Linda Nochlin asked, what arethe implications of this rejection and what elements of these practices do we need to reevaluate? Andwhy does it matter, beyond the historical inaccuracies? On the occasion of Paris Photo, Paper News is launching this Special Issue dedicated to women in print.
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Schwarz-Weiß-Drucke
Dave the Chimp has been riding skateboards since themid 1980’s, painting on found wood and making fanzines since themid 1990’s, and working inthe streets since 1998. He still does all these things, as well as exhibiting hisart in galleries and museums world wide, working as an illustrator for a variety of clients, directing pop videos, compiling books, and curating exhibitions. Dave has exhibited alongside the leading names inthe urban art scene, including Banksy, Blu, Miss Van, Swoon, Os Gemeos, Shepard Fairey, Space Invader, and Zevs. He wasthe first UK artist to have hisown artist model shoe created by Vans, and a book ofhis work (Part Of Rebellion 2 – Dave the Chimp) was published by Publikat in 2009. In 2011 he built his first concrete skateable sculpture “Papa undIch” outside ofthe Bethanien, Berlin, andthe wooden “friendship bowl” in the Awanganda Gallery, Wroclaw, Poland. He has since built the “Papa undIch Speilplatz” skatepark in Milan, andthe “Troll Bridge Ramp” at La Condition Publique, Roubaix, France. He is currently focused on change, encouraging exploration, protest culture and positive vibrations, with his “Human Bean” characters asthe medium through which to go on this adventure.
This book aims to collect and present a comprehensive overview ofthe work of Ruth Wolf-Rehfeldt. It is the result of a long and intense immersion into her archive, and intends to establish the importance of this unique artist – whodidnot have much recognition inthe past – not only tothe present day, but also tothe precise political context and time to which sheandher work belong. The book presents her typewritings series, all produced between the early 1970s (some ofthe earliest works are dated 1972) and 1989.
Mail Artwasherway to be in contact with the world outside theGDR, otherwise impossible to reach. After the fall ofthe Berlin Wall andthe Reunification, the artist stopped producing anyart: She felt her involvement was no longer “needed”. At the beginning of 2015 we started to archive Ruth Wolf- Rehfeldt’s work, discovering little by little an enormous and fascinating body of work, composed by more classic poetry, simple typewriting texts, visual poetry, concrete poetry, and abstraction.
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A reflection about the status ofthe image as a balance of forces in tension and a paradoxical act of cancellation ofthe body through itsown 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 - andyet it remains absent, obscuring itsown identity in an attempt to question the collective one. As it is impossible to show hisart during the regime, it ends up hiding, disappearing inside the image. Instead of showing, the image conceals, because it isnon-documentary andnon-transmittable. it is an act of birth, a prove ofthe artist’s resistance, especially as a human being inside (or against) any geographical or historical background. In the rituals ofhis gestures and inthe symbolism ofhis performances, Grigorescu finds a way to stay alive, preserving hisown 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 ofthe body and ofthe world. Grigorescu absorbs elements ofthe surrounding reality, showing us a continuity between artand life: hisact of dissidence isnot an outcry of provocation, nor is it extreme. it is an anti-aesthetic operation which uses experimentation and rough techniques to uncover the fiction ofart, to denounce the artifice of representation and to affirm images as an instrument of subversive power.
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Zum Release undzur performativen Lesung imCafé Bellevue de Monaco inMünchen am 06.12.2018 um 19Uhr.
Adelaide Ivánova (1982, Recife/Brazil) is a journalist and political activist working with poetry, photography, performance, translation and publishing. Her poems were translated into German, Galician, English, Spanish, Greek and Italian. Her texts and photographic work were printed in publications such asThe Huffington Post (USA), Marie Claire (BR), Clinic (UK), alba londres (UK), Lateinamerika Nachrichten (GER), artiCHOKE (GER), modern poetry in translation (UK). Her photo reportage are part ofthe collection of Kunst Museum Dieselkraftwerk (Germany), L’arthotèque – Museum of Fine Arts (France) and Galeria Murilo Castro (Brazil). She edits the anarco-feminist zine “MAIS PORNÔ, PVFR!” (proudly not online) and is co-founder of RESPEITA!, a coalition of Brazilian female poets and slammers. She lives in Berlin, where she tries earn a living as baby-sitter, life model, waiter and other alienating jobs.
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Repetetive music with selfbuilt machines. Recorded live May 11 2017 Walpoden Akademie Mainz, mastered by BS & Anne-F, photo by Brandstifter.
Anne-F Jacques andTim Olive use handmade, idiosyncratic instrumentation to produce and amplify detailed sound textures, from fine-grained to coarse. They share a tactile, lo-tech approach to improvised sound composition, manipulating diverse objects and materials in conjunction with somewhat unpredictable audio pickup/amplification systems to create a music in turns serene and agitated, pellucid and dense, fluid and gritty. Jacques uses small electric motors and Olive employs magnetic pickups; both sources are modified, manipulated and amplified. The hands-on nature of their instrumentation results in performances which are both sonically captivating and visually intriguing.
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Die Entdeckung der klassischen Moderne im aktuellen Grafikdesign
Today’s designers and illustrators are synthesizing the best elements from past eras of graphic design to create a new visual language with a reduced and rational approach. The Modernist documents this uniquely contemporary, yet timeless aesthetic that is built upon the rediscovery and seamless melding of classical type elements and collage ofthe 1950s, the geometric patterns and graphic elements ofthe 1960s and 1970s, andthe vector graphics and computer-aided montage ofthe 1990s. With its fresh perspective onthe legacy of past craftsmanship and quality in outstanding current work, The Modernist expands our understanding of what modern graphic design can be.
Text vonder Website Der Zeitungsartikel "Die gestern erträumte Zukunft sieht einfach besser aus. In dem Bildband "The Modernist" simulieren Designer Menschen und Gebrauchsspuren" (Süddeutsche Zeitung) vonJanFüchtjohann liegt bei.
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).
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OZON Magazine is an urban fashion magazine that hashad a stable and significant reputation as an independent publication since 1996. OZON is a different form of fashion periodical that focuses on urban youth culture, modern fashion, artand music. Thenew international issue of OZON is devoted toour personal shelters all over the universe. Youwill gaze at beautiful pictures and read beautiful minds in search of tranquility and introspection. We discover forgotten places and wonder whether our shelters look alike.
Interviews with: Anders Petersen, George Pitts, Steven Tai, Wes Lang, Martin Stranka, Phoebe English and more. Photography by Alena Jascanka, Yorgos Mavropoulos, Sonia Szóstak, Rita Lino, Nikolas Ventourakis, Hayley Louisa Brown, Sophie VanDer Perre, Winter Vandenbrink.
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Erschienen zur Ausstellung vom 16.01.-15.03.2015 inder Galleri Susanne Ottensen Kobenhagen. (Anm. Im Katalog werden drei verschiedene Daten für die Dauer der Ausstellung angegeben).
Text von Magnus Thorø Clausen. Interviews von Hans Ulrich Obrist. Per Kirkeby and Lawrence Weiner have known each other for many years. The idea of making a collaborative work and an exhibition together already evolved inthemid eighties, butdue to practical reasons the project wasnot realized back then. Last year during the fall, the idea returned to us in a new form, and we decided together with the artists that nowwasthe time to make it happen. Per Kirkeby shows two brick works built directly within the gallery space. One work is a tall stele with a deep niche, a black line ora "metaphysical shadow" running vertically through it. The other piece is a monumental quadrangular block, an open/closed building or, if youwill, a hollow slightly rotten tree. This new installation is made in collaboration with Lawrence Weiner, whohas contributed with texts across the inner and outer brick walls, so that words, matter and space overlap and transform the whole. Lawrence Weiner is also showing two other textbased sculptures made site specifically forthe gallery space.
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Schwarz-Weiß-Drucke, Nr. 039ausder 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. Hisaim is tousethe drawing’s practice like a vehicle to documents and interpret his daily observation ofthe 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 youcan follow each Sunday.
Zum Release undzur performativen Lesung inder Lothringer 13 florida inMünchen am 01.03.2018 um 20Uhr.
Ruine München is happy to presents Max Grau's first artist book ever. In his words: "I’m really happy with howthe book turned out. It looks and feels pretty. It has 84 pages and contains 53.260 characters (incl. spaces). There’s 25 images spread out over six chapters (which have names of varying length). The whole thing is titled after a line from a Frank O’Hara poem that I really like (although I’m not quite sure if I »get« it). There’s footnotes and page numbers and even a topic (optimism. Sort of). The text is written in English andthe book is covered in a beautiful sleeve, designed by Maria (I think). It (the sleeve) contains a very flattering text (in German) about… uhm… me, written bythe whole RUINE gang. Every issue is numbered and since there wasn’t aton of money (why is there never an actual ton of money?), we only printed an edition of 70."
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THEBIG SLEEP—the exhibition title refers to Raymond Chandler's detective novel andthe legendary Film Noir. Sleep and death, pause, standstill, threats, ambiguity, fears—these aspects are virulent and gained astonishing topicality in 2020, as does the participation of many American artists inthe exhibition. The Haus der Kunst becomes the setting for a production that plays with twilight and darkness, light and shadow. With introductory essays, artist texts and exhibition views, the catalog allows you to immerse yourself DeepLy in “THEBIG SLEEP”.
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Publikation erschienen, im VfmK Verlag für Moderne Kunst, anlässlich der4. Biennale derKünstler im Haus der Kunst, 19.07.–08.09.2019, veranstaltet vomKünstlerverbund im Haus der Kunst München e. V. mit Texten von manchen der teilnehmenden Künstler zu Inspiration und Werk zum Thema TheBig Sleep und ihrer Reminiszenz anden Film von Regisseur Raymond Chandler.
"The Apple Tree Submarine is a unique art project with which artist Oh-Seok Kwon wants to create an “Art Community”. You – as an art lover – will be involved in it. How? Learn more atthe opening andthe following days ofthe project week.
Apple Tree Submarine reflects the artist’s life stages, feelings and aspirations. In a series of drawings, he captures these milestones. The drawings are to be understood as Oh-Seok Kwon’s diary. Like the submarine, the artist looks atthe world from a distance. He asks himself questions about being human, being rushed inthe modern world, the excesses of striving “higher and higher – more and more” andthe current insecurity. Thus, the flying submarine is like the artist’s eyes with which he permeates the world. As the title suggests, Oh-Seok Kwon has taken an apple tree onhis journey through Munich and further around the world. Why? That would betoo long a story at this point."
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23x18,5 cm, keine weiteren Angaben vorhanden Drahtheftung, Pappumschlag, bestehend aus drei ausklappbaren Teilen, verschiedene Papiere, perforiert, metallverstärkte Ecken, in transparenter Kunststoffhülle, mit angebrachten Aufklebern
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"RRRUIDOSSS" is a handmade publication divided in three parts that wants to take inthe noises that has been established like the most annoying, noxious including the ultrasonics and infrasonics. This damaging sounds, written in paper using onomatopoeias, are reduced and convert into harmless ones. In addition, this is a very special edition asyoucan unfold and streap through the micro holes! So you have the possibility toget three books inone or an unfold one.
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These 20 Openings for a Novel are Creative Commons (CC) license and thus free ofuse. Please notify the artist ifyou actually use them and make note of it inthe credits.
Thank youand enjoy – for a world with no more writers‘ block.
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The Directorate ofArt atthe Deparment of Culture and Information wishes to inform you ofThe Ardcard, an exhibition and competition set to take place atthe Sharja Art Museum during 2005. To take part in this exhibition, allyou have to do is make use ofthe postcard provided with this invitation. Fill in your personal details inthe space provided andusethe space onthe card as a play ground for your imagination, then mail the card back to us.
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46 S., 17,5x17,5 cm, Auflage: 200, numeriert, 2 Stück. keine weiteren Angaben vorhanden Drahtheftung, mit Pergamentpapier, 2farbige Risographie und Farblaserkopie, in transparenter Kunststoff-Schutzhülle,
We all have songs that left a mark, that changed theway we thought about music, about life, that helped us make new friends, that set something in motion. We wanted to collect these songs, and especially the stories behind them, from people that weknowand like. This zine contains written pieces (in Englisch and German), as well as images, done by 13 wonderful people.
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16,5x22,5 cm, Auflage: 20, numeriert, 20 Teile. keine weiteren Angaben vorhanden Kartonbox mit Siebdruck, Konvolut aus 19 Zines mit Drahtheftung, ein Faltblatt
Sammlung von Zines aus Hongkong bezüglich der Proteste 2019/20, zusammengestellt vondem Kollektiv Zine Coop
Thanks tothe artist researcher and activist Joanna Wong, I have been well informed ofthe situation in Hong Kong since the beginning ofthe movement. So when I sawthe Hyperallergic article about the protest zines gathered and distributed bythe artist collective Zine Coop, I thought people in Paris should know about this. The exhibition Freedom Hi! happened in many places inthe world, I welcomed it at 本 \hon\ books. To cover the cost production ofthe exhibition, I decided to make a catalogue boxset of 19 zines, with an index ofall them and an interview ofone of ZineCoop founders Forrest Lau.
Dank der Forscherin und Aktivistin Joanna Wong binich überdie Situation in Hongkong seit dem Beginn der Bewegung gut informiert. Alsich also den Hyperallergic-Artikel überdievomKünstlerkollektiv Zine Coop gesammelten und verteilten Protest-Zines sah, dachte ich, dass die Menschen in Paris davon wissen sollten. Die Ausstellung Freedom Hi! fand an vielen Orten der Welt statt, ich begrüßte siebei 本 \on\ books. Um die Produktionskosten der Ausstellung zu decken, beschloss ich, einen Katalog mit 19 Zines zu erstellen, mit einem Verzeichnis aller Zines und einem Interview mit Forrest Lau, einem der Gründer von Zine Coop.
114 S., 26,5x20,6 cm, Auflage: 250, numeriert, signiert, ISBN/ISSN 9783957633538 japanische Bindung, innen 16 kleinerformatige Seiten Fotopapier mit Originalfotos, eine Seite mit eingeklebtem Fadenende der Bindung, signiert vom Buchbinder,
Katalog zur Ausstellung vom 04.05.-25.05.2016 im Ausstellungszentrum der Universitätfür angewandte Kunst, Heiligenkreuzer Hof, Wien. Beiträge von 2+1 (Selda Asal & ÖzgürErkök Moroder), Fatih Aydogdu, Bernhard Cella, Canan Dagdelen, Omar Imam, Ebru Kurbak, Lorie Novak, Erkan Özgen, Mario Rizzi, Pinar Ögrenci, Hansel Sato, Cengiz Tekin, Aslihan Ünaldi, Mirwais Wakil (in collaboration with Melih Meric). Der Herstellungsprozess dieser Publikation ist Teil der Installation "Das unsichtbare Handwerk" von Bernhard Cella. Die Ausstellung 'when home won’t letyou stay' thematisiert aktuelle Entwicklungen und fragt, was es heute bedeutet, human zu sein - vordem Hintergrund gängiger Ideale von Menschlichkeit und Menschenrechten. Die Bandbreite menschlicher Handlungsweisen steht im Fokus der 14 verschiedenen künstlerischen Positionen.
'when home won’t letyou stay' umfasst u. a. ein Musik-Video, Installationen, einKünstlerbuch, eine Fotografie-Installation, einen Dokumentarfilm, einen Spielfilm, eine Performance und eine performative Lesung. Kuratiert von Isin Önol.
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Recorded onJan 03 2018 at Walpodenakademie Mainz, Collages by V.E.B. Freie Brandstiftung.
Antibodies is what we need. New publication ofDuo-Loop-Sound-Poetry-No!-sense with my great Antibuddy Stefan Brand Stifter on Cassette Label Steepgloss from Wigan, England.
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212 S., 24,5x17 cm, keine weiteren Angaben vorhanden Broschur mit Schutzumschlag. Mit eingelegter Preisliste. Mit Plan der Ausstellung. Mit eingelegter Liste der ausstellenden Künstler.
erscheint zurGroßen Kunstausstellung im Haus der Kunst München, 21.04.-20.06.2004. Mit Sonderausstellung Stephan Deckert. Veranstalter: Ausstellungsleitung Große Kunstausstellung im Haus der Kunst München e.V., Präsident Helmut Kästl. Mit Texten zum Thema "Die Ökonomie der Aufmerksamkeit - Kunst und radikales Denken im Zeitalter des strategischen Konsensus", von Francesco Bonami, Lynne Cooke, Richard Armstrong, Vicente Todoli (Umfrage von Massimiliano Gioni undAli Subotnik, aus Parkett Nr. 69), Chris Dercon (Youcan be a museum oryoucan be modern, butyoucan#t be both), Jochen Meister (Wandlung eines Ortes - das Haus der Kunst, Wieland Schmied: Überdie Bilder von Stephan Deckert.
Die Ausstellungsleitung Große Kunstausstellung im Haus der Kunst München benannte sich 2014 um in "Künstlerverbund im Haus der Kunst München e.V." Ab 2013 gibt esein neues Konzept für dieGroße Kunstausstellung: Eine große Ausstellung mit langer Laufzeit soll nur noch alle zwei Jahre stattfinden, unter dem Titel "Biennale derKünstler", im Westflügeldes Haus der Kunst, in den Jahren dazwischen eine kürzere Ausstellung, in einem der Galerie-Geschosse des Haus der Kunst.
Heft zur Ausstellung "Youare my wave", 07.04.-28.05.2017, in der Lothringer13Halle.
Eine international besetzte Ausstellung mit Werken von neun Künstlern, fürdie Musik und Klang einen wesentlichen Teil oder eine Konstante in ihrer Arbeit darstellt. Die Lothringer 13 Halle präsentierte inden letzten zwei Jahren bereits eine Vielzahl an musikalischen Erlebnissen, undnun entfaltet sich dieses Interesse auch in einer grossen Gruppenausstellung, die im April undMai sicht- undhörbar ist. Das Verschränken von Visualitätund Musik eröffnet einen künstlerischen Bereich, der sich stetig neu definiert und gleichzeitig in einer langen Tradition besteht. Innovation undRückgriffe, konzeptionelle oder eher emotionale Verbindungen, flüchtige und beständige Formen und viele andere gegenläufige Praktiken sind Gegenstand der medienübergreifenden Projekte, dieYOUARE IN MY WAVE versammelt.
Music hasitsway, music hasits waves.
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Eine charmante und humorvolle Bildergeschichte der portugiesischen Illustratorin und Autorin Joana Estrela, welche aufein Papierbogen gedruckt istundzum lesen aufgefaltet werden muss. Das Comic besteht ausfünf Illustrationen welche - wieder Titel bereits verrät - helfen sollen, um einem Mädchen zu sagen, dasmansie gerne hat. Vermutlich in Porto veröffentlicht.
Wir leben immer noch in einer Zeit, in derdieMänner dominieren! Sie suchen sogar gegenseitig nach Respekt und Bestätigung, während die Frau zum Schweigen gebracht undins Abseits gedrängt wird. Ichmöchte Sie ermutigen, die weibliche Stimme und Präsenz zu stärken und sich vonden Zwängen der traditionellen Männlichkeit zu befreien.
Nachricht von Alma Mag, übersetzt mit DeepL
this book is a book project published by Viaindustriae that involves contemporary artists in thematic exhibitions and side vents. There are studies and researches by operators, curators, publishers, and specific artist's interventions inthe pages. The discussion panels opened within a series of workshops are included inthe publication that treats the archiving criteria inthe artist's book practice. The operation focuses on three sections: INbook (filing and actions), OUTbook (multiplication and digression), IFbook (artist's book and infinite hypothesis). There are texts by Emanuele de Donno, Giorgio Maffei, and specific pages projects by Celine Comporelli, Imvermomuto, Dubbin/Davidson, Amedeo Marteghni, M+M, Daniela Comani, Banu Cennetoglu, Markus Miessen, Daniel Eatcock, Helen Sommer, Edamimomda/Cramer, and Documentation Celine Duval.
from the publisher
Preface by Sarah Bodman, Essays by Walter Struve (librarian State Library of Victoria), Dr Scott McQuire (Associate Professor and Reader, School of Culture and Communication, University of Melbourne), Humphrey McQueen (freelance historian) andDes Cowley (Rare Printed Collections Manager, State Library of Victoria). The Silent Scream: political and social comment in books by artists presents, not only a companion catalogue to an exhibition held at Monash University Rare Books, but also a journey through some of humanity's most inhumane and hypocritical moments. Reaching back to William Blake with a facsimile ofhis illuminated book America: A Prophecy then travelling through thetwo world wars and on tothe modern erathe catalogue provides insights into 77 influential books and works presented in book form. Vonder Webseite
This book isthe first since the early 1970s devoted tothe extraordinary British Benedictine monk, scholar, translator, concrete poet and artist Dom Sylvester Houédard (1924–92). Edited by Nicola Simpson, with new essays by Gustavo Grandal Montero, Rick Poynor, David Toop and Charles Verey, Notes from the Cosmic Typewriter offers a broad and richly illustrated introduction to this major artistic and theological figure.
Besides many ofHouédard’s ‘typestracts’ – the concrete poems produced entirely with his Olivetti typewriter – this book also includes examples ofhis lesser-known ‘poem-objects’, a selection ofkey texts, as well as never-before-published performance scores. In both his spiritual views and artistic output, Houédard stands out as a model of insatiable curiosity, building around him a vast network of enlightened poets, visual artists, performers, musicians and thinkers ofall faiths and walks of life.
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[270] S., 27x20,8 cm, Auflage: 3.000, ISBN/ISSN 9780978869786 verschiedene Papiere, erste Seite mit Schablone gesprüht
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Facsimile edition of Destroy All Monsters Magazine including remnants ofthe "lost" seventh issue, which was never released. Destroy All Monsters Magazine features work by Mike Kelley, Cary Loren, Niagara, andJim Shaw.
Destroy All Monsters Magazine was edited by Cary Loren and contained artwork, photographs, and flyers from band mates Mike Kelley, Cary Loren, Niagara, andJim Shaw. Printed using any papers and techniques available tothe band, the issues combine thecutand paste tactics of punk zines with a psychedelic affinity for color. Destroy All Monsters Magazine functions as a kind of manifesto, providing insight into the band through densely layered pages with movie imagery, kitsch, cartoons, delicate drawings, and counter-culture collages. While Destroy All Monsters has been the subject of recent exhibitions and partial reprints, this isthe first time that all issues have been reprinted.
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Boot Print Volume 1/Issue 1 covers the Boots exhibitions and happenings. The inaugural exhibition The Politics of Friendship and Georgia Kotretsos solo show 10 Fingers 88 Teeth looks at five different models of artist-run spaces La Panaderia, Mexico. Kling and Bang, Iceland. PiST, Turkey, and SubCity Projects, in the United States. discusses forms of arts publishing and distribution. features Adelheid Mers insightful diagrammatic chronicle alongside Vilem Flusser’s Crisis of Linearity (1988), the first translation into English. and last, speaks with influencial curatorial voices about their practice sush as Anne-Laure Oberson. Vasif Kortun. Xenia Kalpaktsoglou, Poka-Yio, Augustine Zenakos. Mary Jane Jacob and Shannon Fitzgerald about the local and international art scene, as well asthe debutant Destroy Athens Biennial.
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[24] S., 26,5x26,5 cm, Auflage: 1.000, numeriert, keine weiteren Angaben vorhanden Drahtheftung, Heft in Pappschuber mit Aufkleber
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This isthe twelfth and final edition of Soundscreen Design's Artist Music Journals series, featuring the work ofEye, known primarily asthe vocalist forthe Japanese band Boredoms and also forhis prolific visual art portfolio. He used this project as an opportunity to design for dozens of imaginary bands, including original album artand vinyl details. Eye lives and works in Japan, and is known primarily asthe vocalist ofthe Boredoms (Voredoms), buthas also worked with artists such asNam June Paik and John Zorn, andhas recently started performing solo as DJ Pika Pika Pika. In addition tohis musical activities, Eye is an accomplished visual artist - his work includes collaborations with Shinro Otake (as Puzzle Punks), and hehas designed many record covers, including the jacket ofthe Beck album Midnight Vultures
[24] S., 21x14,7 cm, Auflage: 30, numeriert, signiert, keine weiteren Angaben vorhanden Drahtheftung, zwei verschiedene Papiere, in Pergaminhülle
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'say cheese', 'please laugh', 'show your smile' - this is what people usually say, when they take a private picture of their friends or family. These pictures normally remain inthe private sphere ofthe photographer andare only shown to a selected audience. For this conceptual and experimental photo-series such private images have been forcefully appropriated: individual prints have been taken randomly from drug stores and photo developers, the pictures where selected and then set in relation to others. The negatives of these images were not taken. Unlike the concept ofthe objet trouvé, where found objects and materials arethe basis for creative work, the images used in this project are objets appropriés, they have been actively taken rather than found. They are documents of other peoples memories, memento mori of their existence, beautiful in their own right. By blurring and distorting them, the concept of remembering and forgetting, documentation and memory is questioned.
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Following the example of French and British railway companies, C.P. (Portuguese Railways) built houses and social facilities between 1910-20, to support its employees and their families. Key projects implemented during the first quarter ofthe twentieth century included the Boneca neighbourhood, for retired railway workers, andthe Vila Verde neighbourhood, in the alignment ofthe Bairro Camões neighbourhood. The latter was built in 1926 designed by Cottinelli Telmo and Luís da Cunha. All these neighbourhoods are located inthe city of Entroncamento. The city itself was created because ofthe railways. The station wasthe first dwelling - at the time a small tent (1862). This new venture provoked major migration from the interior of Portugal, of those who wanted to work forthe Company. As a consequence, C.P. (Portuguese Railways) developed a plan, involving a series of ambitious social support structures, perhaps unique atthe national level. The company built neighbourhoods for employees, a school, a supplies warehouse, an anti-tuberculosis dispensary that operated as a health centre and also encouraged the development of sporting activities. In parallel with technological evolution and development of railway activities, the workshop area was expanded, included reinforced staff training, which reached a peak when a training centre was built, that is today called FERNAVE, house in a huge building, built from scratch for these functions and which formerly housed the Instituto Superior de Transportes (Higher Transport Institute).
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[20] S., 18x14 cm, Auflage: 3.000, ISBN/ISSN 9783868740080 Drahtheftung
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Ruscha der Fischotter aka: Printed Matter And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As After Ruscha aka: One Hundred Views OfOne Hundred Views Of Mount Fuji, If Someone Says Soaka: SIX HANDS AND A CHEESE SANDWICH is a book about books, a catalogue and anart/bookwork initsown right.
Content: By nowthe appropriation and paraphrasing of Ed Ruscha constitutes a genre ofitsown. The first were 1968 Bruce Nauman with 'Burning Small Fires' and 1971 'Ed Ruscha' (actually Joel Fisher) with 'Six Hands and a Cheese Sandwich', with further appropriations or hommages over the decades, and inthe last years it almost became fashionable, the evidence is massive.
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254 S., 29x23 cm, ISBN/ISSN 9780989911726 Klappbroschur, verbautes Fach mit eingelegtem Heft, diverse eingelegte, teils gefaltete Blätter auf verschiedenen Papieren, eingebundenes Plakat, gestanzte menschliche Figuren, eingeklebte Audio-CD in Schutzhülle,
Esopus 23 includes stunning artists’ projects by Marilyn Minter (a brand-new series of work—including a removable insert—incorporating metallic and translucent specialty papers.), Mickalene Thomas (a mesmerizing collection of collaged images created forthe issue including die-cuts, embossing, and specialty varnishes—and another detachable insert). Karo Akpokiere (a beautiful series of drawings, perforated for easy removal by readers, by the Lagos- and Berlin-based artist dealing with the challenges related to moving between two distinctly different cultures). Jody Wood (an in-depth look atthe artist’s most recent iteration ofher “Beauty in Transition” project, in which she provides hair-care and therapeutic services to homeless-shelter residents and their caregivers). Chuck Kelton (the master printer for photographers such as Mary Ellen Mark and Danny Lyon creates hisown series of dramatic photogram “landscapes,” including a stand-alone, frameable print). and Stefan Kürten (an exquisite series of drawings incorporating complex folds related to mirrored elements within the images themselves).
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128 S., 29,7x21 cm, Auflage: 150, ISBN/ISSN 9789963225101 Softcover, Klebebindung
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Christophoros Kyriakides was born in Nicosia, Cyprus in 1949. He was an architecture draughtsman and considered himself an inventor. In 1988 he self-published “Six Continents Stars Compass”, ‘an entertaining and educational’ board game. He considered the game inventive, recreative and formative forall ages and intended its global distribution. The game received no recognition from the public andnow only a few copies exist. In the board game, Kyriakides draws a journey with impossible objects, invented maps, landscapes and anagrammatic poetry with mathematical diagrams. One comes across an abstracted reflection of80s locality, world politics, obsession with the American dream, an isolated emotional darkness but also a universal landscape. A chance encounter of Marina Xenofontos with this game catalysed a strong fascination that led tothe uncovering ofhis archive. This publication, a part of Xenofontos’ practice-based research, brings tothe fore the rich universe of Kyriakides’ personal symbolism that shecreatively harnesses as a means of an alternative, atypical handling and systematisation of themes and issues that she finds affinities with.
Evagoras Vanezis.
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Titelergänzung: The dematerialization oftheart object from 1966 to 1972 : a cross-reference book of information on some esthetic boundaries : consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, antiform, systems, earth, or process art, occurring now inthe Americas, Europe, England, Australia, and Asia (with occasional political overtones), edited and annotated by Lucy R. Lippard. In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts byand taped discussions among and with the artists involved and by Lippard, whohas also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record ofthe thinking ofthe artists — a historical survey and essential reference book forthe period.
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Ursprünglich publiziert 1973 bei Praeger, New York
48 S., 35x26 cm, Auflage: 10.000, 2 Stück. keine weiteren Angaben vorhanden Zeitungsdruck, Blätter lose ineinander gelegt
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Keep calm and abolish imperial pride, racial purity and class harmony Ausdem Booklyn-Archiv
This third issue ofour newspaper is dedicated to this year’s overwhelming number of anniversaries andits abysms. With curiosity we notice their paradoxical relationship with the present. It’s been ten years since the financial crash, but monetary values arenot more balanced and speculation bubbles are bigger than ever. It’s been 50 years since LSD came into popular use, opening the doors of perception, but perception seems to be even narrower today than itwas back then. It’s been 80 years since Austria’s annexation to Germany, andyet ‚The Sound of Music‘ is still remembered as a classic, sweetened depiction of resistance towards fascism’s expansion in Europe, rather than the fall of aristocracy, what it really was. It’s been 100 years since theend ofthe First World Warandyetthe struggle between Conservatism and Socialism has never been so prevalent. It’s been 200 years since Marx was born, andhis work still remains a historical ideal rather than a reality.
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1. Auflage The author discusses the impasses and shortcomings of translation, this “approximation of discourse that produces a new discourse” and he opposes the notion of displacement, a phenomenon born of globalization: if people and objects are moved, so it willfor language. Using the example ofthe inffuence of advertising, information flow andthe effects of networking, Kenneth Goldsmith shows the obsolescence oftheact of translation and reflects onthe idea of movement. Movement isthenew reality which tends to impose its standard upsets linguistic structures, social and political worlds, and profoundly changes our cultural practices.
Following Theory – a sum of500 texts printed and assembled inthe form of a ream of paper –, Against Translation isthe second book of Kenneth Goldsmith published by Jean Boite Éditions.
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Anlässlich der gleichnamigen Ausstellung von Paulo Nozolino im Museu de Arte Contemporanea de Serralves, Porto, 07.05.-10.07.2005.
Paulo Nozolino only makes black and white photographs and they are dominated by an impossible darkness that seems impenetrable to light. The photographs were made all over the world - notably in countries ofthe Arab world - but inthe majority of cases it would be difficult to attribute a specific location to them.
Photographs from Auschwitz arethe decisive exception. Auschwitz appears asthe absolute place and time that orientates everything else. In thirty years of a career as a photographer, Nozolino has constantly intensified his tragic vision of reality: this is visualised in pictures that originate from hisown biography and travels. in pictures ofmen, women and children. in pictures of birth, love making and death.
This publication assembles forthe first time photographs from Nozolino's different projects over the years, to form a new narrative, untold until now: the narrative of beginning and ending, and atthe same time the narrative ofhis life's work.
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Schwarz-Weiß-Drucke, Nr. 020ausder Reihe 100for10.
Adam Hayes is a specialist in hand-rendered typography and intricate, intelligent illustration. His prolific work style has generated an impressive portfolio that reflects an interest in vernacular lettering and a fascination with urban and natural landscapes. Adam’s creative process see’s his simple pencil sketches transformed and refined into elaborate and optimistic illustration. Each project is concept-driven, allowing his work to grow and maintain a sense of energy and sophistication. A graduate ofthe Royal College ofArt, Adam has since established a diverse client base which welcomes collaboration with global companies, charitable organisations and small, local start-ups.
Schwarz-Weiß-Drucke, Nr. 021der Reihe 100for10.
Fengel lives and works inhis hometown, where he visited the Bavarian state institute of photography from 1986 to 1988. After that he lived inNew York until 1991. In addition to regular illustrations and illustrations for well-established newspapers and magazines, such as ZEITmagazin and Vice, numerous national and international exhibitions took place. Fennel’s work is inthe collection ofthe Munich Pinakothek der Moderne, the Städtische Galerie inthe Lenbachhaus, the DEKA-Bank, the Fotomuseum Munich, the Museum of Modern Art in Frankfurt am Main andthe Munich Re. Fengel also works as a filmmaker and shoots videos for DJ Hell. Together with Jörg Koopmann, he runs the “glossy” photo forum in Munich, which Koopmann founded together with Marek Vogel in 1997. In 2000, he founded the award-winning agency Herburg Weiland with Judith Grubinger andTom Ising.
Schwarz-Weiß-Drucke, Nr. 027ausder Reihe 100for10.
„Hate it or love it – the underdog’s ontop.“ This basically says everything about Eva. Born and raised inthe bavarian desert she made herway up north to study graphics andend up in Berlin. Being everything and nothing. Graphics, drawing, painting and writing was always part ofher social media lifestyle.
FABIAN MAIER-BODE is a graphic designer currently working in Berlin. The starting point and main engine ofhis practice is a significant interest in type and content. That’s why he develops straight-forward and methodically design solutions that aim to be conceptually strong, contextually innovative and personally challenging.
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Lucas Benarroch, aka MRKA, treats his painting, collage and graphic design as an unquenchable obsession. His passion for precision can be seen throughout his work. His creations are versatile in both style and medium. MRKA was born and raised in Madrid. He moved toNew York and attended Parsons TheNew School for Design. The transition tothe United States has pumped his work ethic into overdrive. His work has been featured at galleries and exhibitions in Madrid, New York, Buenos Aires and Miami including Gallery 151, Wallplay, Museo Marand Gregg Shienbaum Fine Art. His commercial work includes clients such asHBO, Pepsi andThe Wutang Brand.
20x40 cm cm, 10 Teile. keine weiteren Angaben vorhanden Konvolut mit Heften/Zines unterschiedlicher Formate A6-A5 in Plastiktüte des Lenbachhaus mit Applikationen aus farbigem, geschnittenem Tape und Geschenkband. Teils Collage von ausgedruckten Fotos auf Transparentpapier, Fold-outs, gezeichnete u. geklebte Karten, übereinandergedruckter e-mail-Verkehr zum Seminar, Ausdruck des Seminarprogramms, als Binde umdas Konvolut. Handschriftlicher Begleitbrief
Produziert zum Seminar von Frauke Zabel ander TUMünchen, Oktober/November 2018. In diesem Rahmen auch Besuch imAAP am 03.11.2018.
Based on an observation of public, semi-public and commercial spaces in which we move in Munich today, the seminar takes a look atthe regulation ofthe public space (gender construction and repression of political opinions) in different times and cultures. We will consider various counter cultural movements in their emergence in relation tothe public space ofthe respective time. Why do counter cultural movements withdraw from the public space into protected spaces and imitate a form of reality in them? We will look atthe development of Brazilian theater under military dictatorship inthe 1960s in Brazil by examining two architectural examples. The imaginative space ofthe theater, in which the reality isput into negotiation, will be regarded in relation tothe imitation ofthe public space inthe Ballroom culture ofthe 1980s inNew York. There people were able to perform and to imitate (gender) roles, which the society didnot provide for them. These historical references are complemented by a consideration ofthe current LGBTQ+ movement in different locations worldwide and their relationship tothe public space. What arethe moments that engage counter cultural movements to move in public space to gain visibility? We will look at examples like invisible theater, artistic processions, performances, parades and manifestations.
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Frequently using herown body as a starting point, shehas subjected herself to ordeals testing physical and psychological boundaries, as shedid most famously during the736 hour-performance The Artist Is Present, where visitors were invited during the course ofher large retrospective tosit opposite Abramović. and share a silent but intense contact that often caused a highly emotional response – an act that inits very simplicity can be seen as a radical culmination of a 40 year-process of reduction and concentration.In a satisfyingly confrontational and open conversation, Marina Abramović. talked with mono.kultur about the nature of invisible energy, the many criticisms shehas been facing and what cosmetic surgery has to do with art. Graphically, the issue is an exercise in friction and restraint, by setting upthe three elements of text, images and subtitles on different grids and letting chance runits course. All works were selected by Marina Abramović. as personal milestones inher career.
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[4] S., 23x16 cm, Auflage: 700, 2 Stück. keine weiteren Angaben vorhanden Leichter Karton, bedruckt, einmal gefaltet, eingelegt ein Paar weiße Handschuhe bedruckt und in Plastikhülle, in bedrucktem Briefumschlag. Einmal ungeöffnet
ArtsLibris, International Fair of Artists' Books and Contemporary Edition, holds its9th edition from 21.04.-23.04. at Arts Santa Mònica. The ArtsLibris Barcelona 2018 program includes the5th International Symposium on Editions and Collecting andthe Speakers' Corner presentations, as well asthe exhibitions Biblioteques insòlites, curated by Glòria Picazo, and Nova York en fotollibres, curated by Horacio Fernández. the presentation ofthe fourth book ofthe AL Series, by Wilfredo Prieto, and several workshops. Besides, as every year, the ArtsLibris–Banc Sabadell Foundation Award will be granted. ArtsLibris hastwo projects of limited editions: the AL Series, a collection of artists' books produced with the support of Fundació Banc Sabadell, andthe limited edition of tote bags and gloves, sponsored this year by Blueproject Foundation and designed by Ignasi Aballí.
[42] S., 28,9x22,2 cm, Auflage: 200, numeriert, signiert, keine weiteren Angaben vorhanden Fadenheftung, sechsfarbiger Risographie, letzte Seite ausklappbar
Rage, Heal, Root, Grow is a celebration ofthe chaos and complexity of life andone person’s process of adapting to it. Johnson’s postpartum years were challenging. Shewas fearful of what shesaw happening—that shewas disappearing asher male partner was becoming more visible. She struggled to find the time and space necessary to heal her body, and to reconcile the intense inequity of a child-rearing partnership when one partner (her) was nursing. A unique postpartum tale that refuses the female body asits central character. In its place: that body’s voice, andthe bespoke flotsam of daily life.
Rage, Heal, Root, Grow was created on a shared Risograph duplicator over many months while Johnson’s child slept in a stroller nearby. She scanned and printed drawings they had made together with markers, watercolors, crayons, pencils, and lots of stamps into symphonic six-color prints. A narrative text describes her experience of raging, healing, rooting herself, and subsequently growing in a new direction.
Katalog zur Ausstellung DAS TREFFEN DREIER PUNKTE, 01.-31.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well asthe lives of strangers.
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INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics ofthe work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances. The project unfolds over the course ofthe month of July insix chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half ofits projects in Berlin’s public space. The city of Berlin is a partner of INTERIORS TO BEING asany curator or participating artists inthe program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting theway artists move within it. INTERIORS TO BEING internalizes these changes through the framework ofits community. All contributors to INTERIORS TO BEING are part ofthe extensive creative network of PICTURE BERLIN (founded in 2009, anot-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin. Thered thread running through all events isthedérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads tothe development of a psycho-geographical awareness. This concept beautifully sums uptheway INTERIORS TO BEING works as a project inthe city of Berlin.
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Katalog zur Ausstellung HIDDEN TREASURES, 03.,07.,13.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well asthe lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics ofthe work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances. The project unfolds over the course ofthe month of July insix chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half ofits projects in Berlin’s public space. The city of Berlin is a partner of INTERIORS TO BEING asany curator or participating artists inthe program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting theway artists move within it. INTERIORS TO BEING internalizes these changes through the framework ofits community. All contributors to INTERIORS TO BEING are part ofthe extensive creative network of PICTURE BERLIN (founded in 2009, anot-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin. Thered thread running through all events isthedérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads tothe development of a psycho-geographical awareness. This concept beautifully sums uptheway INTERIORS TO BEING works as a project inthe city of Berlin.
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Katalog zur Ausstellung THE MIDDLE STUFF, 05.-12.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well asthe lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics ofthe work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances. The project unfolds over the course ofthe month of July insix chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half ofits projects in Berlin’s public space. The city of Berlin is a partner of INTERIORS TO BEING asany curator or participating artists inthe program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting theway artists move within it. INTERIORS TO BEING internalizes these changes through the framework ofits community. All contributors to INTERIORS TO BEING are part ofthe extensive creative network of PICTURE BERLIN (founded in 2009, anot-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin. Thered thread running through all events isthedérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads tothe development of a psycho-geographical awareness. This concept beautifully sums uptheway INTERIORS TO BEING works as a project inthe city of Berlin.
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Katalog zur Ausstellung HOSTING, 02.-31.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well asthe lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics ofthe work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances. The project unfolds over the course ofthe month of July insix chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half ofits projects in Berlin’s public space. The city of Berlin is a partner of INTERIORS TO BEING asany curator or participating artists inthe program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting theway artists move within it. INTERIORS TO BEING internalizes these changes through the framework ofits community. All contributors to INTERIORS TO BEING are part ofthe extensive creative network of PICTURE BERLIN (founded in 2009, anot-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin. Thered thread running through all events isthedérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads tothe development of a psycho-geographical awareness. This concept beautifully sums uptheway INTERIORS TO BEING works as a project inthe city of Berlin.
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Katalog zur Ausstellung RAUMANEIGNUNG, 19.-31.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well asthe lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics ofthe work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances. The project unfolds over the course ofthe month of July insix chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half ofits projects in Berlin’s public space. The city of Berlin is a partner of INTERIORS TO BEING asany curator or participating artists inthe program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting theway artists move within it. INTERIORS TO BEING internalizes these changes through the framework ofits community. All contributors to INTERIORS TO BEING are part ofthe extensive creative network of PICTURE BERLIN (founded in 2009, anot-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin. Thered thread running through all events isthedérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads tothe development of a psycho-geographical awareness. This concept beautifully sums uptheway INTERIORS TO BEING works as a project inthe city of Berlin.
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Elisabeth Tonnard is a Dutch artist and poet working in artists’ books, photography and literature. Shehas published over forty books that are exhibited widely and held in numerous private and public collections including the Centre Pompidou, Columbia University, Getty Museum, Kunstbibliothek Berlin, MoMA Library, New York Public Library, Tate Library andthe Walker Art Center. Much ofher work involves responding to existing books, texts and images, reworking them into new (visual) literature. The works range in scale and method from a book that is completely invisible to a book that is a swimming pool. A catalogue of books is available here.
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The St Mary’s Mother and Baby Home wasrun bytheBon Secours Sisters on behalf ofthe Irish State to house unmarried mothers and their children. The location ofthe graves of796 infants and children who died inthe Home between 1926 and 1961 is unknown, though local knowledge, the research of local historian Catherine Corless, and recent excavations point to a field near theold site ofthe Home, as well asthe likelihood that some children were illegally adopted. International media attention in 2014 led tothe Irish government’s Commission of Investigation into Mother and Baby Homes, which is still underway.
MOTHERBABYHOME is a 796-page ‘report’ comprising conceptual and visual poetry. An excavation of voices, the poems are composed entirely of text taken from historical archives and contemporary sources related tothe Home.
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Hipgnosis created some ofthe most innovative and surreal cover art ofthe 1960s, 70s, and early 80sforthe biggest names oftheera—Pink Floyd, Led Zeppelin, Wings, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Syd Barrett, and Black Sabbath, to name just a few. The sublime prism cover for Pink Floyd’s The Dark Side ofthe Moon continues to beone ofthe most pervasive images inall popular culture. Hipgnosis’s highly conceptual approach and graphic appeal earned them five Grammy nominations for cover design, and they profoundly influenced not only the history of music, but also all other creative fields from advertising to fashion.
Hipgnosis Portraits explores an endless stream of creative ideas intwo sections. Part I, "Imagination," tells the story behind the artwork from germination through tothe final sleeve design, supported by a wide array of archival materials. Part II, "Realization," contains beautiful and extremely photographic portraits ofthe musicians the agency counted as clients. Several of these images were taken butnot used for projects and have remained buried in archives ever since. The book is filled with playful, abstract compositions from a remarkably prolific collective that redefined the possibilities of concept-driven artand design.
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THE OTHER IS ONESELF is a kaleidoscope of texts and images about the issues of escape and exile. The publication brings together literary testimonies, interviews, factual reports and, poetic, philosophical and socially critical writing onthe subject and sheds light onthe complexity ofthe phenomenon of migration andits impact upon individuals and society with the help of entirely personal perspectives from a range of periods and places.
THE OTHER IS ONESELF istein Kaleidoskop von Texten und Bildern zuden Themen Flucht und Exil. Die Publikation versammelt literarische Zeugnisse, Interviews, Tatsachenberichte sowie poetische, philosophische und gesellschaftskritische Schriften zum Thema und beleuchtet die Komplexitätdes Phänomens Migration und seine Auswirkungen auf Individuum und Gesellschaft mit Hilfe ganz persönlicher Perspektiven aus unterschiedlichen Zeiten und Orten.
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Addenda: Just between youand me. There was no other. Who does our past belong to tonight? We understand at last. And while we slept, we vanished. The walls ofthe world fell in on us. We claimed always to abide by terms. Shattered mirrors and sliding panels. Always. Except when we choose not to. One must keep alert toall possibilities. Theold Indian pearl diver clambered onto the dock, grinning and shaking the water from our body. At night we could hear our mind ticking like some cheap alarm clock. Radio broadcasts played on tribal feelings. Our voice trailed off. Truth was delay. A heavy splash followed many ripples. Food, batteries and water-purifying chemicals arrived over the week-end.
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Atlas isthe result of many night and days, kilometres and conversations. It's a route along a vast territory through images and words under very personal views. Atlas isthe opening of a whole series of publications which pretend to show the things we really like and that call our attention. We welcome you to start this journey and to accompany us as long as this keeps on going.
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When Belgian artist Michaël Borremans first presented his paintings tothe world atthe tender age of 37, he immediately caused a stir intheart scene. His realistic yet mysterious figurative images subtly draw one tothe centre of a question which remains permanently unspoken. Through the combination ofhis immaculate painting techniques, using muted tones and classic compositions, andthe puzzling scenarios that are atthe heart ofhis work, the artist brings together both: melancholy and humour. With mono.kultur, Michaël Borremans talked about the mystery atthe heart of painting and life in general, his commission forthe Belgian Queen, andwhy he needs to wear his Sunday suit when he goes to work. The issue features a whopping 20 plates of Michaël Borremans' paintings, all printed in lifesize scale, allowing you to examine the technical mastery behind his work in breathtaking detail.
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16 S., 13,6x12,8 cm, Auflage: 65, numeriert, keine weiteren Angaben vorhanden Drahtheftung, Seitenbögen beidseitig bedruckt, einmal gefaltet zusammengehalten, in transparenter Kunststoffhülle
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Pamphlet printing of Jake Marx's index to Fuck You/ a Magazine ofthe Arts. Newly revised and expanded by Gabriel Mckee, this booklet provides a comprehensive, alphabetized list ofthe magazine's contributors, the titles of their works, andthe issues ofthe magazine in which they appeared.
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When I was in my early teens, I think it must have been around theage of twelve, Ihad this perpetual vision of living inthe glistening sunlight. To be exposed to anall-embracing envelope of light. In my imagination I was standing inthe midst of a rayandwas embraced bythe warmth and equally blinding intensity of light.
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[52] S., 13,5x9,5 cm, Auflage: 300, keine weiteren Angaben vorhanden Drahtheftung, Rückseite mit Metallfolienprägung
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Issue 13 of BLAD, Bastards shows drawings bythe Norwegian artist Johannes Høie. This booklet gives you a peak tour into the dark, dramatic, surrealistic and also sometimes comical world ofHøie's universe of drawings. Executed in a beautifull classical virtouso hand style manner, this issue gives you a taste ofhis latest productions. Some ofthe drawings in this magazine are wall drawings and based on previous limited edition printed posters, specially selscted tofit into this issue of BLAD.
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29,7x21 cm, 58 Teile. keine weiteren Angaben vorhanden Konvolut bestehend aus einem Brief, 58 Briefmarken in Sammelmappe, perforiert, teilweise Künstlerbriefmarken
Das Konvolut istdas Ergebnis eines Mail Art Projekts von Philippe Charron. Do you remember my mail-art project? It was about the least expensive stamps in your country. Idid receive your letter and I thank very much. As promised, I enclose a leaf with the stamps you sent meand stamps of other friends.
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DasBüchlein "Song of Myself: American Renaissance" besteht aus Status-Updates, gesammelt vonden Facebook-Fanpages von Edgar Allan Poe, Emily Dickinson, Henry David Thoreau, Herman Melville, Nathaniel Hawthorne, Ralph Waldo Emerson und Walt Whitman. Der Titel bezieht sich auf Whitmans Gedicht‘Song of Myself’, dasmitden Zeilen: ‘I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs toyou.’beginnt.
How toart book fair features advice onhow to plan, participate, and succeed in anart book or zine fest. This second expanded edition features sections on pricing, selling, table layout, being a good tablemate, talking to fair organizers, trading, and more. With extra advice from over 15art book fair experts, this book will guide you through everything you need to table at anart book fair.
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8 S., 8,9x12,7 cm, signiert, keine weiteren Angaben vorhanden Leporello, Laserdruck, Schwarz-weiß und farbig, handschriftliche Wünsche, in Briefumschlag
Special issue published to celebrate the 22nd edition of L'Étrange festival, dedicated tothe strangest and most provocative cinema. Published onthe occasion ofthe 22nd edition of L'Étrange festival, Forum des images andCinéma les Fauvettes, Paris, 07.-18.09.2016.
Future generations are going to wonder about us, the inhabitants ofthe Earth when the climate began to change. If seas are rising and atthe same time drinking water is scarce, they are going to want toknow what scientific evidence was before usand what wedid in response to it. It is difficult to imagine a time inthe past without an image, so I went to Montreal in 2005 to photograph the participants inthe eleventh United Nations conference on climate change. Joel Sternfeld
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500 S., 29,7x21 cm, ISBN/ISSN 9783950237269 Softcover. 1900 gr
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WTF is monochrom print? monochrom is a magazine object appearing in telephone book format, which is published bytheart/tech group ofthe same name. monochrom came into being inthemid-1990s as a fanzine for cyberculture, science, theory, cultural studies andthe archaeology ofpop culture in everyday life. Its collage format is reminiscent both ofthe early DIY fanzines ofthe punk andnew wave underground and ofthe 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 of125 years of Western counterculture cocked, aimed and ready to fire atthe present. It is a Sears catalog of subjective and objective irreconcilability -- the Godzilla version ofthe conventional coffee table book.
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1 S., 29,7x21 cm, keine weiteren Angaben vorhanden Farblaserkopie nach Webseite re-title.com
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Zur Ausstellung vom 14.04.-26.04.2014 The exhibition presents circa 300 books in an attempt to offer an overview, and initiate an archive, of recent artists’ books. It focuses on publication as a medium and context forart practices. It looks atthe ways in which artists usethe format ofthe book as an artistic strategy exploiting, and often expanding upon, its nature as a fixed but randomly accessible sequence of words and images. Allthe books selected are either self-published or participate in a minor economy of small publishers. Their modes of production and circulation, as well asthe conditions under which they are experienced and stored, strengthen their content.
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Herausgegeben von Alice Dusapin & Christophe Daviet-Thery. Beiträge von Steve Roden & Oscar Tuazon.
Allan Kaprow is considered to bethe founding father ofthe 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 ofhis work, produced between 1953 fand 1996. Most of these posters were designed by Allan Kaprow andare characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings andthe later ones of photographs and typographic text in a minimalist style. More than merely advertising Happenings or Activities, these posters act as scores/tools forthe participants tothe Happenings and as everyday objects that blur the boundaries between artand life.
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Uniformbooks is an imprint forthe visual and literary arts, cultural geography and history, music and bibliographic studies. The uniformity ofthe format andthe expansive variety ofthe list andits subjects, is characteristic ofour open approach to publishing. The printed quarterly Uniformagazine gathers contributions bythe writers and artists that we work with, sometimes thematically, as well as slighter or singular content. Mit: Squint David Matless, A Tips Alphabet Stephen Duncalf, The Green Man Ronald Johnson, Beginning and ending with trains on a table Steve Roden, Transmitter Masts Theo Simpson, Field Signals Angus Carlyle & Chiara Caterina, CapitalNY @CaptialNY, In House Publishing @Unpublishedwork, Bridge/Tunnel Colin Sackett
Publikation zur gleichnamigen Ausstellung vom 10.11.2015-21.03.2016.
A conversation between Hito Steyerl and João Fernandes, curator ofthe exhibition, an essay by Carles Guerra and Steyerl herself, introduced us toone ofthe most relevant contemporary artists inthe field of Video art. Steyerl approaches current themes inher work, for instance the impact the proliferation of images andtheuse ofthe Internet and technology have onour lives. She uses these issues as a starting point for developing, not just through her video pieces but also through writing and essays, critical work about control, surveillance and militarisation, migration, cultural globalisation, feminism and political imagery, questions she believes have the capacity to create realities.
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Kelli Sims' It's Michael is a collection of drawings and watercolors created bythe artist over a span ofone week in March 2015. The book offers a glimpse into the artist's unique process of digesting reality. A certain urgency and rawness is evident in depicting a disorienting range of Sims' subject matters. In her works on paper, apen or a brush cast a net extracting brief moments of clarity from thesea of daily observations, free association, dreams, andthe internet. It is the first time Kelli Sims' work is displayed in a form of a book, adding toher diverse practice ranging from video, performance to painting and sculpture.
Kelli Sims (b. 1984, Monroe, Louisiana) received herMFA from the Glasgow School ofArt in 2014 after studying atthe University of Louisiana andthe School ofthe Museum of Fine Arts in Boston. Recent exhibitions include Prehistoric Loom, Yada Shimin Gallery, Nagoya, Japan, Prehistoric Loom, No Toilet, Soeul, South Korea, Dear Green, ZK/U, Center forArtand Urbanistics, Berlin. How Many Shades Would an Artist Pack for Holidays?, Neoterismoi Toumazou and Aλ,áς, Nicosia, Cyprus.
Supported bythe Glasgow School ofArt as part ofthe Glasgow Master Series 2014.
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"A Set of Lines, A Stack of Paper" is the second in a series of exhibitions and publication based on a wide-reaching research about writing with the title 'Possible Content for 18 Pages'. The original typewritten manuscript ofVilém Flusser's essay 'The Gesture of Writing' provides the thematic and formal-aesthetic foundation for reflecting theact of writing atthe intersection of linguistic, visual, physical and spatial communication. 'To write,' says the philosopher about the basic requirements that should lead to a complete piece of writing, we need 'a blank surface, for instance a white leaf of paper, an instrument which contains a matter that contrasts with the whiteness ofthe paper, the letters ofthe alphabet, the convention which gives a meaning tothe letters, 'orthography' = correct writing, the rules which order that language, what is called 'grammar', an idea to be expressed in a language, and a motive to express that idea'. Understanding theact of writing as a culturally embedded gesture, 'A Set of Lines, A Stack of Paper' covers artistic, literary, as well as curatorial and editorial fields of action and combines them. The book is published onthe occasion ofthe correspondent exhibition at KARST, Plymouth (June 5 - July 5, 2015). The publication comprises an exhibition documentation with installation views and a curatorial statement. Furthermore, the author Maria Fusco situates the concept ofthe exhibition in an actual context of literature. The participating visual artists expand the topic ofthe exhibition with artistic contributions especially made forthe book.
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Candences: A Journal of Literature andthe Arts in Cyprus is a multilingual literary magazine, publishing poetry, short fiction, life writing, experimental work, reviews, and other writings inallthe languages ofthe island of Cyprus and ofits visitors. Writers in Cyprus think, feel, and express themselves in several languages, with Greek, Turkish, and English being three ofthe most prominent. Cancences is a bridge between them, a meeting point at which writers ofthe diverse communities ofthe island may find each other, and learn from their encounters with difference.
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6 S., 23,7x19 cm, keine weiteren Angaben vorhanden Einzelblatt mehrfach gefaltet, doppelseitig bedruckt, handschriftlicher Gruß
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Found, sliced and assembled, the photographic collage establishes experimental and introspective forms through the combination of familiar and obscure images. The montages from the various artists each evoke a distinct entry into surreal worlds, bound together by connected and intertwined photographs. With found objects and images, the spontaneity of discovery and combination counters the intricacy ofthe details inthe works.
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Teilnehmende Künstler/innen: Carolle Benitah, James Gallagher, Melinda Gibson, Ken Graves, Stéphanie Solinas, Annegret Soltau, and Grete Stern
[36] S., 22,5x16 cm, ISBN/ISSN 9783905714371 Broschur, Softcover, Farbdruck
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Peaceable Kingdom isthe first book of collaborative work bythetwo American artists Chris Johanson and Jo Jackson partners in life andart. All paintings feature a mixand match of both artists' styles, from Johanson's political, social themes and color patterns, to the oneiric, provocative and ambiguous side of human identity represented by Jackson's softer tones. Each painting being none like the other, and showing an incredible combination of shapes, forms, colors and ideas through a fascinating imaginary world, almost childlike.
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The exhibition Copy Construct departs from different artistic practices and specific works by artists that are based on reproduction or copy. The selected works are inherent tothe production of printed matter or artist’s books. This implies that different artistic media such as painting, drawing, photography, video, sculpture, and graphic design can manifest themselves through graphical problematics and their meanings. Alongside the 25 works ofthe artists, a little less than 300 books from the KASK collection (School of Arts, Ghent) and private collections from Belgium and England are displayed inthe exhibition. The exhibition architecture is designed by Kris Kimpe and Koenraad Dedobbeleer and is accompanied by a publication, designed by Joris Dockx, which includes a bibliography ofthe exhibited books, different contributions bythe artists, an interview with a book collector, etc.
Pressetext
A workshop and competition for book artists atthe Bodleian Library, Oxford. 01.12.2017-11.03.2018 The exhibition Designing English atthe Bodleian Library 2017-18will illustrate the layout of English literature in handwritten manuscripts and inscriptions across the Middle Ages, from Old English picture books to early Tudor plays and manuals for handling swans. It will trace the different spaces granted to English through the first thousand years, from stray notes scratched into Anglo-Saxon herbals or fragments of lost medieval songs inthe margins, to masterpieces placed centre-page and framed by illustration and illuminated borders. it will cover both books and other objects, from grisly tombs to charms written on food.
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Besucherbroschüre zur Ausstellung im holländischen Pavillon der Biennale di Venezia, 09.05.-22.11.2015.
Herman de Vries (b. 1931) is representing The Netherlands atthe Biennale Arte 2015. Under the title to beall ways to bethe Dutch pavilion exhibits new sculptures, objects, works on paper and photography by de vries. Educated as a horticulturist and natural scientist, de vries gathers, orders, isolates and displays objects from nature, directing our attention to both the unity andthe diversity ofthe world around us. In his preparatory travels to Venice, de vries collected many objects from the Laguna, the Giardini andthe city, resulting in multiple works both inthe Dutch Pavilion and onthe deserted island of Lazzaretto Vecchio inthe southern Laguna. The exhibition is curated by Colin Huizing and Cees deBoe.
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The exhibition Copy Construct departs from different artistic practices and specific works by artists that are based on reproduction or copy. The selected works are inherent tothe production of printed matter or artist’s books. This implies that different artistic media such as painting, drawing, photography, video, sculpture, and graphic design can manifest themselves through graphical problematics and their meanings. Alongside the 25 works ofthe artists, a little less than 300 books from the KASK collection (School of Arts, Ghent) and private collections from Belgium and England are displayed inthe exhibition. The exhibition architecture is designed by Kris Kimpe and Koenraad Dedobbeleer and is accompanied by a publication, designed by Joris Dockx, which includes a bibliography ofthe exhibited books, different contributions bythe artists, an interview with a book collector, etc.
Pressetext
Acclaimed artist Kenneth Goldsmith’s thousand-page beautiful homage toNew York City. Here is a kaleidoscopic assemblage and poetic history ofNew York: an unparalleled and original homage tothe city, composed entirely of quotations. Drawn from a huge array of sources—histories, memoirs, newspaper articles, novels, government documents, emails—and organized into interpretive categories that reveal the philosophical architecture ofthe city, Capital isthe ne plus ultra of books onthe ultimate megalopolis. It is also a book of experimental literature that transposes Walter Benjamin’s unfinished magnum opus of literary montage onthe modern city, The Arcades Project, from 19th-century Paris to 20th-century New York, bringing the streets to life in categories such as “Sex,” “Commodity,” “Downtown,” “Subway,” and “Mapplethorpe.”
Capital is a book designed to fascinate and to fail—forcan a megalopolis truly be written? Can a history, no matter how extensive, ever be comprehensive? Each reading of this book, and ofNew York, is a unique and impossible passage.
2. Auflage von 2018. In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, andthe UN.
Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such asnew media, remote sensing, material analysis, witness testimony, and crowd-sourcing. In Forensic Architecture, Eyal Weizman, the group’s founder, provides, forthe first time, an in-depth introduction tothe history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.
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Recto, Verso isthe latest attempt to grasp the magnitude ofthe monumental archive of photograms that Robert Heinecken created during the past 40 years. In this current sampling, comprised of work from hisown archive, Heinecken offers a look back atthe decade ofthe 1980s, where decadence and narcissism inhabit the same space as spirituality and family values. Though the patinas of these color photograms speak of that generation, their revelations are contemporary in their incisiveness. In looking atthe history ofthe photogram, beginning with Henry Fox Talbot’s ‘photogenic drawings’ andManRay’s ‘Rayographs’, Heinecken must be viewed asits most rebellious practitioner – unflinching, enigmatic and alert. Robert Heinecken’s work has been widely exhibited inthe United States, Europe and Asia, and is included in many major collections, including the Museum of Contemporary Art, Chicago. LA County Museum ofArt. andthe Center for Creative Photography, Tucson. Recto/Verso is printed in a first edition of 1,000 casebound copies, with an introduction byRod Slemmons, Director ofthe Museum of Contemporary Photography, Chicago.
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Schwarz-Weiß-Drucke, Nr. 014ausder Reihe 100for10.
After graduating with a degree in Graphic Design (London and Augsburg) Mirko Borsche worked as anart director for advertising agency Springer & Jacoby where hewas responsible for several campaigns. From 1999 to 2002 hewasart director of jetzt magazine (spin-off ofSüddeutsche Zeitung). From 2002 M. Borsche wasart director for Mini-International BMW Group for several years. Also in 2002 he launched the youth magazine NEON for Stern/Gruner+Jahr asart director. In 2004, he returned to jetzt forthe magazine’s relaunch and stayed until 2007. Since 2007 he is creative director for weekly newspaper DIE ZEIT and every other publication ofthe Zeit-Verlag such as Zeitmagazin and Zeit Wissen. In 2007 Borsche also founded his design studio Bureau Mirko Borsche in Munich. His clients hail from all fields, from culture and media to business: Bavarian State Opera, Bavarian Radio Symphony Orchestra, Thalia Theater, Harper’s Bazaar, Audi, BMW Group, Saskia Diez, Stefan Diez, Kostas Murkudis, Nike… Mirko Borsche received numerous national and international awards forhis work. Amongst many national exhibtions, his work was exhibited in Amsterdam, Barcelona, Florence, Stockholm, Seoul and Tokyo.
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Antoine Eckart is a French artist and graphic designer currently living in Lyon. He shares his time between commissioned and self-published works. He works closely with the cultural and musical scene andhis offbeat universe is an invitation to a mental journey. Best known forhis humorous daily drawings and flat compositions of bizarre yet poetic life scenes, his sketches feature scribbled and uneven lines and gives an aphoristic vision ofthe world.
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Jovana Reisinger is a filmmaker, writer, and artist who moves regularly between the worlds of journalism, fashion, literature, music, performance, theatre, and cinema. Her very first novel got published by Verbrecher Verlag, her fashionfilms get featured on i-D, INDIE and various international (fashionfilm-)festivals. Purchase „Donna Euro is poisoned by rich men in need“ andget access towww.donna100euro.deand watch 45 videos about love, hate, crime, fitness and shame and become part ofthe Donna Euro Celebration Society.
Schwarz-Weiß-Drucke NEU creates integral visual identies, appearances, brandings and communication strategies for print andweb in various disciplines as editorial design, corporate design, web design and UX design, illustration, communication and marketing of towns. Unexpected, exciting, focused, convincing – NEU interacts between emotion and logic, artand culture, economy and design.
The Museum of Lost Public Notices (24.05.-02.06.2017) is a community noticeboard installation consisting of posters which explore the role ofart in relation tothe individual and society. Contributions from local and international artists from all stages of their careers are invited. The Museum of Lost Public Notices is anopen exhibition that both celebrates and critiques the role of conventional gallery spaces and public noticeboards as sites which use a community space to promote, herald and advertise personal and group concerns.
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Erschienen anlässlich der Ausstellung inder Telfer Gallery Glasgow, 09.02.-04.04.2018.
Physical or Otherwise: Suggestions and Encounters was published onthe occasion of Leontios Toumpouris’ solo exhibition titled Suggestions and Encounters: Physical or Otherwise atThe Telfer Gallery, Glasgow. The publication features commissioned and re-edited essays spanning academic, theoretical and experimental responses to notions associated with Toumpouris’ practice. It claims to shed light upon areas of interest ofthe artist, thus resulting in a collection of propositions rather than an exhibition catalogue.
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The other New Zealand literary journal. Brief is an independent biannual print journal. It is primarily a space for writing that does something interesting, experimental, adventurous, challenging, or exploratory. Brief publishes poetry, prose, essays and criticism, hybrid forms, and occasionally visual art. Issues typically contain a mixture ofnew, established and emerging writers. The present issue is wide-ranging and engages with everything from aestethic tothe ontological, rats andwarand love andart.
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Erschienen zum Symposium im Rahmen der Ausstellung PAUSE (prelude) im Haus der Kunst München, 22.-29.07.2018, veranstaltet vomKünstlerverbund im Haus der Kunst München. The pause inthe context ofart is subject of this book, states of rest, of sleep, but also attitudes of inaction and refusal, of dropping out, of strike and boycott. How do beholders and producers ofart deal with the ambivalence of pauses, given the importance of dynamics, activity, participation, engagement, and work? The contributions from philosophy, art history and curatorial practice treat museums, pictures and biennials as places of pause, positions such as Malevich, Duchamp, Lee Lozano, Thomas Huber. They thus create a timeline from the 19th century tothe present. The book contains the lectures ofthe symposium, which accompanied the exhibition PAUSE (prelude) 2018 at Haus der Kunst, extended by an essay and installation views ofthe exhibition.
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The ABYB is a biennial reference publication focusing on international activity inthe field of book arts. It serves as a resource for artists, academics, students, collectors, librarians, dealers, publishers and researchers, in fact anyone interested in artists’ books! The 2020-2021 issue will have essays, articles, and lots of useful information on: Artist’s Book Publishers & Presses; Bookshops for artists’ books; Artist’s Book Dealers; Artist’s Book Galleries & Centres; Collections, Libraries & Archives; Artist’s Book Fairs and Events; Book Arts Courses and Workshops; Design, Print & Bind; Print Studios; Journals and Magazines; New Reference Publications; Organisations, People, Projects and Societies. Artists list up to 3 of their recent book works.
Text vonder Webseite S. 49, Text und Fotos vonJürgen Wegner, A visit to Archive Artist Publications andits exhibition inthe Haus der Kunst, München, Germany S. 111, Collections, Libraries & Archives
Emile Zola's novel Nana is re-read and re-written, according to emptiness and silence. There are failed voices, empty glasses and drawing-rooms, and noiseless departures. There is silent laughter. Menand women are dumbfounded. There is a deathly hush andthe plains ofthenew Paris areicyand empty.
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Zur Veranstaltung 12.09.-13.10.2019 inMünchen
VARIOUS OTHERS initiates cooperative and international art projects in galleries, off spaces and museums in Munich. While serving as a content-driven forum for contemporary art that takes place each year in September, our mission is to intensify exchange and dialogue between theart scene in Munich and international partners, guests and media.
VARIOUS OTHERS is an event hosted bythe association VFAMK e.V. We thank all ofthe supporting members ofthe association who make this project possible as well asthe active members for their unflagging efforts and dedication.
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Code X brings together a selection of personal histories ofthe current ‘transforming’ and ‘expanding’ of the book medium with theaim to challenge the very notion of what it could be(come) in today’s complex information era. The design of Code—X within codex form represents a playful and daring twist ofink imitating pixel to render composition and design. The content is seen as a continuous scroll, cropped where screen meets paper edge. We celebrate both camps by highlighting dichotomies of edge to scroll, sequence to time and image to place.
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2. Auflage. Ausstellungskatalog. Zentrum für Künstlerpublikationen, Weserburg Bremen, 30.10.2015-14.02.2016, Bremen. Themid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed forthe production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, »messianic amateurs« combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic
strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual forms of expression inthe name of a new »sensibility«.
This book (which appears in conjunction with an exhibition atthe Weserburg in Bremen) is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the internationalcontext in which they emerged: not as an anecdotal history but as an attempt totap into the aesthetic cosmos of a Do-It-Yourself rebellion, one that also challenges us to take a new look atthe current boom in »independent publishing«, the risograph aesthetic, and so on.
Text vonder Webseite. Das Design wurde in Zusammenarbeit mit Studenten derHfK Bremen entwickelt
3. erweiterte Auflage mit600 farbigen Abbildungen, zur Ausstellung 03.02.-08.05.22 bei Allard Pierson der Universitätvon Amsterdam. Die renommierte niederländische Designerin Irma Boom ist bekannt für ihre kühneund experimentelle Herangehensweise, mitdersiedie Konventionen des traditionellen Buches sowohl in Bezug aufdas Design als auch aufden gedruckten Inhalt in Frage stellt. Im "Book Manifest" (das3. Buch der Reihe) präsentiert Irma Boom ihre Vision vom Wesen, vonder Bedeutung und Relevanz des Buches. Grundlage hierzu waren intensive Nachforschungen, die Irma Boom zur Entwicklung des Buches inder Bibliothek des Vatikans angestellt hat. Die dabei gewonnenen Erkenntnisse teilt siemit einer Auswahl von mehr als350vonihr gestalteten Büchern, in denen sieden Kontext unddie Beziehung zum traditionallen Buch ausführlich erörtert. Mit diesem 1000seitigen, reich bebilderten Buch möchte Irma Boom die neue Generation von Designern inspirieren undzum Experimentieren anregen, um die Stellung des Buches für die Zukunft zu sichern. DieBücher von Irma Boom befinden sich inder ständigen Sammlung des MoMA inNew York und inden Sondersammlungen der Universitätvon Amsterdam: das Irma Boom Archiv.
World renowned Dutch designer Irma Boom is known forher bold experimental approach toher projects, often challenging the convention of traditional books in both physical design and printed content. In the book "Book Manifest" (the3rd book inthe series) Irma Boom presents her vision onthe essence, meaning and relevance ofthe book. The basis for this book is formed bythe in-depth research that Irma Boom carried out into the development ofthe book inthe library ofthe Vatican. The knowledge she gained about this, andthe inspiration it gave her, is shared with a selection of more than 350 books she designed, in which she extensively discusses the context and relationship with theold book. With this 1000-page, richly illustrated book, Irma Boom aims to inspire and encourage thenew generation of designers to experiment, in order to ensure the book's position forthe future. Boom's books inthe permanent collection of MoMA inNew York, and Special Collectons ofthe University of Amsterdam collect her complete oeuvre: the Irma Boom Archive.
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Lone Wolf is a picture book whose name is derived from the provision ofthe U.S.A. Patriot act which seeks to create a legal framework that allows the government to surveil individuals not associated with any group or country whoare believed to be engaged in terrorist activities. Comprised of screenshots from reality television shows depicting expressions of physical force within three sectors of american society: police, local militia, andthe U.S. military, excerpts from congressional hearings ofthe 112th and 113th congresses onthe Patriot act give context tothe images. The photographic images have been converted into large halftone dot compositions, which might imply an information flow—or lack of—that exposes the roots of suspicion and intolerance that culminate in statements like “see something, say something.”
"Texts from 'Let there be light,' directed by John Huston, 1946, and four congressional hearings ontheUSA Patriot Act between 2009 and 2011 (111th and 112th Congress). Images from various reality television shows including Cops, Moonshiners, Sons of Guns, The Colony, American Guns and Alaska State Troopers, as well as Flickr.com"--Colophon
Title based onthe Lone Wolf provision on surveillance intheUSA Patriot Act.
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[28] S., 20x15 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden Fadenheftung, schmaler Karton als Umschlag, rückwärtiger Teil mit Signatur und teil des Impressums abgeschnitten
I was born inthe Basque Country in 1978. This land has been inhabited since prehistoric times bythe Basques. This continuous presence is explained bythe context ofthe landscape, collected bythe mountains and bathed bythe Cantabric Sea, that has served as a shelter to a rooted culture and popular customs that are still alive inthe 21st century.
Here, nature, history and legend come together with unusual force and create a land of myths and magic that I explore through photography. A land where nature is praised inold rites learned from our ancestors.
These intangible concepts arethe beginning point to create a visual imaginary which serves me to understand the society andthe land I live in, positioning myself in my environment through photography. Trees, waves, animals and black skies build a symbolic world that I turn into a channel to reach the soul ofthe Basques, an old soul, the soul oftheonewho pursues its lost paradise.
Galerna is a tribute tothe original identity of this land.
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... The very best of Punk—the legendary magazine that defined anera—finds new life in this stunning anthology, featuring original articles along with behind-the-scenes commentary andthe backstory on each issue as told by editor-in-chief John Holmstrom. Punk wasthe Bible ofthe urban counterculture movement. It not only gave punkmusic its name, but influenced the East Village art scene and steered the punkaesthetic and attitude. The Best of Punk Magazine includes high-quality reprints of hard-to-find original issues, as well as rare and unseen photos, essays, interviews, and even handwritten contributions from the likes of Andy Warhol, Lou Reed, Debbie Harry, the Ramones, theSex Pistols, Lester Bangs, Legs McNeil, Lenny Kaye, and many more. For collectors, lifelong punks, and those just discovering what punk isall about, this isthe chance seethe history ofthe movement come back to life. ...
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Reprint nach einer Publikation des Visual Studies Workshop in Rochester, 1979, erschienen zur posthumen Ausstellung im Kunstverein München Something other than either, vonMärz bis August 2020. The book is composed of images and texts by Hill through which she intended to contextualize and explain her working methodology to Jill Kornblee, herNew York gallerist. Untrained as an artist, Pati Hill began tousethe photocopier as an artistic tool inthe early 1970s, leaving behind an extensive oeuvre that oscillates between image and text. Besides this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, wrote poetry, and made drawings. Instead of an exhibition catalog that would offer an interpretation ofher work, this publication provides space for Hill’s own writing that interrogates and accompanies her visual work.
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"This “history” came about because my friends, Sarah Dudley and Ulie Kuhle, litho printers in Berlin, were given about 100 litho stones from a former Socialist art academy in what wasthe D.D.R. The stones allhad images on them drawn by forty years of students under the oppressive regime. I asked them to reactivate the stones and print them on Zerkall Paper 450 g/m². Most images I chose ofthe100 were able to have life breathed into them. We had finally forty-five images. They editioned the lithographs and then sent them to us in Walla Walla, Washington. I drew and ground andbit copper plates to go over them. I wanted a black view ofthe image and a sense of Berlin inthe East as I knew it when the horrible wall was still up. The etchers who came to work with me every summer over twoand a half years have coaxed the exact mood I wanted out ofthe plates." Jim Dine
"Diese "Geschichte" entstand, weil meine Freunde Sarah Dudley und Ulie Kuhle, Lithograph in Berlin, etwa 100 Lithosteine aus einer ehemaligen sozialistischen Kunstakademie inder ehemaligen DDR erhielten. Aufden Steinen befanden sich Bilder, die vierzig Jahre lang von Studenten unter dem Unterdrückungsregime gezeichnet wurden. Ichbatsie, die Steine zu reaktivieren undsieauf Zerkall-Papier 450 g/m² zu drucken. Den meisten der100 Bilder, dieich auswählte, konnte ich Leben einhauchen. Wir hatten schließlich fünfundvierzig Bilder. Sie gaben die Lithografien in einer Auflage heraus und schickten sie dann zuuns nach Walla Walla, Washington. Ich habe gezeichnet, geschliffen und Kupferplatten gefertigt, um sie immer wieder nachzuzeichnen. Ich wollte eine schwarze Ansicht des Bildes undeinGefühl von Berlin im Osten, wieich es kannte, alsdie schreckliche Mauer noch stand. Die Ätzer, die zweieinhalb Jahre lang jeden Sommer mitmir gearbeitet haben, haben den Platten genau die Stimmung entlockt, dieich wollte." Jim Dine
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Cotton Puffs, Q-tips®, Smoke and Mirrors: The Drawings of Ed Ruscha’s work includes paintings, photographs, prints, books, and films, buthis unique works on paper are perhaps his richest vein. Through his interpretations of cultural icons and vernacular subjects such asthe Hollywood sign, trademarks, andgas stations, as well ashis renderings of words and phrases in countless stylistic variations, Ruscha proposes a modern landscape based on keen observation andwry humor.
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An experimental body of work conducted over ten days that explores themes of femininity, intimacy, nudity, eroticism, beauty, and body image through self-portrait photography as a medium of expression and a creatively printed zine asits format. The visuals capture the beauty and sensuality of femininity, intertwining the author’s personal interpretation ofthe sensory experience ofher body andthe sensitivity ofher mind with a critique of societal perspectives over the last hundred years. These perspectives, though influenced by ethical progress, have often ridiculed and degraded the essence of femininity, reducing it to trivial, denaturalized, or even grotesque aspects. The black-and-white veil symbolizes the timelessness ofthe theme, while the zine’s format mimics a vintage erotic videotape, complete with "bonus visuals" reminiscent of retro collectible postcards. This design evokes the commodification of a natural human characteristic and critiques the enduring, market-driven objectification of femininity.
13x13 cm, keine weiteren Angaben vorhanden Musik-CD in Papphülleund transparenter Kunststoffhülle, cover art: Stephane Leonard & Martin Eichhorn
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recorded in 2006, mastered at ICEM in 2007. We are very proud to announce our 10th release !!! and what makes it even better is that it´s a newdis.playce album! The EP is called ´Das Ende von Amerika´ (TheEnd of America) and it´sdis.playce´s second release on naivsuper. The title refers tothe book ´Amerika´ by Franz Kafka and should not be interpretated inthe wrong way)
´Amerika´, also known as ´Der Verschollene´ or ´TheManWho Disappeared´, wasthe incomplete first novel by Franz Kafka, published posthumously in 1927. The story describes the bizarre wanderings of a sixteen-year-old European emigrant named Karl Rossmann inthe United States, whowas forced to go toNew York to escape the scandal ofhis seduction by a housemaid.
Hope originates when something else is absent and holes need to be filled again. The purpose of hope is to make itself vanish again and to reach a state of mind where Utopia orthe promised land of North America won´t be needed anymore.
Kafka puts his hero Karl Rossmann over and over again in situations where he is lacking something only to discover that he is lacking even more. The spiral of hope, disappointment and reproaches seems to be endless. With ´Amerika´ Kafka finishes a series of America-fiction from the 19. Century which glorified the United States asthe land of boundless possibilities. For Kafka America isnotthe solution ofour problems anymore, it is almost like a second Europe - a land where the problems stay the same.
´Das Ende von Amerika´ is one 24 minute piece published on high quality CDRs
CURRENT RESIDENT, a collaborative book by Kenny Komer and Marysia Gacek, comprises solely of computer generated imagery inspired by interior design catalogues and magazines. Based on interiors seen in Architectural Digest and Ikea catalogues, the book depicts a fictional, contemporary residence mimicking current tendencies to replace photography with 3D modeling computer software producing photo realistic images. Views ofthe apartment are generated via computer algorithms with the same techniques used inthe advertising industry. A reader is invited to take a tour ofthe space while a number of mysterious activities unravel before her/his eyes.
Kenny Komer (b.1984) is an interdisciplinary multimedia artist who lives and works in Brooklyn, NY. He received a BFA from the School ofArt, Cooper Union, New York, NY in 2006. He has exhibited at galleries inNew York (Gavin Brown's enterprise, Rush Arts Gallery, Carriage House Center and White Box Gallery) and Tokyo, Japan (Motus Fort). Komer is a founding member ofthe guerrilla street-art collective, Concerned New Yorkers, whose work has been featured intheNew York Times, New York Magazine, the Brooklyn Rail, the Village Voice, CNN, andthe Daily Telegraph.
CURRENT RESIDENT, ein gemeinsames Buch von Kenny Komer und Marysia Gacek, besteht ausschließlich aus computergenerierten Bildern, dievon Katalogen und Zeitschriften für Innenarchitektur inspiriert sind. Aufder Grundlage von Inneneinrichtungen aus Katalogen von Architectural Digest und Ikea zeigt das Buch eine fiktive, zeitgenössische Wohnung, diedie aktuelle Tendenz nachahmt, Fotografien durch 3D-Modellierungssoftware zu ersetzen, die fotorealistische Bilder erzeugt. Die Ansichten der Wohnung werden mit Hilfe von Computeralgorithmen generiert, dieauf denselben Techniken beruhen, die auch inder Werbeindustrie verwendet werden. Der Leser wird eingeladen, einen Rundgang durch den Raum zu machen, während sich vor seinen Augen eine Reihe mysteriöser Aktivitäten entfalten. Kenny Komer (geb. 1984) istein interdisziplinärer Multimedia-Künstler, der in Brooklyn, NY, lebt und arbeitet. Er erhielt 2006 einen BFAvonder School ofArt, Cooper Union, New York, NY. Er hat in Galerien inNew York (Gavin Brown's Enterprise, Rush Arts Gallery, Carriage House Center und White Box Gallery) und Tokio, Japan (Motus Fort) ausgestellt. Komer ist Gründungsmitglied des Guerilla-Straßenkunstkollektivs Concerned New Yorkers, dessen Arbeiten inderNew York Times, demNew York Magazine, dem Brooklyn Rail, der Village Voice, CNNunddem Daily Telegraph veröffentlicht wurden. Text vonder Webseite
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In recent years Valencia has been posting the so-called Campus Party. In this type of social-cultural gatherings, thousands of young adults —software developers, lovers of digital works and robots, hackers and defenders of free software, gamers and simulation fanatics, ciber-apostles and modding artists— come together to exchange archives and share their experiences, living for a week connected to each other. For these super-users — digital natives that make computer technology a way of life andwhoare often classified asthenew urban tribe ofthe geeks — computers are much more than just a device for work, they are an extension of their identity andthe digital ecosystem where they decide to live.
< YO >< YO >< YO > Sets out a journey from the plug into the computer, with the intention of portraying along theway this kind of super-user: an exaggerated reflection ofour relation with technology.
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44 S., 29x22,5 cm, ISBN/ISSN 9781935202592 Drahtheftung
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Brought toyou bythe aberrant, animated mind of Italian-born provocateur, mischief-maker, and macabre witness toour times Maurizio Cattelan, Toilet Paper 2 follows closely onthe heels ofthe inaugural issue of Cattelan's most recent print extravaganza. "The magazine springs from a passion/obsession that Maurizio and I have in common," collaborator photographer Pierpaolo Ferrari said in an interview in Vogue Italia. "Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst." Published by Deste, this part magazine, part artist's book blends commercial photography with warped narratives and surrealistic imagery, creating a series of powerful images that are as appropriate forthe coffee table as they areforthe WC
44 S., 29x22,5 cm, ISBN/ISSN 9781935202608 Drahtheftung
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Brought toyou bythe aberrant, animated mind of Italian-born provocateur, mischief-maker, and macabre witness toour times Maurizio Cattelan, Toilet Paper 2 follows closely onthe heels ofthe inaugural issue of Cattelan's most recent print extravaganza. "The magazine springs from a passion/obsession that Maurizio and I have in common," collaborator photographer Pierpaolo Ferrari said in an interview in Vogue Italia. "Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst." Published by Deste, this part magazine, part artist's book blends commercial photography with warped narratives and surrealistic imagery, creating a series of powerful images that are as appropriate forthe coffee table as they areforthe WC
[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620074 Drahtheftung, Rückseite mit Silberprägung, in transparenter Kunststoffhüllemit beigelegtem Blatt, Aufkleber
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In our fifth issue of BLAD we asked Ian Stevenson if he would make enough drawings for us to fill a whole magazine. And wecan proudly say that hedid! The issue is called Enter Ian Stevenson, and it's a very fine and funny tour through Ian's characteristic and very humorous world of drawings. As he says himself "48 pages of drawings, each one created only foryou".
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Being accustomed tothe freewheeling flow of information onthe Internet andthe immaterial quality ofthe digital age there is a tendency to overlook the physical embodiment of data. Silvio Lorussoʼ.s work seeks to demonstrate that data has a material reality. When Google published images ofits numerous data centres last year they revealed that it is a vast physical network that allows for 20 billion web pages to be indexed perday byits search engine. By creating websites which refer only tothe site at which the data ofthe image youare looking at is stored Lorusso brings a transparency tothe experience of being online. He also draws our attention tothe implications of these storage sites in terms ofthe vulnerability of private documents and files and their hidden impact in terms of energy consumption. ʻ.Data Centers Grand Tour (This Data Belongs Here)ʼ. creates a direct connection between the physicality of data andits digital representation.
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Schwarz-Weiß-Drucke
monoperro is a self-taught artist as hehas no academic education inart. In addition to being an illustrator, he is a writer, and, as an important part ofhis artistic activity, he performs Tarot readings created byhim called Tarot del Espejo (Tarot ofthe Mirror). He also offers artistic and vital services such as workshops and talks, under the name ‘Ultralkymia’. In 2015 he published his first book ‘Gran Fin’ (in the publishing house jekyll and jill (jekyllandjill.com). He also has another publication ‘Dibujo Mágico’ which is a guide tothe practice of drawing as self-knowledge. Youcan follow his daily activity onhis instagram account: @monoperro
18x18 cm, Auflage: 300, numeriert, signiert, keine weiteren Angaben vorhanden zwei Vinylschallplatten 7", 45 rpm, Hülle Kunststoff und Papier (zwei gefaltete Drucke), signiert auf Umschlag Vorderseite, mit Bauchbinde
This edition contains two vinyl 7″. singles with music by Doctorella and Justus Köhncke as well astwo exclusive prints designed, handnumbered and signed by Cosima von Bonin. Limited Edition of300 only. Youcan’t really fully understand the work of Cosima von Bonin without looking ather collaboration with other artists. Even when invited to produce a solo exhibition, von Bonin rarely shows up without the input ofher friends, either through music, lyrical fragments, fashion accessories, cameo performances, or, and, or… Andlet’s be clear, the musicians getthevon Bonins thing.
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19x19 cm, Auflage: 200, ISBN/ISSN 9783948200022 Schallplatte (7 inch) in Hüllemit Umschlag und Beiheft, geklammert, in Klarsichthülle. Mit beigelegten Zetteln mit aufgedrucktem Downloadlink
”Hhhh Minne, offyou 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, dieKon” (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 tothe edge of meaning, where its musical quality unfolds. The publication contains a 7‘ inch vinyl record, a brochure with the original text in German andthe English translation, as well as a download link.
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Ausgabe Februar 2020. „Arts ofthe Working Class“ ist eine Straßenzeitung für Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthält Beiträge vonKünstlern und Denkern aus verschiedenen Feldern und in verschiedenen Sprachen. Sie richtet sich andie Arbeiterklasse, also an alle, und es geht um alles, das allen gehört. Jeder, dersie verkauft, verdient mit. Jeder Künstler, dessen Arbeit beworben wird, gestaltet mit.
Century-old lore holds fast tothe idea that a mirror isnot only a reflection but a window from the facade of appearance into one's soul. Forthe superstitious, breaking a mirror tempts malignant forces, soul-splintering demons and seven years ofbad luck. But what ofthe cracks atthe edges of ancient mirrors orthe spider web splintering across the screen in your pocket? We have yet to devise a reflection of ourselves that can weather time or violence. For what spills forth from cracks? What use isthe time you spend looking inthe mirror? Forthe survival ofour souls we need to reflect one another and cultivate solidarity. To turn away from capitalist hegemony we must abandon our reflection and turn towards the other humans, and pull each other up through the cracks.
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Challenge: Mapping New Relations Between Art, Warand Society
Madrid - SdA Innovation Challenge, Spring, 2025 Canyou solve it? How to Differentiate Between Artand Cognitive Warfare? On theone hand, art is weaponized and securitized; on the other, warfare is producing new models of inescapable reality enhanced in cognitive and artificial ways. What concept ofart could be separated from war? Or, if that isnot even the purpose anymore, how does one distinguish weaponized art that is friendly from art that is hostile?
Friday, January 17, 2025, 6--9 pm Information event
Saturday, February 22, 2025, 5-9 pm Pilehing event
Herausforderung: Kartierung neuer Beziehungen zwischen Kunst, Krieg und Gesellschaft
Madrid - SdA-Innovationswettbewerb, Frühjahr, 2025 Können Siedie Aufgabe lösen? Wie kann man zwischen Kunst undund kognitiver Kriegsführung unterscheiden? Aufder einen Seite wird die Kunst bewaffnet und abgesichert, aufder anderen Seite produziert die Kriegsführung neue Modelle einer unausweichlichen Realität, dieauf kognitive undkünstliche Weise verbessert werden. Welcher Begriff von Kunst könnte vom Krieg getrennt werden? Oder, wenn das nicht einmal mehr der Zweck ist, wie unterscheidet man dann bewaffnete Kunst, die freundlich ist, von Kunst, die feindlich ist?
Freitag, 17.01.2025, 18 bis 21Uhr Informationsveranstaltung
Samstag, 22.02.2025, 17-19 Uhr Pitching-Veranstaltung
Übersetzt mit DeepL
16x14,2 cm, signiert, 2 Teile. keine weiteren Angaben vorhanden Klarsichtumschlag DIN A6mit 8 Postkarten, Klarsichtumschlag DIN A7mit 5 Aufklebern undKärtchen
All characters appearing in this work are fictitious. Any resemblance to real persons, living ordead, is purely coincidental. Or is it? The only thing sure is that the sports world depicted by Ernests Klavins and Andrejs Klavins in 'Rainbow of Pain' is perfectly crazy - 9 points!
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Zum Teil mit kryptischem Nonsense. Finally - after a long break - Munich's Best Underground Magazine Trennlinie Zwischen Gesten is back again with Volume 3. The artwork changed from A5 format to a sexy square-like individual cutting. This time the magazine is even "more arty" and includes several great german product reviews ofthe super-special kind. Still very obscure Pasing-scene stuff. Forget Berlin - thedead corpses walk around the Pasing Arkaden in Munich's worst district. Surely nothing for industrial listeners or other narrow-minded people. This one isfor true aliens.
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diverse Motive und Slogans von Bands oder mit politischem Hintergrund.
1 besticktes Aufnäherder Volkspolizei, 1 bestickte Armbinde "Helfer der Volkspolizei"
12 S., 46,3x32 cm, Auflage: 100, numeriert, signiert, keine weiteren Angaben vorhanden #92 in the series '200 People I Used ToKnow. Zeitung, Blätter lose ineinander gelegt
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Great Gran is a 12 page tribute comic to an amazing woman. Three colours, printed in tabloid newspaper format. Limited run of100 copies, numbered and signed bythe artist
[96] S., 23x16 cm, Auflage: 75, numeriert, signiert, keine weiteren Angaben vorhanden vier Hefte, Drahtheftung, im Druckverschlussbeutel, darauf vorne und hinten Aufkleber, Farblaserdruck
This work deals with the truism that WEDON'T SEETHE WORLD AS IT IS, BUT AS WEARE, questioning perception and authorship. The edition consists of four 24 page books: IDON'T KNOW WHAT IT MEANS YET, IS THIS WHAT IT IS?, THE FEAR OFNOT GETTING IT, SOME UNEXPECTED ANSWERS.
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TRANS>, a multilingual journal, chronicles contemporary artand culture from around the world. The multidisciplinary publication is divided into three sections - Project Sites, Telesymposium, and Overviews, Views and Reviews - and includes theoretical, critical, art historical and fictional texts by leading thinkers and critics.
216 S., 13,3x10,5 cm, Auflage: 2.000, ISBN/ISSN 1870699130 Klappumschlag
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Rex Reason presents the Periodic Table ofthe Elements in book form. A colour-coding system isset up (black for solids, blue for liquids and yellow synthetics) but where we might expect to find hydrogen, helium or lithium we find Yul Brynner, William Hogarth and Maria Callas. The selected names relate tothe chemical symbol for each element: both letters must appear inthe chosen name for example, Bertolt Brecht (Br, Bromine).
A loose logic prevails inthe choice of names, for example names inred, gases, are from Greek myth or history andthe yellow synthetic elements are given their proper names. However, Patterson disrupts this system with red herrings, mysteries and riddles that test the reader’s knowledge and that expose the inherent human desire to establish order and meaning
80 S., 26x21 cm, ISBN/ISSN 9783863350857 Katalog zur Ausstellung imMAK Wien, MGLC Ljubljana undUPM Prag, Klappumschlag
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Vorwort von Helena Koenigsmarková, Nevenka Sivavec & Christoph Thun-Hohenstein. Beiträge von Jianping He, Martina Kandeler-Fritsch, Kathrin Pokorny-Nagel, Florian Pumhösl, Lucie Vlcková, Lawrence Weiner & Maria White. Um das vielschichtige Genre desKünstlerbuchs einer breiteren Öffentlichkeit näherzubringen, hatdasMAK Wien in Kooperation mitdemUPM Prag unddem MGLC Ljubljana das EU-geförderte Projekt "Artists' Books on Tour. Artist Competition and Mobile Museum" initiiert. Im Rahmen des damit verbundenen europaweiten Wettbewerbs wurden Künstler dazu aufgefordert, sich mitder Thematik desKünstlerbuchs und seinen vielfältigen ästhetischen Ausdrucksformen auseinanderzusetzen. Die vorliegende Publikation stellt diefünf prämierten sowie 45 weitere ausgewählte Projekte vor. To familiarize a broader public with the multi-faceted genre of artists' books, theMAK - Austrian Museum of Applied Arts, Contemporary Art in Vienna, theUPM - Museum of Decorative Arts based in Prague and Ljubljana's MGLC - International Centre of Graphic Arts have launched the EU-funded project "Artists' Books on Tour. Artist Competition and Mobile Museum". In a pan-European competition, artists were invited to deal with the subject of artists' books and their multiple forms of aesthetic expression. The present catalogue features the five winning projects and 45 other selected works.
550 photographers and authors from 41 countries submitted their works forthe fifth issue. Responsive tothe increased number and especially the outstanding quality ofthe submissions, the page number hasnow reached 100. In an exciting and intense curation and editing process, the works of107 photographers and 22 authors were chosen andput into new combinations.
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WasistDER GREIF? DER GREIF kuratiert Fotografien und Texte aus aller Welt. Jeder kann Arbeiten einreichen. DER GREIF ist mobile Galerie und gleichzeitig Forum für die ausstellenden Künstler. DER GREIF ist thematisch frei. Er lebt vonder Kombination der eingesendeten Arbeiten. DER GREIF steht einem Buch näherals einem herkömmlichen Magazin. Die Spannung der inszenierten Arbeiten wird nicht durch Werbung unterbrochen. DER GREIF bildet undund konserviert eine zeitgenössische Vorstellung von Fotografie, Literatur und Ästhetik. DER GREIF istein Experiment… Wie funktioniert der Greif?
Fotografen und Autoren aus allen Teilen der Welt reichen überein Upload-Formular aufder Magazin-Website bis zu 10 Arbeiten ein. Die Redaktion kuratiert die Einsendungen, kombiniert sie miteinander und stellt daraus neue Bild- und Textkompositionen zusammen. Demnach istDER GREIF kein Portfolio-Magazin, sondern findet seinen Inhalt aus einer Füllekünstlerischer Arbeiten. Er lebt vom Vertrauen derKünstler indie sensible Kuration und Zusammenstellung durch die Redaktion des Magazins.
Warum gibt esden Greif? Die Kuration und Gestaltung des Magazins istein intensiver Arbeitsprozess, die Intensität wird für den aufmerksamen Betrachter spürbar. DER GREIF ist somit ein Ruhepol indertäglichen Flut aus Bildern und Informationen. Er fordert zum genauen Betrachten, Verweilen, Nachdenken auf – er freut, schockiert, berührt, kurz: DER GREIF entfaltet sich erst voll durch die Emotionen und Gedanken der Betrachter. DER GREIF mäandert zwischen Märchenbuch, Ausstellungsraum und Reflexionsvorlage. Er steht in starker Verbindung zum Netz, bietet der Geschwindigkeit undder daraus resultierenden Oberflächlichkeit Kontra, vor allem durch einen entscheidenden Punkt: Er schafft Raum, dergefüllt werden darf mit eigenen Ideen, Perspektiven und Phantasien
52 S., 21x14,8 cm, Auflage: 100, numeriert, ISBN/ISSN 9788493848064 Fadenheftung
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I was born in Batumi, in the Republic of Georgia, and grew up onthe beach. During the90s my country went through tough moments, the separation from the Soviet Union, a civil warand a lot of darkness inthe streets. All that sadness, darkness and Black sea perspectives shaped me. Photography helps me view the world from different perspectives, it makes mesee things in a different way, it changed my idea of sadness and my idea of love among others. Photography helps me communicate with people, objects, streets and nature and find positive things in those connections. Vonder Verlagsseite
The Ecart Group published artists’ books, presented exhibitions and performances, and opened a bookstore/gallery that is considered to be “one ofthe most important alternative spaces in Europe inthe 1970s” (Ken Friedman). Ecart worked with many artists. The exhibition features artworks made by Armleder and Ecart and includes a complete set of Ecart publications, works on paper, mail art projects, films, and sound works created for Paul McCarthy’s Close Radio.
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224 S., 29,7x21 cm, ISBN/ISSN 9781870003339 Hardcover, Ecken abgerundet
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ABZ presents a fabulous collection of complete alphabets, emblems, logos, letters and signs, together with stunning graphics from classic modernist books and magazines, and from obscure professional manuals.. Drawn from collections, many of them private, in London, Paris, Amsterdam, New York and Mexico, most of this fascinating, rare and beautiful material is reproduced forthe first time since its original publication
Self Publish, Be Happy is an organisation founded by Bruno Ceschel in 2010 with theaim of celebrating, studying and promoting self-published photo books through events (such as exhibitions, displays and talks), publications and online exposure. Self Publish, Be Happy also organises workshops that help artists and photographers make and publish their own books.
Self Publish, Be Happy Shop sells a selection of remarkable and rare contemporary books.
Self Publish, Be Happy Blog features daily photography by mostly emerging artists.
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288 S., 23,6x15,8 cm, ISBN/ISSN 9780262018777 Hardcover Leinen
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In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building onthe Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world. This book collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description ofthe work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes.
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[28] S., 30x20 cm, Auflage: 300, 2 Stück. keine weiteren Angaben vorhanden Blätter lose ineinander gelegt, Risographie, in transparenter Kunststoffhülle
The origin of this work of self-fiction can be found inone ofSão Trindade’s sketchbooks, this one entirely devoted tothe subject of loss or decadence. With references tothe aesthetics of crime scenes and nightlife photographed by Weegee inNew York inthe 1930 and 1940’s, the device is simple: in a "real décor," São Trindade’s body, abandonned and unconscious, is photographed. The body is always the same but differently ‘prepared’ and ‘composed’ with new dresses, new gestures, new signs of a recent activity or a different personality. Each image hasits particular story and each space is a sounding board for each of these performative states of body.
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Artist Music Journal is an ongoing, limited edition small book series published by Sound Screen Design that focuses onthe inseparable connection between music andart. Each release is limited to 1,000 copies, features a 24 page, saddle-stitched small book printed on thick stock and encased in a 10″., record jacket. The artists signature is replicated on a letterpressed sticker placed around the jacket opening, and hand numbered.
Daniel Higgs is a musician and artist from Baltimore, Maryland, whohas been a contributor tothe independent artand music community for nearly 3 decades. His artistic work ranges from musical records to books of poetry to visual collections ofhis drawing, painting and collage work
3 S., 29,7x21 cm, keine weiteren Angaben vorhanden Schwarz-Weiß-Laserdruck nach Email, zu einem dreitägigen Symposium ander Universität Wisconsin, Lawton Gallery, vom2.-4.6.2014
This symposium seeks to provide a venue for dialogue between researchers, artists, publishers, librarians and others interested in artists’ periodicals in order to bring into focus the many issues and themes that constitute the terrain of these publications. We have chosen the 1950s asthe starting date for this symposium as we believe this decade isthe crucial moment in which artists’ periodicals develop as a distinct and identifiable medium. Das Symposium hat folgende Themenschwerpunkte:
- Looking back and looking ahead: Histories
- Temporality/Periodicity ofthe artists’ periodicals
- Artists’ periodicals: Collective or Individual Practices?
- The Economics of artists’ periodicals
- Artists’ periodicals as Alternatives
- Artists’ periodicals and other Territories
- Exhibiting and Preserving artists’ periodicals
536 S., 29,8x21 cm, Auflage: 500, numeriert, signiert, ISBN/ISSN 9789630872256 Schmutztitelseite gestempelt, mit Widmung und Aufkleber, Vorwort von Kristine Stiles
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Using authentic documents, numerous photographs and illustrations Artpool’s chronological volume containing a brief presentation of events and exhibitions, a detailed bibliography and references follows the history ofthe Artpool art project – launched more than forty years ago by fine artist GyörgyGalántai and later jointly realized with Júlia Klaniczay – from the exhibitions ofthe Chapel Studio active in Balatonboglár between 1970 and 1973, through the establishment ofthe Artpool archive in 1979 tothe opening ofthe Artpool Art Research Center in Budapest in 1992 andits becoming an esteemed research facility bythe 2010s.
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8 S., 14,8x23 cm, signiert, keine weiteren Angaben vorhanden zu einem Buch gefaltetes Plakat zur Veranstaltung
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What does it mean to publish today? In the face of a continuously changing media landscape, institutional upheavals and discursive shifts inthe legal, artistic and political fields, concepts of ownership, authorship, work, accessibility and publicity are being renegotiated. The field of publishing not only stands atthe intersection of these developments but is actively introducing new ruptures. Howthe traditional publishing framework of processes, practices, institutions and discourses has been cast adrift will be discussed inthe workshop through the examination of recent advancements of publishing concepts emerging from the experimental literature andart scene, where publishing and publicizing are often part of an encompassing artistic practice.
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Inhalt: Einzelblatt (Manifest contra el Populisme Pervers), gefaltete Pappe mit Baumwollsocke, 3 Hefte, Leporello, Heft mit Originalnegativ, geschlossener Umschlag, gefaltetes Poster mit Sand, Folder. In the wake ofthe worldwide glorification of Barcelona viathe 1992 Olympics Games, a group of publishers felt that itwas time to revive the creative and critical spirit at a cultural level, in the form of a magazine, in order to demonstrate the prevailing level of creativity - via manifestos and works without intermediaries. As a result, Vicenc Altaió, Claret Serrahima, Manel Guerrero, Joaquim Pibernat and Manel Sala launched the magazine, Cave Canis, (which literally means "beware ofthe dogs") in Barcelona, in 1996.
Starting with its first edition the magazine announced that it would have a short-lived existence - only 9 issues were published, each corresponding toone letter ofthe publication’s name. The magazine was constituted by a cardboard box, designed by Claret Serrahima, a manifesto, an artist’s book and sometimes contained CDs with recordings and other artistic objects, all associated with the same monographic topic. Each issue had a letter onthe front cover designed by an artist. Cave Canis wasn’t available inthe usual retail outlets. Each issue was presented in an unusual place inthe city, where the manifesto was read, copies were distributed andthe magazine then disappeared from sight. The last issue was published in 1999.
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7,5x12,5x2 cm, keine weiteren Angaben vorhanden Musikkassette in Waschbeutel mitReißverschluss, mit 2 Aufklebern gehalten
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released 08 October 2014 Our journey through the wicked world of weird audio tapes continues with the first release ofthe freshly founded LIMBS-label which isthenew "Waschmaschinenfest 2K14" compilation, aC30 cassette based on Field Recordings of - well... - washers. Recorded, contributed and remixed - sic! - by artists like Xotox, Klonk, Low Entropy, Jasmina, Fgnugen, Aehm and Indesit we're introduced to quite a few different types of washers e.g. ones crafted by Bauknecht, Haier, Siwamat etc. and their typical, mechanic sound patterns as well as to dark'ish Drones, haunting athmospheres and cold, scampering experimental Tribe Tekno for underground soundsystems and chemically polluted teknival scapes. Quite interesting for collectors of conceptual releases - and washers.
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2 S., 9,3x14 cm, keine weiteren Angaben vorhanden Beidseitig bedruckter Flyer
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STET – livros & fotografias is book shop in Lisbon, specialized in Photo books, artist books and author editions. This project was born as a critival platform forthe debate and presentation of photo editions, promoting the circulation of Portuguese artist and importing international publishers. We have independent and classical editions, artist books, author editions, cheap and expensive, weird and special.
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The project Tipo.pt is dedicated to editions created by Portuguese artists, illustrators and designers or related with Portugal. Tipo.pt aims to collect information onthe largest number of books and other printed objects, produced inthe context of contemporary art. The project comprises thewww.Tipo.pt database andthe Portuguese Small Press Yearbook. www.Tipo.pt, still in development, is divided intwo sections:
- Archive: Editions
- Archive: Periodicals and collections
Each file is on a piece of work and contains photos, technical information, a short description and, when available, critical texts.
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Erschienen anlässlich der Ausstellung "Roman Signer - Straßenbilder und Super-8-Filme" im Aargauer Kunsthaus, 28.01.22.04.2012, herausgegeben von Peter Zimmermann und Madeleine Schuppli.
This book presents photos taken by Roman Signer on a 2005 journey through the Carpathian Mountains, which took him tothe Ukraine and Romania. The photographs evidence brief stops atthe side ofthe road and present subjects that fall into two distinct catagories: home-grown fruits, vegetables and other produce for sale, carefully displayed on stools or small tables, and loving memorials of flowers, crosses and wreaths for deceased family members and friends who were road casualties.
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Ausstellungskatalog anlässlich der gleichnamigen Ausstellung im Museum Reina Sofia, Madrid vom 28.10.2014-09.02.2015.
This catalogue investigates the notion of “really useful knowledge” andits origins. In the 1820s and 1830s, working class organisations inthe UK introduced this phrase to describe a body of knowledge that encompassed various “unpractical” disciplines such as politics, economics and philosophy, as opposed tothe “useful knowledge” proclaimed by business owners whohad previously begun to invest more heavily in their companies’ progress through financing workers’ education in “applicable” disciplines like engineering, physics, chemistry and mathematics. The publication presents texts and conversations that analyse these themes, including philosophy, art, politics and technology. Mit Texten vonu. a.: What, How & for Whom, Marina Garcés, Raqs Media Collective, Luis Camnitzer, Trevor Paglen, Jacob Appelbaum, Fred Moten & Stefano Harney und G.M.Tamás.
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Fazal Sheikh made his first trip tothe holy Indian city of Vrindavan in 2003. Each year thousands of women make their way there to join the community of widows who spend their days inthe temples, worshipping their god Krishna, and preparing for death. Over the next three years, Fazal Sheikh became accepted bythe widows, who agreed tositfor their portraits and talked tohim about their lives. Their stories revealed how powerless some ofthe women had been under the strictures of traditional Hindu law. They were victims of enforced marriage, physical violence, sexual abuse and neglect. Some had been evicted from the family home once their children were married. Others had left of their own accord. As Fazal Sheikh discovered, what the women find in Vrindavan isnot just religious solace, but inthe sisterhood of other widows they find companionship and support. In his portraits their faces are suffused with calm – in some cases they already seem to have reached a half-life, somewhere between this world andthe next – and their religious faith, in many ways the source of their past troubles, finally brings them peace. This project was published as Moksha
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2 S., 29,7x21 cm, keine weiteren Angaben vorhanden Lieferprogramm, beidseitig bedruckt
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Art Seen - Contemporary Art Projects & Editions is an organization operating as a cultural platform of exchange in contemporary art. Itsaim is to create bridges and dialogue between Cyprus andthe international contemporary art scene. The idea was born from the need ofnewand creative collaborations that took a fresh look focusing on contemporary artistic approaches and reflecting upon the dynamic and changing art world. Art Seen projects andArt Seen editions arethetwo pillars of this organisation.
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Uniformbooks is an imprint forthe visual and literary arts, cultural geography and history, music and bibliographic studies. The uniformity ofthe format andthe expansive variety ofthe list andits subjects, is characteristic ofour open approach to publishing. The printed quarterly Uniformagazine gathers contributions bythe writers and artists that we work with, sometimes thematically, as well as slighter or singular content—click on animation for further details.
Text vonder Website Mit: "Vovite Leaves"-David Matless, "The Reader's Digest Family Encyclopedia of World History"-Kasper Pincis, "tap-root"-Simon Cutts, "A glance tothe past"-Martha Hellion, "Condensations"-Nathan Walker, "Trago Mills, Newton Abbot"-Phil Smith, u.a
[20] S., 21x14,8/ cm, keine weiteren Angaben vorhanden Drahtheftung
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Dimanche skate co. is a London based brand born from the love for skateboarding, culture, design, and photography. It all started with a roll of film shot in London andNew York atthe start of 2014, these photos then went on to inspire the brand's original style aesthetic and products. All products are made in limited runs with a focus on quality and simplicity. The product line ranges from decks, t-shirts, rugby shirts and beanies to patches and photography.
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Ghosts of Hiroshima was a multi-media production written by Deborah Lubar and conceived and performed bythe Lantern Theater Company. Harley designed and executed banners, masks, sets, and graphics for this documentary drama sponsored by Oberlin College andthe Ohio Humanities Council. This project was on tour in 1983 and 1984 with Harley in attendance.
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nur Bilder, ohne Text
TOILETPAPER is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization ofthe artists’ mental outbursts. Since the first issue, in June 2010, TOILETPAPER has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work ofart, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits ofthe contemporary art economy. Text vonder Webseite
nur Bilder, ohne Text
TOILETPAPER is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization ofthe artists’ mental outbursts. Since the first issue, in June 2010, TOILETPAPER has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work ofart, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits ofthe contemporary art economy. Text vonder Webseite
nur Bilder, ohne Text
TOILETPAPER is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization ofthe artists’ mental outbursts. Since the first issue, in June 2010, TOILETPAPER has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work ofart, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits ofthe contemporary art economy. Text vonder Webseite
nur Bilder, ohne Text
Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. Number 15, powered by Perrotin. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization ofthe artists’ mental outbursts. Since the first issue, in June 2010, ‘Toiletpaper’ has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work ofart, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits ofthe contemporary art economy.
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This award-winning contemporary art book is made completely from the perspective and language of bugs, from the front page tothe final chapter, with no human writing and text, only the "writing" of bugs. Inspired bythe marks left behind by a cicada walking across his sketchbook, contemporary artist Zhu Yingchun placed boards and "ink ponds" of dark-coloured vegetable juices inhis garden forthe bugs to crawl through. The resulting marks, were thousands of twisted characters, each with a charm ofitsown - the language ofthe bugs. The accompanying booklet explains the artist's concept and QR code links the reader to a video ofthe process.
"The bugs seem insignificant, but their strokes are beautiful," says Zhu Yingchun. "Art isnot just those pieces hanging on walls and placed in exhibition halls. Everything inthe world, including every life in nature, hasthe power to create beauty, andart isall around us.
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nur Bilder, ohne Text
"Toilet Paper" is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text - each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization ofthe artists’ mental outbursts. Since the first issue, in June 2010, "Toilet Paper" has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work ofart which, through its accessible form as a magazine, and through its wide distribution, challenges the limits ofthe contemporary art economy". A brand new, pristine example ofthe eighth issue of this fascinating, irregularly issued artist's project.
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Nur Bilder, ohne Text. KENZINE ist eine Kollaboration zwischen TOILETPAPER Magazine und KENZO.
“Forthe third installment inour collaboration with TOILETPAPER forour advertising campaigns, we worked with Maurizio, Micol and Pierpaolo to take people on a mysterious journey to an unfamiliar world. A place where the ordinary is slightly disorted, mirrors lead to other dimensions andthe strange and beautiful coexist in singular harmony. We love that David Lynch’s (the inspiration forour collections) skewed and somewhat disruptive sense of storytelling seamlessly fits with howthe TOILETPAPER approach image making andthe final results speak for themselves. Needless tosay we’re delighted with theout come and hope everyone else enjoys the images as much as we do.” Carol Lim & Humberto Leon
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Spanning almost three decades, 'Moonshine' is a portrait ofthe American Appalachian folk, a mythologised region populated by ‘moonshiners’. Van Manen’s images are defined by a fierce intimacy with her subject, as the viewer teeters onthe edge ofthe frame, perpetually trespassing on private moments: rollicking children practicing handstands onthe couch. a kneeling daughter combing the hair ofher grandmother. Van Manen first visited the region in 1985, to the Appalachian areas of Kentucky, Tennessee and West Virginia, returning periodically up until 2013 to visit mining families with whom she lived: the Boggs family with their tenred-haired sons. miners Mavis and Junior. The intergenerational images subtly trace the insidious changes undergone by Appalachia – the slow and steady demise ofthe mining industry, andthe migration of inhabitants from ramshackle wooden cabins tothe city, or urban trailer parks. Van Manen intermixes black-and-white images with later colour work – another register of time passing andthe inevitability of change.
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96 S., 28x21,7 cm, ISBN/ISSN 01614223 Klebebindung, mit Audio CD "Ray Johnson" by Nick Maravel (1987-1988), Postkarte mit "Correspondance from Ray Johnson postmarked 7. January 1976" und Visitenkarte von Charlton Burch beiliegend
"This isnotthe document ofRay Johnson wall art. It's not about his famous collages or what remains in museums andfor sale in galleries. It's an issue about the atmosphere ofRay Johnson - the element, the ambient specifics ofwho hewasand what hedid. Years inthe making, it's an homage totheRay Johnson who made communication, letter writing, and otherwise unlikely creative gestures hisart. It's about Ray's correspondences seen andnot seen, sent or otherwise, andhis notions ofthe world that he caused to flow between islands of friends, acquaintances and strangers."
Charlton Burch, Editor
Excerpt from the editor's letter
„Dies ist nicht das Dokument der Wandmalerei vonRay Johnson. Es geht nicht um seine berühmten Collagen oder umdas, was in Museen und Galerien zum Verkauf steht. Es geht umdie Atmosphäre vonRay Johnson - das Element, die Besonderheiten der Umgebung, wer erwarundwas ertat. Es ist eine Hommage andenRay Johnson, der Kommunikation, Briefeschreiben und andere unwahrscheinliche kreative Gesten zu seiner Kunst machte. Es geht um Rays gesehene und ungesehene, gesendete oder nicht gesendete Korrespondenzen und seine Vorstellungen vonder Welt, die er zwischen Inseln von Freunden, Bekannten und Fremden fließen ließ.“
Charlton Burch, Herausgeber
Auszug ausdem Brief des Herausgebers
Übersetzt mit DeepL
Patti Smith: Camera Solo, on view atthe Wadsworth Atheneum from 21.10.2011-19.02.2012, wasthe first museum exhibition of Patti Smith’s photography inthe United States and included seventy photographs, one multimedia installation, andone video work. The pioneering artist, musician, and poet, Smith has made her mark onthe American cultural landscape throughout her 40-year career, from her earliest explorations of artistic expression with friend and vanguard photographer Robert Mapplethorpe inthe 1960s and70s toher profound influence onthe nascent punk rock scene inthe late 1970s and80s.
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A true gift is intimate. It is a carrier of meaning that involves the capacity to amuse, delight, and identify empathically with our recipient’s desires. This exceptional book byNew York-based conceptual artist Barbara Bloom, entitled Gifts, explores the nature of gifts in relation to aspects such as wrapping, covering and uncovering, pleasure, and generosity.
A passionate collector of ornamental paper from all over the world, Bloom has studied the history and aesthetics of gift-wrapping in detail. In Gifts, she tries to blur the conventional distinction between artand life, whilst offering new insights on notions of concealment and revelation. ‘Canthebox be an artwork? Canthe wrapping bethe gift?’ – she questions her readers.
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Provides a thorough historical survey ofthe impact of U.S. copyright law on transatlantic modernist authors. Documents the growth and development across time ofthe American public domain, as shaped bythe historically protectionist and formalistic U.S. copyright law. Gives fresh insights drawn from unpublished materials-letters by Joyce, John Quinn, Ezra Pound, Sylvia Beach, John M. Price, and others -and makes extensive use of hitherto unknown legal archives.
This book tells the story ofhowthe notoriously protectionist American copyright law impacted transatlantic modernism by encouraging the piracy of works published abroad. From its inception in 1790, U.S. copyright law withheld protection from foreign authors, creating an aggressive public domain that claimed works just as soon as they were published abroad. When Congress finally extended protection to foreign works, legal technicalities caused many authors to continue to lose their copyrights.
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[8] S., 17x29,7 cm, 2 Teile. keine weiteren Angaben vorhanden 2 handgefaltete Bögen, 65 x 118 cm, A4-Blatt mit eingeprägtem Signet als Umschlag, Spanngummi, Vorderseite Fotos Schreibtisch/Computer, Rückseite Collage aus Texten, Zeichnungen
Herausgegeben von Ruine München, die AutorInnen gehörendem Komitee der Transmission Gallery Glasgow 2018 an.
Erschienen inder Publikations- und Ausstellungsreihe Ruine München, in Verbindung mit Galerie-Austausch various others. 14.09.18: ZINE Release, Königsplatz, München On the occasion of Various Others weare glad to announce that Transmission Gallery Glasgow will dothe next issue of Ruine München. Transmission Gallery has existed since 1983 and it is managed and programmed by a voluntary committee ofsix people, each of whom joins successively andmay serve for a maximum oftwo years. For Ruine München the current commitee (Thulani Rachia, Adam Benmakhlouf, Myriam Mouflih, Alberta Whittle, Alaya Angand Katherine Ka YiLiu) developed a mapping of their space trying to include all their current changes, reflections and workflows using the principles of painterly abstraction as a means of institutional reflection and critique.
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Schwarz-Weiß-Drucke, Nr. 001ausder Reihe 100for10.
Harmsen lives and works in Munich as creative director at Melville Brand Design. He launched the fontlabel Volcano-Type and is editor/publisher of Slanted blog and magazine, related to design and typography. He is also professor of typography and design atthe University of Applied Sciences and Arts Dortmund.
Schwarz-Weiß-Drucke, Nr. 009ausder Reihe 100for10.
André Rösler has worked as a freelance illustrator, designer and animation directer. He illustrated several picture books for small and large kids. His work was awarded with various design prices andwas shown on exhibitions in Berlin, Paris, Zürich and Dakar. André Rösler is based inthe beautiful south and teaches illustration atthe university of applied sciences inwürzburg.Konrad Bayer is an artist and illustrator living in Berlin.
Schwarz-Weiß-Drucke, Nr. 045ausder Reihe 100for10
British artist Anna McCarthy lives and works in Munich. She studied atthe Glasgow School ofArtand atthe Academy of Fine Arts in Munich. McCarthy’s work combines paintings, drawings, installations, performances, music and film. Shehas exhibited in numerous international art institutions and museums, among them Northern Gallery for Contemporary Art, Sunderland, Shedhalle Zürich and atthe Schaustelle, Pinakothek der Moderne in Munich. In 2013 she premiered the musical “How To Start A Revolution” at Haus der Kunst in Munich. The long-running multimedia project ofthe same title analyses the cliché of “the rebel” in a critical and humorous fashion. She attracted equal attention with her performative presentation: „Heute Nachmittag: Alswir noch anwas glaubten“ (eng. It was only this afternoon that we still believed in something) as part of 1914/2014: Die Neuvermessung Europas. (Remeasuring Europe). In 2015 shewas awarded a fellowship atthe Villa Aurora, Los Angeles.
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Schwarz-Weiß-Drucke, Nr. 046ausder Reihe 100for10.
Edward Fella is an artist and graphic designer whose work hashad an important influence on contemporary typography here and in Europe. He practiced professionally as a commercial artist in Detroit for 30 years before receiving anMFA in Design from the Cranbrook Academy ofArt in 1987. He has since devoted his time to teaching andhisown unique self-published work which has appeared in many design publications and anthologies. In 1997 he received the Chrysler Award and in 1999 an Honorary Doctorate from CCS in Detroit. His work is inthe National Design Museum and MOMA inNew York.
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Jens Schwarz was born 1968 in Berlin and studied history of arts in Paris and photography in Munich. He works inthe field of portraiture and reportage on german and international assignments. In his personal projects he focuses on sociopolitical issues that often deal with questions of both personal and collective social identity. 2014 his first monograph ›Beirut Eight Thirteen‹ has been published documenting a photographic long-term project on social instability in Beirut. His projects received several grants throughout his career andhis work has been nominated, among others, forthe German Henri-Nansen-Prize.
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Ariane Spanier was born in Weimar, Germany. She studied visual communication attheArt Academy Berlin-Weißensee. After that she went toNew York to intern at Sagmeister Inc. andshe opened herown design studio in Berlin in 2005. Many of Ariane Spanier’s clients have a cultural background such as galleries, artists, publishers and architects. The studio’s focus lies onthe design of books, catalogues, posters, but also branding, animation, illustration and websites. Since 2006 shehas been the creative director of Fukt, an annual magazine for contemporary drawing. Her playful approach to typography and image explores the perception of depth, gravity and weightlessness, revealing the underlying and hidden.
During nine months of research atthe Library, Leti examined the works of a diverse range of artists who utilise the form ofthe cross, including Antoni Tàpies, Piet Mondrian, Arthur Boyd and Rover Thomas. Throughout the project, Leti kept a daily journal recording his observations and inspiration. His jottings and sketches inthe journal served as a springboard to larger works made on paper, metal, glass, canvas and wood.
Bruno's book The matrix was published in 2010.
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[4] S., 21x14,5 cm, Auflage: 150, numeriert, signiert, 131 Teile. keine weiteren Angaben vorhanden Drei Flyer, einmal gefaltet, acht Bogen Künstlerbriefmarken, perforiert. Zwei Bögen signiert und nummeriert.
Zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 inder Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. Itry with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
Text vom Flyer.
Best known forhis series on clandestine military bases andspy satellites, Trevor Paglen’s practice reaches far beyond museum walls. Instead, it encompasses a variety of disciplines. from image-making and installations to investigative journalism, writing, engineering, geography, and sound design. Along theway, Paglen challenges our traditional notions of fine art. He has published a number of books onthe functioning ofthe US intelligence services, installed a series of Autonomy Cubes that allow access tothe entirely anonymous Tor network, and is currently working onhisown satellite to be launched into space in summer 2018. In a sweeping conversation with mono.kultur, Trevor Paglen talked about the volatility of truth, the dilemmas ofthe Anthropocene, andwhy Artificial Intelligence willnot outlast humanity. True toits precious content, the issue comes in a Static Shielding Bag normally used for sensitive electronic products. In loose reference to computer coding as well as archival documents, it contains a main booklet with the text and excerpts from Paglen’s current cycle on machine vision, as well assix ‘attachments’ covering seminal projects from his career to date.
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Erscheint anlässlich der Ausstellung "Daniel Buren, Le Muséequi 'existait pas", Centre Pompidou, 26.06.-23.09.2002.
Daniel Buren ist einer der wichtigsten französischen Künstler mit einer großen internationalen Wahrnehmung, seit 40 Jahren befragt erdie Kunst unddieMöglichkeiten, sie »in situ«, also vorOrt, zu entwickeln. Der Bildhauer und Maler mit starken Bezügenaufdie Konzeptkunst richtete 2002 im Centre Pompidou in Paris eine spektakuläre Ausstellung ein. Die Publikation versammelt die Bilder zuder Ausstellung, dieden gesamten Gebäudekomplex mit einbezog. Seine Installationen zerstörte er unmittelbar nach Ablauf der Ausstellung, der Katalog ist, was erhalten blieb. Aber er bildet nicht allein denn Rundgang ab, sondern dokumentiert auch Burens Vorarbeiten wie Skizzen, seien Ideen, die Pläne und Grundrisse des Baus. Die ungewöhnliche Herangehensweise unddiekühne Umsetzung der Ideendes Künstlers treten deutlich hervor.
A seminal exhibition bythe artist Daniel Buren atthe Centre Pompidou in Paris is recreated through photographs ofthe since-destroyed pieces and illuminating reflections bythe exhibition s curator. Since the late 1960s Daniel Buren has been challenging the traditional methods of presenting art through museums and galleries. Through his conceptual works Buren audaciously argues that theartandits viewing environment are both inextricable and antithetical. This beautiful volume takes readers on a tour of a spectacular exhibition atthe Centre Pompidou in Paris. The photographs depict Buren s employment ofthe museum as a whole. The pieces, which he destroyed immediately after the exhibition closed, included hundreds of open cubes, mirrors, banners, and even a car park. Also featured are fascinating, behind-the-scenes accounts ofthe installation bythe curator, Buren s ownpre-exhibition sketches, ideas, andfloor plans, and perceptive essays that capture the significance of Buren s daring achievement.
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Munich Jewellery Week, held from 11.03.-17.03.2019 showcases avant-garde contemporary jewellery by both established and up-and-coming designers from all around the world. This yearly gathering is byfarthe most significant event onthe contemporary jewellery calendar. it’s a unique phenomenon, and it sets the pace forthe contemporary jewellery field. Current Obsession Magazine and Platform coined the title Munich Jewellery Week in 2015 to give a name to this extraordinary collective effort and to associate it with other professional fashion and design weeks around the world.
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Zum Release undzur performativen Lesung inder404Bar inMünchen am 15.05.2018 ab 20Uhr.
Kyrill Constantinides Tank, born in Munich in 1990, studied art education atthe Academy of Fine Arts in Munich. Here he made his first experiences with live performances and performances, both solo and in collectives and bands (i.e.org.i.e.n, LadeKabel, Lappenforum). In addition to sculptural and painting activities, he further developed his performative practice, in which the spoken text became the main protagonist. During a semester abroad in Athens he played sound collages, live improvisations and discussions with his friends inthe self-organised exhibition space Circuits and Currents viathe radio station CircuitsOnAir.
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In collaboration with Naked Punch and Shoppinghour. An intellectual journal with one intention, to initiate frequent cross-disciplinary dialogue on political, social and cultural issues faced bythe island’s inhabitants, as diversely and impartially as possible. The Cyprus Dossier was founded in 2011 in Nicosia, Cyprus. It was distributed for free across Cyprus at selected locations in print/online and concluded in 2015. In 2012 The Cyprus Dossier hosted Mag Dossier, a celebration of contemporary magazine publishing from across the world curated by Peter Eramian. Special issues have been published forthe exhibition Terra Mediterranea: In Crisis (2012) at the Nicosia Municipal Arts Centre, the participation of Cyprus atthe 55th Venice Biennale (2013) and International Artist Initiated, a project organised by David Dale Gallery as part ofthe Glasgow 2014 Culture Programme forthe Commonwealth Games, for which Peter Eramian also curated the exhibition Non-Standard Testimonials.
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Infoheft zur Ausstellung inder Tate Modern, London, 17.10.2019-09.02.2020. The visionary artist who embraced mass media andnew technology. Nam June Paik’s experimental, innovative, yet playful work hashad a profound influence on today’s artand culture. He pioneered theuse of TVand video inartand coined the phrase electronic superhighway to predict the future of communication inthe internet age.
This major exhibition is a mesmerising riot of sights and sounds. It brings together over 200 works from throughout his five-decade career – from robots made from old TV screens, to his innovative video works andall-encompassing room-sized installations such asthe dazzling Sistine Chapel 1993....
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Werbekarten zum Buch “We Are Cypriots”, a chronicle that takes us behind the scenes sharing personal histories that official histories often ignore.
Between 2015 and 2018, during the reunification talks and after they failed, the author Lisa Fuhr visited Cypriots from both communities and photographed them in their surroundings. These intimate photographs and accompanying in-depth conversations shed light on life in Cyprus today.
Travellers, Cypriots living abroad, foreigners who have chosen to settle there, and last butnot least, the people of Cyprus itself just might discover in these pages something they didnot expect.
Erschienen zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 inder Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. Itry with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
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Ausgelegt imtürkischen Pavillon aufder Biennale Venedig. Oda Projesi is an artist collective based in Istanbul; composed of Özge Açıkkol, Güneş Savaş and Seçil Yersel who turned their collaboration into a project in 2000. From January 2000, their space in Galata functioned as a non-profit independent space, hosting projects, gatherings and acts up until march 16th2005, when Oda Projesi was evicted from the apartment due tothe process of gentrification. Since then Oda Projesi has a mobile status andnotany more space based; continues to raise questions on space and place creating relationship models by using different mediums like radio stations, books, postcards, newspapers or giving form to different meeting points; depending onand respecting tothe creativity of Istanbul andits citizens.
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Peter Downsbroughs ANDUNDAND, Elements ofthe Maze (2022) besteht aus offenen und geschlossenen Winkeln, die an architektonische Fragmente genauso wie an geöffnete Bücher erinnern. Siekönnen auf unterschiedliche Weise aufgebaut werden – wieein Labyrinth, in dem Worte und Linien in wechselnden Konstellationen aufeinander treffen.
Erschienen zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 inder Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. Itry with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
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Initiative providing information and networks for Ukrainian and Munich artists, researchers, curators and cultural workers.
Information for visual artists and cultural workers, Portraits of institutions and initiatives and their offers for cultural workers from Ukraine in Munich
Der Rosa Stern Space istein Raum sowie ein Netzwerk und eine Plattform für die Auseinandersetzung, sowohl analog als auch digital, mit verschiedenen Diskursen. In den eigenen Räumlichkeiten und auch an verschiedenen Orten inMünchen organisiert Rosa Stern Space verschiedene Veranstaltungen. Hierbei handelt es sich um Programmheft mit Auflistung der verschiedenen Veranstaltungen, die abdem 26.01.2023 in verschiedenen Lokalitäten inMünchen stattfinden, unter dem Namen "After All Ends: No New Beginnings - Between Vision and Resignation". Das erste Event fand inder Roten Sonne inMünchen statt. Die Inhalte sind vielseitig und bewegen sich von Klang, Tanz und Performances bis hinzu Gesprächen und Vorführungen.
Rosa Stern Space explores social and cultural developments of a present defined by (post-)apocalyptic scenarios, critically questioned and transferred into an aesthetic discussion space. What comes after all ends? Are there new beginnings? Do we persist inthe recurrence ofthe same old? No return tothe supposed normality? How do we counter resignation, and what visions emerge from these liminal conditions marked by continuous crises and permanent sensations? Breakdown or breakthrough?
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21x14,5 cm, keine weiteren Angaben vorhanden Flyer mit Erklärung von Klaus Groh, was Poesie für ihn bedeutet undwie er damit umgeht, seinem Lebenslauf und Aufzählung seiner Ausstellungen
Zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 inder Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. Itry with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
Text vom Flyer.
Learn more about the history ofthe movement in a retrospective at Winter Park's CFAM. Zur Ausstellung Pushing the Envelope im Rollins College's Cornell Museum, Mail Artausden Archiven Amerikanischer Kunst, Smithsonian Institution.
Pushing the Envelope is curated by Miriam Kienle, an assistant professor ofart history atthe University of Kentucky, with the help of some ofher intrepid students, with materials sourced from the Smithsonian's extensive holdings. The exhibition has been displayed atthe Smithsonian Institute of American Artand other museums, and arrives at Rollins College at an oddly appropriate time. TheNew Yorker recently opined that "mail art, which requires neither exhibition space nor Zoom conferencing, is poised for a comeback" — and we agree. During a time when social interactions for most of usare fewer and farther between, taking a peep atthe ol' mailbox or getting a package onthe doorstep is often theday's highlight. The exhibition's exploration of mail artists' unique ways of creation, collaboration and connection are energizing and inspiring inthe present now. ...
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Büchlein des japanischen Künstlers Sayo Senoo, bestehend aus verfremdeten Bildern, diederKünstler von japanischen Sex-Business-Webseiten heruntergeladen hat. Auflage von100, die alle nummeriert und signiert sind.
"Bodies that shed tears 3" is a sequel to "Bodies that shed tears" and "Tachinbo". This little book is made from my collection of photos downloaded from various sex related business websites in Japan. I worked in this kind of company topayfor myart studies. These jobs are mentally and physically heavy. Butthe high pay prevents most of us from quitting before their health is damaged. The images are transformed through several processes using inkjet printers to make visible these physical and mental damages, the fatigues andthe pains, that hide behind the seductive poses and smiles ofthe people inthe photos. The book is printed on an incompatible paper with my printer, so that the images are ephemeral and fragile like asour body.
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Achte Ausgabe des 20seconds Magazin, ein Magazin für experimentelle Musik und Kunst, dieses Mal erschienen unter dem Titel "The Tide".
Issue 8, “The Tide,” looks into the cyclical nature of social and political movements. In order to do so we take inspiration from our often seemingly lunar obtuseness and incapacity to deal with the errors our planet’s inhabitants continue to make. There is little tosay that hasnot been said, or eroded, after years of Russia waging war on Ukraine, Israel committing genocide onthe Palestinian people, andnow bombing Lebanon, funded bythe US, Germany, and many others; fascism soaring inthe polls and warming the seats of leaders in so many countries we’re beginning to lose count. Still, we rely onour notions of publishing, of speaking and writing resistance, even as governments continue to abuse the activists doing so onthe streets. Forthe artists in 20 Seconds Issue 8, the tide is something to be challenged, of which to be conscious, a malleable energy to be harnessed, in the form of pain, or even trauma.
Ausgabe 8, „Die Flut“, befasst sich mitder zyklischen Natur sozialer und politischer Bewegungen. Dabei lassen wirunsvon unserer oft mondähnlich anmutenden Stumpfheit undUnfähigkeit inspirieren, mitden Fehlern umzugehen, diedie Bewohner unseres Planeten weiterhin begehen. Es gibt wenig zu sagen, was nicht schon gesagt wurde, oder was nicht schon erodiert ist, nachdem Russland seit Jahren einen Krieg gegen die Ukraine führt, Israel einen Völkermord ampalästinensischen Volk begeht und jetzt den Libanon bombardiert, finanziert vondenUSA, Deutschland und vielen anderen; der Faschismus steigt inden Umfragen undwärmtdie Sitze derFührer in so vielen Ländern, dass wir anfangen zuzählen.
Dennoch verlassen wirunsauf unsere Vorstellungen vom Publizieren, vom Sprechen und Schreiben des Widerstands, auch wenn die Regierungen die Aktivisten, die dies aufder Straßetun, weiterhin misshandeln. FürdieKünstler in 20 Seconds Issue 8 istdie Flut etwas, das es herauszufordern gilt, dessen man sich bewusst sein muss, eine formbare Energie, dieman sich zunutze machen kann, in Form von Schmerz oder sogar Trauma.
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24 S., 29,5x21 cm, 2 Stück. keine weiteren Angaben vorhanden Drahtheftung, matt-glänzendes Umschlagpapier, dünne hellgraue Innenseiten, farbiges Beiheft mit Abbildungen, ebenfalls Drahtheftung
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"A musical adaptation ofthe multifaceted, facetious, ongoing project «How to Start a Revolution» by – Anna McCarthy. It deals with the romanticization and synaesthetic manipulation tactics entailed in depictions – of revolution, rebellion and recent history acted out by an ever-same group of bored rebels. Facts are mixed with fiction, layers are built upon layers, translations occur to create scenarios that manipulate a viewer’s perception of what wasand is truly real. 2-D actors and scenarios mix with 3-D action going on onstage. The «How To Start A Revolution» project has thus far manifested itself inthe form of arrests, archives, films, photographs, and songs. Butnow it is time forthe ultimate grand romantic gesture: A MUSICAL – singing, dancing, screaming, and laughing atthe question ‘what time is it’? It’s a prophecy, it’s a poetic pop spectacle."
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24 S., 29,5x21 cm, Auflage: 50, numeriert, keine weiteren Angaben vorhanden Drahtheftung, Heft in Kunststoffumschlag für Schulhefte, mit Aufkleber drauf, Buntstift mit Schnur angehängt, matt-glänzendes Umschlagpapier, dünne hellgraue Innenseiten, farbiges Beiheft mit Abbildungen, ebenfalls Drahtheftung, mit Originalzeichnungen, vier signierte Riso-Karten und eine CD eingelegt
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A musical adaptation ofthe multifaceted, facetious, ongoing project «How to Start a Revolution» by – Anna McCarthy. It deals with the romanticization and synaesthetic manipulation tactics entailed in depictions – of revolution, rebellion and recent history acted out by an ever-same group of bored rebels. Facts are mixed with fiction, layers are built upon layers, translations occur to create scenarios that manipulate a viewer’s perception of what wasand is truly real. 2-D actors and scenarios mix with 3-D action going on onstage. The «How To Start A Revolution» project has thus far manifested itself inthe form of arrests, archives, films, photographs, and songs. Butnow it is time forthe ultimate grand romantic gesture: A MUSICAL – singing, dancing, screaming, and laughing atthe question ‘what time is it’? It’s a prophecy, it’s a poetic pop spectacle.
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13x13 cm, keine weiteren Angaben vorhanden Musik-CD in KlappPapphülle, transparenter Kunststoff, mit Infoblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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1 - 26 performed and recorded live by Plastic Doll. Plastik Doll is Stephane Leonard, Claudio Pfeifer. additional sounds by Lars Trimborn
mixed by Stephane Leonard in Bremen, Germany. 26 Secret Codes to Brainwash your Neighbour is a lofi noisy impro album. Wild loops, crackling electronics, analog hiss and glitch, small and quiet, loud and noisy... a record as diverse asthe members of this project. The sound is fresh and direct and completely produced without overdubs
13x13 cm, keine weiteren Angaben vorhanden Musik-CD in KlappPapphülle, transparenter Kunststoff, mit Infoblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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written.produced.performed.recorded by Stephane Leonard between 2002 - 2003 in Berlin and Bremen, Germany. nr 1.1 - 1.8 originally released on Sinnbus in 2003. nr 2 ´maintain´ (Bonustrack) recorded in 2004 is filmmusic for ´Die Begegnung´- a short film by Claudio Pfeifer and Stephane Leonard.
´Schmalfilmer´ is the first official album (ep) by Stephane Leonard. Tracks 1.1 to 1.8 belong together andcan be seen asone song. ´Schmalfilmer´ shows early experiments including beats, rhythm and loop based music. Most parts of this EP were build with anold 8 track cassette recorder. Some beats were created on a neighbour´s PCand Fruity Loops, the rest ofthe sounds are guitar noise, found objects, filter and loop machine
Taken 100% from reality, this is a full length transcript ofthe fourth quarter 2009 Monsanto Company Earnings Conference Call, treated, layouted, published and performed as an original theater piece (on occasion ofthe exhibition & symposion "The apparatus of life and death" at the Museum of Contemporary Art Skopje). The main acts are "Presentation", "Question-and-Answer Session" and "Copyright Policy", the main characters are Hugh Grant (President & CE), Carl Casale (EVP & CFO), Terrell Crews (EVP, CEO Vegetable Business), Scarlett Foster (VP IR) as well as various Analysts. As Karsten Schubert puts it "A gulf has sprung between post-Duchampian, postmodern artistic practice and a still Modernist-Romantic interpretation of copyright."
Dies ist eine zu100% der Realität entnommene Abschrift der Telefonkonferenz der Monsanto Company für das vierte Quartal 2009, dieals originelles Theaterstück bearbeitet, gestaltet, veröffentlicht und aufgeführt wurde (anlässlich der Ausstellung unddes Symposions „The apparatus of life and death“ im Museum für zeitgenössische Kunst in Skopje). Die Hauptakte sind „Präsentation“, „Frage-und-Antwort-Sitzung“ und „Copyright Policy“, die Hauptdarsteller sind Hugh Grant (Präsident & CE), Carl Casale (EVP & CFO), Terrell Crews (EVP, CEO Vegetable Business), Scarlett Foster (VP IR) sowie verschiedene Analysten.
Karsten Schubert formuliert es so: „Es ist eine Kluft entstanden zwischen der postduchampianischen, postmodernen künstlerischen Praxis und einer immer noch modernistisch-romantischen Interpretation des Urheberrechts.“
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This book was published in conjunction with Foerster’s on-site installation in a vacant lot in Miami [May, 17, 2012], put on bytheNew York gallery Shoot the Lobster. A conversation between Foerster andthe show’s curator, Bob Nickas, is included inthe book and offers insight into the artist’s process and experience with the project. The show emphasized the placement of printing plates and photographic paper inthelotand their interaction with the environment. This is highlighted bythe photographs featured inthe book, which document objects from the show, as well asits visitors and surroundings.
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160 S., 24x16,2 cm, keine weiteren Angaben vorhanden Broschur, beigelegt ein kleines drahtgeheftetes Notizheft undein Leporello mitdem Jahresprogramm dertgm
... In thetgm annual yearbook the different aspects ofout self-perception are assigned primary colours. The educational programme is presented in blue. The events (conferences, trips, presentation etc.) andthe people onand behind the stage are shown inred, andthe yellow notebook inthethe middle separating thetwo topics is an invitation to participate. This strict and simplistic composition isnot accidental, but an expression ofthe impression Milch+Honig want to make. furthermore it indicates the (colour) system ofthetgm’s soon to be launched new website. These changes inand through our time are taken into account and prepared forthe future inthetgm annual theme ...
... All diese Aktivitäten sind auch in diesem Jahr wieder in einem Buch dokumentiert: Vorsitzende Christina John visualisierte hier alldie Aspekte, diedietgm auszeichnet, in gestalterischen Details: »Das Fortbildungsprogramm ist in blau dargestellt. Events wie Konferenzen, Reisen oder Vorträge sowie die Menschen vorund hinter den Kulissen dertgm sind inRot getaucht unddas gelbe Notizbuch, dasdie beiden Themen teilt, lädt zum Mitmachen ein«, erzähltunsdie Kreative. Die im Jahrbuch erreichte strenge und einfache Kompositionen ist also kein Zufallsprodukt, sondern die visuelle Übersetzung des Eindrucks, dendietgm hinterlassen will. Zugleich ist dieses Schema schon der passenden Link zurneu gestalteten Website dertgm ...
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44 S., 13,5x13,5 cm, Auflage: 100, keine weiteren Angaben vorhanden Drahtheftung, Umschlag handkoloriert undmit transparenter Klebefolie überzogen
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tragedies and others absurdities My lats book of poetry and short stories. Twenty tragic situations that make you laugh, or simply, absurdities. Made in collaboration with Andres Felipe Garzon and edited by perrosinvergüenza in Bogota.
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Flyer anlässlich derHIV-Testing Week in Griechenland, 23.05.-28.05.2016. The "AIDS Solidarity Movement" is a Non-Governmental andNonfor Profit Organization registered inthe Republic of Cyprus. It has been established in 1989 and since then it provides services, support and advocacy in relation to issues related toHIV/AIDS.
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diezum Download angebotenen Plakate und 6 Seiten der Webseite
Original statement 25 April 2016:
Dear Friends, I’m sure youare also following with horror the rightwards drift and anti-EU sentiment brewing across Europe. The Dutch referendum should bethe final wake-up call, alerting people tothe real risk ofthe UK’s EU referendum resulting in a victory for Leave. The official ‘Remain’ campaign feels lame and is lacking in passion. It also lacks an active drive toget voters registered – and with the deadline already falling two weeks before the referendum, this should be an urgent priority. ...
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Dyke Action Machine! (DAM!) is a two-person public art project founded in 1991 by artist Carrie Moyer and photographer Sue Schaffner. Between 1991 and 2004 DAM! blitzed the streets ofNew York City with public art projects that combined Madison Avenue savvy with Situationist tactics. The campaigns dissected mainstream media by inserting lesbian images into recognizably commercial contexts, revealing how lesbians areandarenot depicted in American popular culture.
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Schwarz-Weiß-Drucke, Nr.005ausder Reihe 100for10.
"Wenn unbestellbar, Meldung” means “if not possible to order, send a message”.
I collected old rubber stamps with bureaucratic contexts, some with small faults, others are correct but a bit strange. The illustrations mess upthe meaning ofthe short texts and tell their own story. Be free to associate between the drawings andthe words and imagine your own story. If you need help translating the text onthe rubber stamps, please contact me.
Does anyone remember Plastic Bertrand? They thought he’d be unforgettable. And doyou remember when the word plastic had a positive ring to it? In a scene from MadMen a child is running around with a plastic bag over his head andhis mother doesn’t bat an eyelash. It wasthe sixties. But even then, usage ofthe word could be confusing: plastic bomb, plastic surgery, plastic sculpture. Let us build an imaginary bridge between Henry Moore and rubbery explosives. Naturally, I’m building mine out of plastic. Ican’t imagine itany other way. Plastic isthepre-manufactured utopia ofthe past. Plastic isthe present. Plastic Bertrand is sure to make a comeback soon. Ça plane pour moi. Text vonder Webseite.
Dritte Ausgabe des Magazinbuches der Klasse Prof. Ricarda Roggan u. a. anlässlich der gleichnamigen Ausstellung im Folkwang Museum Essen vom 02.06.–02.07.2017. In Kooperation mitdermitder Folkwang Universität Essen, Klasse Prof. Christopher Muller.
This isThe Great Infinity Pool. Step inand relax. Fragen Sie nach einer Cardboard-Brille. Youcan trust our guide. Genießen Siedie Aussicht! Entspannen Sie sich! This isThe Great Infinity Pool. Möchten Sieein Getränk? Lean back and clear your head. Dasistdie Realität. Put on a cardboard device. Enjoy the view. This isThe Great Infinity Pool. Es ist so einfach wie fliegen. No cardboard devices available? Werfen Sie doch einen Blick indem Katalog! Calm down and dive in. Deep blue infinity. This isThe Great Infinity Pool. Tauchen Sieein. Turn your head to change your point of view. Trust our friendly guide. Sie sind hier sicher. Endlich.
Text vonder Webseite
50x39,5 cm, Auflage: 50, numeriert, signiert, keine weiteren Angaben vorhanden Objektzeitschrift mit 9oMin. Musikkassette, signierten Originalen, Schrauben, Linolschnitt, Briefumschlag, Zeitungspapier, Postkarte mitKünstlerbriefmarken, alles auf Hartpappe mit original gesprühtem Titel und Collage
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mit Joseph Beuys (ja ja ne ne) Performance 1968 MC Seite A: The Smith : Hand in glove 19.12.83 London, Kalahari Surfers : Free state tence 1984, The Cure : Den Bosch re-mix 1985, Home Taping Death : scheiß-egal 1985, General Strike : Interplanetary Musik 1984, Sisters Of Mercy : Knocking on heavens door 12.05.85 Bonn, Klaus Nomi : Keys of life 1981, Klaus Nomi : You dont own me 1981, Einstürzende Neubauten : Sehnsucht Bochum, Renaldo & The Loaf : Lime yelly gress 1980, Gary Numan : M. E. 1979, Joy Division : Love will tear us apart 20.07.1980, Reanaldo & The Loaf : Spraths meduim 1980
Seite B:
Anna Domino : Rhthm 1984, Psychic TV : Stolen kisses 1982, The Residents : Constantinople, New Order : Love will tear us apart, Jove, Anne Clark : True love tales, Snakefinger : Tuecöel, .. art From J.V. : Keine Angst, Billy Bragg : Love gets dangerous, Verraten Und Verkauft : Lichter der Stadt, Alien Sex Fiend : Nurse, Blaine L. Reininger : Songs ofthe silent age, C.W. Urtacek : Huerly emporary, Domnestic Exile : Violet
15,5x10,5x3,2 cm, signiert, keine weiteren Angaben vorhanden zwei Bücher in Schuber, Leinengebundene Kartons mit original maschinenengeschriebenen Texten und Stempeln
33,0x33,0 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden LP, vorderseitig bedruckter Karton in transparenter Hülle fest vernietet, weißeone-side LP
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Beiträge von: C. Mehrl Bennett - you either get it oryoudon't. John M. Bennett - Forklint & 4 Poems. Jaan Patterson - Demonstrated Properties & Mechanics. ALBRECHT/d. & Kommissar Hjuler - ... fast ein Telefonat. David Dellafiora - Fluxus Is No Brand Name!
Anlässlich der gleichnamigen Ausstellung im De Appel Art Center, Amsterdam, 23.04.-12.06.2016. "You must make your death public" ist Teil des projektes Untitled (two takes on crisis), entwickelt von Teilnehmern des Curatorial Programme 2015-16. Mit Philipp Gufler, Maximiliane Baumgartner, Lian Ladia, Maria Guggenbichler, Rabe Perplexum, Mara Zust u. a. Mit einem Interview mit Louwrien Wijers.
Design Layout Syennie Valeria
[228] S., 33x26 cm, 2 Stück. ISBN/ISSN 9781861542656 Hardcover, Buchdeckel mit verschiednen Konturen gestanzt, innen verschiedene Blätter unterschiedlicher Größe - kein Beschnitt, teilweise zum Ausklappen. Zum Buch gehört ein bedruckter Stoffbeutel mit 5 Beilagen: farbig bedrucktes unisex-Kleid, Stoffmusterbogen für ein unisex Shift-Kleid, Plakat, Infoblatt und eine CD (Chicks on Speed: "Archive I")in weißer Papierhülle. 1 Flyer. Text weitgehend Eng
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Bless your dress, you'reout of style, you're a brainwash victim for a while (Chicks on Speed). »Chicks on Speed« sind ein Phänomen. Früh haben sieals Kunststudentinnen anderMünchner Akademie erkannt, dass dort ein althergebrachter Kunstbegriff gepflegt wird und dass eine Kunstindustrie Stars für eine Saison produziert und dann wieder vergisst und Selbstvermarktung in diesem Kontext zielführender istals echte Qualität. Sie haben sich abgewandt und vollführen ihre subversiven Gesamtkunstwerke vor allem im Bereich der Musik. Durch die Hintertür betreten sie dann wieder die etablierte Kunstszene und schlagen siemit ihren eigenen Waffen. Verstanden? Dieser Band verfolgt die »Chicks on Speed« anhand von zahlreichen Quellen, darunter Covers, Plakate, Texte u.v.m.
Text vonder Website
Mit Hinweis: Artistamp crreative Exchange Continues. If you send me four or more artistamps you'll receive the same number in exchange. No time limited. Pregnant Women: Please send drawings, prints, photocopies, or other artwork of or about pregnant women for my collection.
Thirty-four Madonna Inn postcards in a book with a red cover, entitled Replicated. If you prefer books with blue covers youmay prefer Borrowed. Both books are part of ABCED, a multi-volume book project created by members ofABC Artists’ Books Cooperative to celebrate Ed Ruscha’s seventy-fifth birthday. ABCED was available from December 2012 until December 2013 only.
Text vonder Webseite.
OR #19. If youget it, pass it around. If you'vegot it, give it away. Kiss, kiss, kiss. Ahit from the past. Portrait ofthe artist a a young dupe by El Largato.
Text vom Heft.
[24] S., 20,5x14,7 cm, Auflage: 50, numeriert, keine weiteren Angaben vorhanden Drahtheftung, Nummerierung bzw. Hinweis APmit Kugelschreiber geschrieben.
Heft zur Ausstellung "You just got blogged" von Mike Swaney. Die Ausstellung fand vom 30.05.-09.06.2013 in einem Raum von me & the curiosity in Barcelona statt. DerKünstler setzt sich mitdem Thema Online-Welt und Offline-Realitätunddem Einfluss, dendas Netz aufdie Kunst undden Alltag hat, in Strichzeichnungen auseinander.
Zu Lettera - Literaturfest in Luzern, 11.-13-03.2022 Das Lettera – Literaturfest Luzern berücksichtigt die unterschiedlichsten Aspekte der Literatur und Literaturvermittlung und begreift Literatur nicht nurals privates, intimes Lektüreangebot, sondern ebenso als Medium gesellschaftlicher Auseinandersetzungen und öffentlicher Diskussion. Die (inter-)nationale Literatur ist fester Bestandteil des Veranstaltungsprogramms
[48] S., 14,8x10,4 cm, Auflage: 125, numeriert, keine weiteren Angaben vorhanden Drahtheftung, mit Banderole. Risogrpahie. Handnummeriert. Kleiner Risodruck (14,9x10,4) eingelegt.
Ein Heft mit insgesamt 23 Illustrationen, Zeichnungen und Comics verschiedener KüsntlerInnen mit Bezug zur Aussage "What the hell areyou doing?". Außer dem Einband unddem eingelegtem Druck sind die Abbildungen in Schwarz-Weiß. Das Motiv aufder eingelegten Postkarte stammt vomKünstler Juan Díaz Faes. Initiiert wurde das Fanzine vondem Kollektiv Tricorñio, bestehend ausden drei Künstlerinnen MLA, Laura Liedo und Sherpahead. Vermutlich in Barcelona veröffentlicht.
33x52,5 cm, 24 Teile. keine weiteren Angaben vorhanden Sammeltüte mit Klettverschluss, enthält eine kreisförmige Holzplatte, bestempelt undmit Aufkleber. Umschlag mit Bastelmaterial bestempelt undmit Aufkleber. Mappe mit 16 Blättern bestempelt undmit Aufkleber. 2x Briefumschläge, einmal mit einem Songtext und einmal mit einer Postkarte, bestempelt undmit Aufkleber. Buch mit Klebebindung und Softcover, mitgefälschten Banknoten, Vorderseite mit Sticker. Zettel mit Jahreszahl. 2x Leporello. Kleinerstoffbeutel mit bestempelter Vorder- undRückseite, enthält durchsichtige Medikamentdose aus Kunststoff, mit Aufklebern, kleine durchsichtige Kunststoff- Schachtel, Vorderseite mit einem Aufkleber, enthält einen Teebeutel, kleinen Umschlag mit beklebter Vorderseite und einen quadratischen Magneten.
Stoffbeutel mit gestempeltem Titel "nation buildung kit", enthält eine kreisförmige Holzplatte, mit Aufkleber aufderRückseite, mitdem Titel "building a world focus", die Vorderseite zeigt ein Bild von einer Insel oder einem Land. Ferner beinhaltet der Beutel eine kleine Stofftasche mit einer kleinen ovalförmigen Medikamentendose, mit Tabletten, mit einem Aufkleber "PROZAC SOMETIMES YOU FEEL LIKE A NUT... SOMETIMES YOUDON´T!". Anderer Aufkleber mitdem Titel "building contentedness", ein kleiner quadratischer Plastikcontainer mit einem Teebeutel, die Vorderseite mit einem Aufkleber "building ideology". Kleiner durchsichtiger Umschlag mit einem quadratischen Magnet "NATIONAL RIFLE ASSOCIATION". Die Vorderseite des Umschlags hat einen Aufkleber mitdem Titel "building freedom". Ein Umschlag mit Bastelmaterial für eine amerikanische Flagge, rot-weiße Streifen, ein dunkel blaues Blatt und eine Tüte mitweißen Sternen. Die Vorderseite mit einem Aufkleber mitdem Titel "building a flag". Ein aufklappbares Leporello "building cultur" mit Bildern von Waffen, Essen, Menschen mit verschiedenen Hautfarben, Indianern etc. Ein Umschlag "building power", mit einer Postkarte, dieaufder Vorderseite eine Atomexplosion zeigt undaufderRückseite eine Drohne. Ein etwas größeres Leporello "HISTORY OFTHE AMERICAN CIVIL WAR", in einem halben Umschlag "building history", mit Bildern von einflussreichen Personen ausder Zeit des amerikanischen Bürgerkriegs von 1861-1865. Ein Zettel mitder Jahreszahl 2013 und einem handschriftlichen Satz "she´s leaving home". Ein Buch in einem halben Pappeumschlag namens "building faith", aufder Vorderseite ein goldener Sticker inder Form eines Kreuzes. Das Buch "The HOLY BIBEL" enthält chinesisches Höllengeld undgefälschte amerikanische Dollar. Ein Umschlag mit einem Aufkleber mitdem Verlagslogo. Der Umschlag enthält ein Blatt mit einem Songtext mitdem Titel "This isnot America". Im Beutel befindet sich auch eine Mappe "building confidence" mit 16 Blättern (geklammert), "DEPARTMENT OF JUSTICE WHITE PAPER",enthalten einen Text gegen den Leader einer Organisation und deren Pläne und Schritte gegen dieUSA im amerikanischen Bürgerkrieg.
Katalog zur Ausstellung inder SeidlVilla München 16.09.-09.11.2022. Anlässlich des 20-jährigen Bestehens der Gruppe foen zeigen die Mitglieder aktuelle Arbeiten. Die einzelnen Ansätze reichen dabei von subtilen Alltagsbeobachtungen über Poetisches und Abstraktes bishin zu konstruierten und algorithmisch generierten Bildern. Themenschwerpunkte bilden Urbanität, Natur, Identitätskonstruktionen unddie Hinterfragung von Realitätsentwürfen.
Flyer des Distros Small Zine Volcano.
Small Zine Volcano distributes free zines. Youpaythe postage, we send youthe zines. (dt. Small Zine Volcano vertreibt kostenlose Zines. Sie zahlen das Porto, wir schicken Ihnen die Zines.)
Text vonder Webseite
Begleitmaterial zur gleichnamigen Ausstellung, dievon 29.04.-09.06.2017 im Point Centre for Contemporary Art stattfand. In dieser Bildserie setzt Kallinikou seine Recherchen überdie Politik der Landschaft fort. Diesmal fotografiert errätselhafte Landschaften inder Natur Zyperns. In den meisten dieser Landschaften kann manHöhlen erkennen, diedas menschliche Element in diese Bilder einführen. Eine primitive Form der Architektur oder Tore zu einer anderen Dimension? Wir werden Zeuge von Kallinikous peripatetischer Reise und seinen Bemühungen, die Verstecke zu finden und zu fotografieren, dievonder EOKA-Guerilla während des nationalen Befreiungskampfes von 1955 bis 1959 gegen die britische Herrschaft gebaut und genutzt wurden. Der Wald als heiliger Ort wird zudem Raum, in dem Kallinikou, der sich auf ursprünglichen Pfaden bewegt, überdie wahre Natur der Dinge nachdenkt.
Text vonder Webseite, übersetzt mithilfe von DeepL.
Schwarz-Weiß-Drucke, Nr. 109ausder Reihe 100for10
Björns fotografische Arbeit inCan we pray foryou konzentriert sich aufdie Dokumentation von Menschen. Das Zitat desberühmten Fotografen. Elliot Erwitt bringt die Sache aufden Punkt:
„Es geht darum, aufdas, wasman sieht, zu reagieren, hoffentlich ohne Vorurteile. Bilder kann man überall finden. Es geht einfach darum, Dinge zu bemerken undsie zu ordnen. Man muss sich nurfür das interessieren, was einen umgibt, undein Interesse ander Menschheit undder menschlichen Komödie haben.“
Text vonder Website, übersetzt mithilfe von DeepL.
[24] S., 29,5x21 cm, 3 Teile. ISBN/ISSN 22963057 Drahtheftung, Digitaldruck 4c, in Poster eingefaltet, Infoblatt beigelegt
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In WE LOVE TO DRESS YOU werden Fotografien von einer Performance gezeigt. Dabei posiert dieKünstler in wilden Outfits inder Öffenlichkeit und spielen dabei auch oft bewusst mit Geschlechterrollen und gesellschaftlichen Erwartungen bezüglich geschlechterspezifischer Mode.
Trump calls Zelensky a dictator without elections. You should have never started it. You could have made a deal. Trump's comments exactly echoed what Putin wanted. Tipoteca Tauri Wartenberg
Putin bietet Trump seltene Erden ausden besetzten Gebieten an. Trump will ukrainische Bodenschätze im Wert von500 Milliarden Dollar ausbeuten als Gegenleistung für Militärhilfe.
Nr. 7
[120] S., 20,2x20 cm, Auflage: 500, ISBN/ISSN 9783923205349 Broschur, Chromolux-Umschlag. Interviews mit 54 internationalen MailArt-Künstlern. Fotografien und Fragebogen
Mit Texten von Carl Loeffler, Judith A. Hoffberg undHal Fischer.
BLITZKUNST, Have you ever done anything illegal in order to survive as an artist ?
Ginny Lloyd porträtiert und befragt 54 internationale MailArt-Künstler.
BLITZKUNST, einvon Ginny Lloyd herausgegebener Fotoband, ist eine außergewöhnliche Auseinandersetzung mitden kreativen Pionieren unserer Gegenwart. Kern des Buches istdie Dokumentation zeitgenössischer Künstler, deren Arbeitsweise sich vondem unterscheidet, was gemeinhin als etablierte Kunst betrachtet wird. Diese internationale Dokumentation hatdie Form manipulierter Portraits experimenteller Künstler der Gegenwart und enthält zugleich einen soziologisch orientierten Fragebogen, der darauf abzielt, die persönliche, innerlich-instinktive Erfahrung zeitgenössischen Kunstschaffens zu untersuchen. Die meisten der porträtierten Künstler bemühen sich einerseits darum, mit neuen Materialien zu experimentieren, andererseits sind sievondem Wunsch bestimmt, die Funktion der Kunst inder Gesellschaft zu untersuchen. Solche Künstler arbeiten am äußersten Rand der Kunstszene, indem Sie Medien benutzen, die normalerweise nicht der bildenden Kunst zugeordnet werden. Es handelt sich unter anderem um Mail Art, Künstlerbriefmarken, Stempel, Publikationen, Kopierkunst, Performance, Video- und Audiokunst, um Archiv- und Museumsprojekte sowie um Projekte der Selbsthistorifikation.
Ginny Lloyds Arbeit istdie Reaktion aufdie umfassenden Veränderungen, diedie Gesellschaft international während der kommenden Jahrzehnte erleben wird - Veränderungen hervorgerufen durch neue Technologien, globale Interaktion unddie Neuorientierung der Arbeiter inder folge des unvermeidlichen Niedergangs des Industrialismus im Westen. Innerhalb dieses Veränderungsprozesses werden neue Rollen und Materialien demKünstler verfügbar werden und zu neuen Definitionen und Anwendungen der kreativen Haltung führen. (Carl Loeffler)
Ginny Lloyd zeigt hier in diesem Buch erstmals Künstler, die sich selbst kaum persönlich getroffen haben. Sie agieren weltweit durch postalische Medien und halten sich mit ihrer Person weitgehend im Hintergrund, in einigen Ländern auch im Untergrund. Ginny Lloyd hatsie besucht undauf ihre besondere Art fotografisch porträtiert undgewährtuns so einen seltenen Einblick in eine bis dahin ziemlich unbekannte Seite der aktuellen Kunst.
»Grafik-Blicke – Linol-Archiv 2« versammelt seit 2018 entstandene Grafiken und einige frühere Arbeiten ausdem Fundus des Archivs in unchronologischer Abfolge. Sie sind zu thematischen bzw. frei assoziierten Blöcken gefasst. Die Drucke auf Seiten 6/7 gehören zu meinen ersten Linolschnitten (1986), gefolgt von 1987 in Madrid entstandenen. … Der Arbeitsprozess isteinHinundHervon materiellem Objekt (Druckplatte), Probedruck (Spiegel), Sehen, Erahnen und Wissen, das mitschwingt (das Unsichtbare). Kulturelle Referenzen sind mirbeider Wahl der Motive oft wichtig, enthüllen im rein Optischen aber nichts, nur im Titel. Alltagsdarstellungen geben dazu einen Kontrapunkt ab, so in etwa what yousee, is what youget, ohne weiteren Subtext, derzum Verständnis nötigwäre.
Text von Website übernommen.
31,2x22 cm, Auflage: 101, numeriert, signiert, 20 Teile. keine weiteren Angaben vorhanden Sammelmappe zum Mailartprojekt zum 50. Todestag von Kurt Schwitters, verschiedene Papiere, Materialien und Techniken, Blätter signiert und numeriert, Umschlag aus roter Wellpappe
528 S., 19,0x13,3x33,0 cm, ISBN/ISSN 3854860854 Fadenheftung, Schutzumschlag aus Plastik mit eingelegter CD-Romund eingeschobener Walkthrough Map
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Im Buch behandeln Thomas Feuerstein, Rainer Fuchs, Margarete Jahrmann, Gerhard Johann Lischka und Maia Damianovic dasmit "Biophily" verbundene Themenspektrum vonder Konstruktion von (Welt)Bildern und Identität im digitalen Raum über Herkunft und Praxis des Avatars im Inter- und Intra-Net bishin zur Darstellung des komplexen künstlerischen Projekts von Thomas Feuerstein, dasder CD-ROM zugrunde liegt
U. a. über Isthe Dead author a woman? Some thoughts on feminist authorship. Making the Invisible Visible. Art Wars: The battle ofart & identy in Newfoundland.
Liste der Mitglieder des ANNPAC
33x45 cm, 49 Teile. keine weiteren Angaben vorhanden diverse Papiere, gelber Inkjetdruck, Zeichnungen und Texte mit gelben Marker, blaue LED-Minitaschenlampe, gelb colorierte Originalzeichnung
DasKünstlerkollektiv ausdem Wald kommt wieder nach Regensburg. 24.10.-06.12.2013 im W1- Zentrum für junge Kultur, mit so vielen Tier-Sprüchen in Gelb im gelben Raum. Schwarzlichtbeleuchtung. die gelben Drucke und Zeichnungen konnten die Besucher mit einer blauen Taschenlampe sichtbar machen. Soundinstalltion und Textinstallationen, so-VIELE Tiere.
Text und Bildinstallation Another dead pigeon. Die Besucher der Ausstellung "TAMTAM inRGB" konnte mit speziellen Taschenlampen die ausgestllten Bilder erkunden, mit einem Stift selbst mitgestalten und durch Schütteln der Rahmen Aktionen steuern. Auf diese Weise konnte die dung dung-Maschine von RUMPELN, der Klopapierdrucker von Mario Lukas undder Raum der Putzfrau aktiviert werden. Uwe Hering, vomAmtfür kommunale Jugendarbeit schlüpfte beider Ausstellung vonTAMTAM im W1 indie Rolle desBürgermeisters und eröffnete die Ausstellung mit einem Scherenschnitt.
Text vonderTAMTAM Webseite
Drei verschiedene Flyer zur Ausstellung Kurt Schwitters im Sprengel Museum Hannover, 04.02.-20.04.1986. Ein Flyer Dead or Alive, eine Veranstaltungsreihe zum 50. Todestag Schwitters inder Pasinger Fabrik 11.-27.03.1998. Ein Heft "Büchermarkt" der Buchhandlung Walter KönigKöln mit internationalen Sonderangeboten.
[2] S., 23x16,5 cm, Auflage: 125, keine weiteren Angaben vorhanden beidseitig bedrucktes Graphzine, 3fach gefaltet, entfaltet 46x66 cm, mehrfarbiger Siebdruck
"Scum 1984" nur 2 Hüllen vorhanden. Ohne Kassetten (von Artist-Studio Musikproduktionen)
Störtrupp live am 29.10.81
"Punk-Zündfunk" Sendung Ton Steine Scherben live
Ampermoching, 29. Mai 1982
M-Punks United 2006 und 2007 ZSD Kassette mit handschriftlichen Notizen
Eine BASF Kassette ausschließlich beschriftet mit "?"
20 S., 14,2x12,4 cm, keine weiteren Angaben vorhanden CD in Hartplastikhüllemit 20-seitigem Beiheft mit Kruzefix-Historie, Konzertberichten vonden Festivals und vielen, meist unveröffentlichten Fotos
Das Kruzefix istwaszum Lesen. Ein Fanzine, oder nurein ‘Zine ohne Fan, ein Heft eben. Das Kruzefix ist aber auch waszumAnhören, denn dem Zine liegt immer auch eine Vinyl-Single bei, aufdie viele klasse Songs draufgepackt sind - einmal waren es sogar acht Stückeauf einer Single! Bei diesen Stücken handelt es sich zumGroßteil um unveröffentlichte Songs, die teilweise auch bis heute nirgendwo anders erschienen sind. Viele Bands konnten aufden Kruzefix-Singles erstmals eins ihrer Stücke verewiglichen, manche haben sogar überhaupt keine anderen Veröffentlichungen vorzuweisen. Da das Kruzefix immer konsequent anti-kommerziell und unabhängig warundist, ist auch die Auswahl der teilnehmenden Bands immer rein subjektiv gewesen - hier kann sich keiner “einkaufen”, es gibt keine “Teilnahmegebühr” oder “Unkostenbeteiligung”. Drauf kommt, wasunsgefälltundwas dazupaßtzur je-weiligen Ausgabe des Heftes. Anfangs gehörte eszum Konzept des Kruzefix, insbesonders dieMünchner Punkrockszene zu unterstützen, daher sind aufden ersten Singles ausschließlich Münchner Bands zuhören. Im Laufe der Jahre und spätestens seit der Idee, die “Punk Over Munich”-Samplerreihe mit aktuellen Münchner Punkbands zu starten, erweiterte sich der Rahmen des Ganzen. Aufden jeweils zum Erscheinen des neuen Heftes stattfindenden “Kruzefix-Festivals” spielen nunmehr neben Münchner Bands auch viele gute auswärtige, teilweise sogar ausländische Gruppen. Alle unterstützen unsere Idee und unser Konzept, unser Heft und unsere vielen anderen Projekte. Viele Bands schreiben ihre Lieder eigens für dieVeröffentlichung aufder Kruzefix-Single, passend zum Motto der jeweiligen Ausgabe! Nun haben wir eine kleine Auswahl deraufden Single-Beilagen erschienenen Songs getroffen, um einen CD-Sampler zusammenzustellen. Weil es immer wieder Leute gibt, die jammern, siehätten keinen Plattenspieler mehr zuhause. Weil es schade wäre, diese wirklich tollen Stücke in Vergessenheit geraten zu lassen. Weil Musik auf CD einfach eine breitere Öffentlichkeit erreicht - ganz gleich, ob unsdasals Vinyl-Liebhaber nun paßt oder nicht... Weil wir allen teilnehmenden Bands auf diese Artund Weise mal Dankeschön sagen wollten für ihre Unterstützung. Ausdem Vorwort des Booklets zur CD
12" Vinyl Compilation Album. Unveröffentlichte und exklusive Songs der besten Münchner Punkbands des Jahres 2001.
Diese Idee wurde später wieder aufgegriffen mitder Sampler-Reihe 'M-Punks United' 2006 und 2007.
Text vonder Website
6 Ausgaben des Fanzine in mehrfacher Ausführung.
Heft Nr. 1 (Oktober 1979), doppelt
Heft Nr. 2 (November 1979), doppelt
Heft Nr. 4 (März 1980), doppelt
Heft Nr. 5 (Mai-Juni 1980), doppelt
Heft Nr. 6 (Oktober 1980), doppelt
Heft Nr. 8 (ohne Datierung), dreifach
Fanzine mit Konzert- und Plattenbesprechungen.
20 S., 21x14,8 cm, Auflage: 150, 2 Stück. keine weiteren Angaben vorhanden Drahtheftung, Schwarz-Weiß Kopien, eingelegtes rosa farbenes Klopapierblatt mit Stempel "PuNk iSdeAd"
Münchner Fanzine imDIN A3-Format mit beiliegender Single (nicht vorhanden), dasaus einer Fusion des60s-Revival-Fanzines Glitterhouse unddesMünchner Film-/Musik-Fanzines TNT hervorging. HOWL bot nicht nur sehr ausführliche Interviews und zahlreiche Platten- und Filmkritiken, sondern legte jeder Ausgabe noch eine 7" Vinyl-Single mit unveröffentlichten Tracks namhafter Bands bei.
Nach 13 Ausgaben verabschiedete sich das Fanzine Anfang 1994 mit einer farewell compilation auf CD.
Text Webseite
Mit einem Text von Lutz Hagestedt und Anmerkungen von Bernhard Springer zum plastic indianer no 25
GHOSTS istdie aktuelle Werkreihe Acryl auf Leinwand desMünchner Künstlers Bernhard Springer. Sie zeigt maskierte Ausschnitte von Wirklichkeit. Zeitgemäße Motive werden mit archaischen Zeichen in Verbindung gebracht und erzeugen eine Artvon magischen Realismus. Die eigentümliche visuelle OberflächenWirkung der Bilder entsteht dadurch, dass Bernhard Springer für seine Malerei inzwischen fast ausschließlich nur noch Spraydosen und Lackrollen zum Auftrag seiner Acrylfarbe auf ungrundierter Leinwand verwendet. Der Titel der Werkreihe ist inspiriert durch den australischen Spielfilm GHOSTS … OF THE CIVIL DEADmit Nick Cave unter der Regie von John Hillcoat. Alles Weitere findet sich. Der Werkkatalog „GHOSTS. Acrylmalerei auf Leinwand“ ist 2024 anlässlich der gleichnamigen Einzelausstellung von Bernhard Springer inder Galerie im Stammelbach-Speicher Hildesheim erschienen.
„GHOSTS. Acrylmalerei auf Leinwand“ ist Bd. 6des Gesamtverzeichnisses von Bernhard Springer.
Erste Auflage des vierten Teils der Serie "Unmasked", der "Superhelden-Fanart"-Serie desKünstlerduos "VON WEIT HER(GEHOLT)", bestehend aus Jasmin Richter und Lisa Buskühl. Das Zine zeigt Fotos von einer Person im Spiderman-Kostüm, die durch denOrt Flecken Bovenden streift und sich dabei allen möglichen Hindernissen und Herausforderungen stellt und diese meistert.
21x10,5 cm, keine weiteren Angaben vorhanden Flyer zuden Veranstaltungen im MaximiliansForum
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In einer exklusiven Modenschau präsentiert SCHAAF am 02. Maidie aktuelle Kollektion “Don’t Tell The World That WeKnow” & eine Vorschau auf 2013. Die anschließende 8-tägige Mode-Ausstellung beinhaltet auch einen POP-UP-STORE undein OFFENES ATELIER. Im Store können einzelne Kollektionsteile gekauft undbei Bedarf inder Schnittgröße angepasst werden. Das Offene Atelier bietet Einblick indie Arbeit der Designer unddieMöglichkeit zumkünstlerischen Dialog.
VERNISSAGE & SHOW 02. Mai – 20 Uhr
AUSSTELLUNG & POP-UP-STORE & CAFÉ 03.–10. Mai – Täglich 11–20 Uhr
40 S., 32x24 cm, Auflage: 460.847, keine weiteren Angaben vorhanden Drahtheftung
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Erstmals erschienen am 13.06.2015.
Frauen sind hervorragend qualifiziert, hoch motiviert. Frauen verbinden fachliches Know-Howmit speziellen Soft-Skills, diedie Wirtschaft in Zeiten von Fachkräftemangel und Überalterung der Gesellschaft entscheidend prägen - und voranbringen. Die zentrale Botschaft unserer neuen Publikation Plan W. lautet: Veränderung istmöglich. Just gofor it! Das neue Supplement Plan W. liegt derSüddeutschen Zeitung am Wochenende beiund macht Frauen und Unternehmen Mutund Lust darauf, die notwendigen gesellschaftlichen Veränderungen selbst voranzutreiben. Plan W. ist fokussiert auf Wirtschaft. Wirtschaft ist Leben. Plan W. ist SZ Qualitätaus weiblicher Perspektive: klug, debattenstark und unterhaltsam. Geschichten, dieberühren, Bilder, die in Erinnerung bleiben. Plan W. informiert, orientiert und inspiriert. In der ersten Ausgabe spürendie Autorinnen und Autoren dem Wesen der Macht nach. Und fragen, was Macht mit Menschen anstellt, welche Chancen sie eröffnen kann undwie Frauen ihr im Alltag und Berufsleben begegnen.
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96 S., 21x14 cm, Auflage: 300, signiert, 2 Stück. ISBN/ISSN 9789963230105 Softcover, fadengeheftet, eine Seite ausklappbar, eingelegt eine einmal gefaltete Pressemitteilung in Englisch und Griechisch
2 S., 12,5x10,9 cm, signiert, 2 Stück. keine weiteren Angaben vorhanden Zeichnungen mit Wasserfarbe und Kugelschreiber, coloriert, In Briefumschlag mit handschriftlichem Gruß,
Ausder Lost Book Series. Alle abgedruckten Text sind unscharf und nicht mehr leserlich The corpus of William Shakespeare isnot, as we know, complete. His Folio editions were a selection ofhis plays, not a full collection. One ofthe plays that had been printed, but lost to contemporary scholarship, includes a sequel to Love’s Labour Lost, which we have printed in this edition.
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Selbst gebaute Helikopter als materialisierte Träume: Im ländlichen Tansania besuchten Tatjana Erpen und Elia Leton (TZ) drei Konstrukteure von Flugobjekten. Mit technischem Know-how bauen dieTüftler an ihrer Zukunft. Beweggrund der ambitionierten Designvorhaben ist nicht nur, die Schwerkraft zu überwinden, sondern auch, sich gesellschaftlich zu positionieren. Die Ausstellung «High Class Things» befragt, wieder Raum desMöglichen neu erschlossen werden kann, um eine Idee der Zukunft zu schaffen. Persönliche Visionen treffen auf Lebensrealitäten, Green Screens werden gespannt unddie visionären Flugobjekte von ihrer Umgebung freigestellt. Zwischen innerem Wunsch, äusseren Umständen und selber konstruiertem Statussymbol entstehen gewagte Gegenentwürfezum Design- Paradigma «Form follows function». Die Form wird zur Funktion, die visuelle Erscheinung beflügelt die Fantasie und materialisiert sich als Denkmal persönlicher Perspektiven.
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A Magazine of Writing by Artists.
Founded in 1978 in Chicago by artist Buzz Spector and writers Reagan and Roberta Upshaw, Whitewalls began as a publication for artists working with language. Forthe most part Whitewalls is a straight-up sampler of artists' experimental projects forthe page: each issue contains from half a dozen to several dozen artists employing text, image, and other notations in various combinations. While Whitewalls featured an international cast of emerging and established artists, it also provided a showcase forthe Chicago area's experimental art community, including artists such as Jeane Dunning, Joseph Nechvatal, and Christopher Wool. Text vonder Website Mit Texten u. a. von Richard Artschwager, Andrea Blum, Christo, Mike Kelly, Lawrence Weiner, Mark Staff Brandl, Rosemary Mayer, Paolo Colombo, Joel Hubaut
zweite Auflage. In 1983, Larry Clark self-published his second photo book, Teenage Lust. A survey of adolescent sexuality and a retrospective of Clark's work, the book consists of family portraits and photographs from his hometown of Tulsa and from his life inNew York City. Clark’s photography forthe book documents the lives of American youth: junkies, prostitutes, and thieves and suburbanites.
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80 S., 24,5x17,5 cm, 2 Stück. ISBN/ISSN 9783866785397 Hardcover, Fadenheftung
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Albert Coers’ objects, room-sized installations and photographs are presented as multi-layered, often symbolic and always evocative thought-constructions. This publication provides a review ofhis works from 2008 to 2010, where certain themes re-occur, like interest in collections, archives andthe book as medium, as well asthe expansion of artistic media andthe occasionally ironic reflection on these themes. The documentation of Coers’ art practice is accompanied specially written texts that focus specifically onthe individual works and place them within a narrative or critical context.
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368 S., 24,8x19,5 cm, ISBN/ISSN 9783865606624 Katalog zur Ausstellung im Haus der Kunst 2009, mit Installationsansichten von Wilfried Petzi und Objektfotografien von Jann Averwerser, Schutzumschlag aus gefaltetem Plakat
Vorwort von Chris Dercon. Essay von Julienne Lorz.
"Ichbin interessiert ander Verbreitung von physischen Vehikeln in Form von Editionen, weil ich ander Verbreitung von Ideen interessiert bin." Joseph Beuys, München gilt als heimliche Hauptstadt von Editionen und Multiples. "Made in Munich. Editionen von 1968 bis 2008" bietet einen anderen Blick aufdie Geschichte desMünchner Kunsthandels. Im Vordergrund stehen die Produzenten von Multiples und Editionen, die über einen Zeitraum von 40 Jahren inund umMünchen entstanden sind. Darunter sind Editeure wiedie Galerie Heiner Friedrich, Galerie Fred Jahn, Galerie Bernd Klüser, Sabine Knust undihr Maximilian Verlag, Galerie van deLoound Edition Schellmann, sowie Aktionsraum A1, ECM Records, edition x, Kunstraum München, P.A.P. Kunstagentur Karlheinz & Renate Hein, s press tonband verlag und zehn neun. Neben Druckgraphiken finden sich Editionen und Multiples verschiedenster Art nebeneinander: von fotografischen Mappenwerken, Plattencover Skulpturen, Videos und Tonkassetten, 16 mm-Filme, bishin zu eigens anden Raum angepassten Kunstwerken.
"I am interested inthe circulation of physical vehicles inthe form of editions, because i am interested inthe circulation of ideas." Joseph Beuys, Since the beginning ofthe 1970s, Munich along with New York and London, was leading with regards to editions and multiples. This catalogue shows works from 1968 to today, which were initiated and produced by a.o. dedicated munich galleries and "editeurs". "Made in Munich" shows outstanding works by international as well as german artists a.o. by Georg Baselitz, Joseph Beuys, Marcel Broodthaers, Dan Flavin, Lucio Fontana, Richard Hamilton, Carsten Höller, Jeff Koons, Hermann Nitsch, Blinky Palermo, Gerhard Richter, Dieter Roth and Andy Warhol.
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260 S., 16x11,5 cm, Auflage: 750, ISBN/ISSN 9782953934700 Softcover Klappeinband
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Das Buch basiert auf einem Gespräch von Christoph Schifferli, Christophe Daviet-Thery andJérôme Saint-Loubert Bié über 12Künstlerbücher. The same year, in december 2009, Christophe Daviet-Thery asked toJérôme Saint-Loubert Bié to take care ofthe catalog even if this book works independently from the exhibition. He invited Jonathan Monk and Yann Sérandour to have a conversation about 12 books: Bruce Nauman, Burning Small Fires, 1968 – Richard Prince, American English, London: Sadie Coles HQand Cologne: Verlag der Buchhandlung Walther König, 2003 – Wade Guyton, Zeichnungen für ein grosse Bild, Cologne: Verlag der Buchhandlung Walther König, 2010 – Jonathan Monk, Cover Version, London: Book Works, 2004 – Mike Kelley, Reconstructed History, New York: Thea Weistreich and Cologne: Gisela Capitain, 1990 – Allen Ruppersberg, TheNew Five-Foot Shelf of Books, Brussels: Editions Micheline Szwajcer & Michèle Didier and Ljubljana: International Centre of Graphic Arts, 2003 – Claude Closky, Vacances à Arcachon, Paris: Editions Galerie Jennifer Flay, 2000 – Alejandro Cesarco, Dedications, New York: A.R.T Press, 2003 – Martin Kippenberger, The Happy End of Franz Kafka’s Amerika. Tisch Nr3, Sankt Georgen: Sammlung Grässling, 1993 – Matt Mullican, Matt Mullican, Valenvia: IVAM Instituto Valenciano de Arte Moderno, 1995 – Batia Suter, Parallel Encyclopedia, Amsterdam: Roma Publications, 2009 – Yann Sérandour, Inside the White Cube: Overprinted Edition, Zurich : JRP Ringier, 2009. Vonder Webseite des Verlegers
múltiplos is an independent structure forthe dissemination and distribution of artists’ publications. múltiplos’ actions include the opening of a bookshop in Barcelona, in July
2011, which stocks a national and international catalogue. a distributor of
publications produced in Spain, Portugal and South America. andthe conception and production of projects related to artists’ publications, in collaboration
with other related initiatives. vonder Webseite
21x16,3 cm, keine weiteren Angaben vorhanden eingelegt ein Blatt mit lieferbaren Titeln beiEFA
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Jim Avignon geb. 1968 in Schweden, Schulbusfahrer, danach Künstler.
Cartoon poet, speed painter and performance artist between cheap artand 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 anapt, sympathetic bite. "Attack Delay", a personal magazine in a book format, presents this hero of modern multitasking inhis unmistakable technicolor cartoon style
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 ofthe 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 andart criticism, we have curated an overview both oftheDNA of Horn’s work, and – through the words ofour selection ofher friends, collaborators and admirers – of Roni Horn herself. The issue features: JUERGEN TELLER, ADRIAN SEARLE, JOHN WATERS.
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128 S., 28x21 cm, Auflage: 500, keine weiteren Angaben vorhanden Klappumschlag
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During the life of an artist countless photos are taken, numerous videos are shot and plenty of text is written. In the case of a performance artist this material is even more extensive and also more important, because it gives us a witness report about a past event. When we noticed that Billy archived allthe material about his work very accurately and everything was already there we decided touse only the accumulated images and texts, such as: stills andoff-voices from Billy's video documentation, newspaper articles ranging from local press to international art critique, TV-Excerpts, lyrics from Billy's songs …
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[512] S., 18x12 cm, ISBN/ISSN 9789093692889 Hardcover mit abgerundeten Ecken, Text Buchdruck. 2. Auflage
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Don’t Eatthe Yellow Snow (Frank Zappa) is a collection ofallthe famous advice songs and many surprises as well. It gives the reader the song titles, painted by hand bythe designer, and a striking quote from the song lyrics, as well as indexes on artist and themes. This well-produced, iconic album of words of advice from musicians isthe perfect gift for music lovers ofall ages.
Marcus Kraft is a graphic designer andart director based in Zurich, Switzerland. From his studio, he realizes commissioned projects for renown clients as well as self-initiated projects. His focus is on elaborate design concepts, editorial projects and typographical quality. He has been awarded several international prizes forhis work. In his spare time, he plays the drums in a rock band.
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Back Cover is a French magazine about graphic design and typography. Back Cover is an open place for personalities from all countries who make or analyse our visual environment. Back Cover does not deal with news and does not present portfolios. It contains thoughts, critical or historical analysis and individual or collective experiences in graphic design, typography, illustration and visual arts. Each issue brings together contributions by international actors inthe mentioned areas: graphic designers, typographers, art critics and historians, journalists, under different shapes: interviews, diaries, theoretical articles, transcripts of lectures…
This publication contains a selection of 60 photographs from the documenta Archive, one ofthe oldest and most esteemed exhibition of contemporary art inthe world. The photographs — belonging to different ages — depict thetwo elements that make art history possible: artwork and spectator. This amazing journey through time not only concerns the history ofone ofthe most important exhibitions inthe world, but also traces the evolution, customs, and traditions ofthe society that created it. The book portrays a love story between two subjects — a human being and an inanimate element — that are capable of a relationship even if they speak a different language. The photographs capture the moment of these encounters, and this is what their distinctive feature consists in. Of course wearenot able to listen tothe dialogues, but wecan still imagine them.
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34 S., 29,7x21 cm, keine weiteren Angaben vorhanden Verkaufsprospekt, Farbloserkopien nach PDF, Blätter lose ineinander gelegt
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Zur Ausstellung Guy Schraenen Editeur 13 Mars 2014. Guy Schraenen isthe founder ofthe publishing house Guy Schraenen éditeur andthe Archive for Small Press & Communication (A.S.P.C.) and an international known curator, publisher and advisor. Furthermore he isthe author of essays and various publications. His many activities are mainly focused on Artists' publications ofthe various international Avant-garde and independent art movements from the late 1950s until the 1980s. mehr aufder Webseite der Buchhandlung
34 S., 21x14,8 cm, ISBN/ISSN 02104148 Drahtheftung
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Mit einem Beitrag über eine Ausstellung vonKünstlerbüchern: Artists’ (Books and Other Publications), 1947-2013, July 23, 2014 – August 30, 2014 (S. 9). The exhibit also consciously interweaves representative examples of collaborations between visual artists and poets, such as Joan Brossa and Antoni Tàpies’ Novel.la (Sala Gaspar, Barcelona, 1965) and Rafael Alberti and Manuel Millares’ Mutilados depaz (Madrid, 1965).
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4 S., 21x14,8 cm, keine weiteren Angaben vorhanden Faltblatt zur Ausstellung
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Temporary exhibition. 10 July 2014 - 01 Februar 2015 The exhibition An Infinite Conversation. Artists’ books, ephemera and documents was designed as an addendum tothe permanent exhibition of Museu Coleção Berardo, and presents a selection of artists’ books, posters and other ephemera from the Teixeira de Freitas Collection. The exhibition illustrates the range of thought and process that surrounds art making and shows the various forms itcan take, suggesting what is perhaps a more intimate view
10 S., 14,8x21 cm, Auflage: 111, numeriert, 2 Stück. ISBN/ISSN 9783941601970 Spiritusumdruck = Hektografie, blaue Farbe aufweißem Papier, Drahtheftung, ein Exemplar ohne Numerierung
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a variation of a SONNET written by Rossetti in 1871, re-written by Carrión in 1972 and subsequently re-written by Pichler since 2009. It is exploring the materiality of language, how books travel into the world, andhow a fragmented printrun can still constitute an organic piece. It is awkward to read, andthe awkwardness certainly is half ofits charme. Due to their rotated binding and blurring through the pages, they also look like Rorschach-drawings.
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André Príncipe travelled from Lisbon to Tokyo by land and bysea, with a desire to escape, to go places far away. The initial feelings of uneasiness and alienation fade as empty bars and hotel rooms give place to windows of trains andthe vastness ofthe desert, and return as we approach the Asian big cities. The strongly cinematic sequence was designed to be read from right to left as well as from left to right, expressing the circular aspect ofthe journey.
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192 S., 24x17 cm, Auflage: 500, keine weiteren Angaben vorhanden Broschur
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A Nice Magazine is a collaborative platform for emerging and established talent, including work from a group of friends, and names such as Tyrone and Mark Lebon. A space that aims to define a counter culture through imagery and humour, A Nice Magazine rejects seriousness, whilst celebrating collaboration and being young!
Abschlussarbeit bei Central Saint Martins
144 S., 30x22 cm, Auflage: 350, ISBN/ISSN 9781907468209 Broschur mit Klappeinband
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The Nabokov Paper is an experiment in novel-reading. The project takes asits starting point a now famous class taught during the 1950s by Vladimir Nabokov at Cornell University, New York State, entitled Literature 311-312: Masters of European Fiction. Nabokov’s approach to teaching literary reading was notoriously idiosyncratic. Convinced that one must teach the books themselves, not ideas or generalities, Nabokov would make diagrams ofthe floor plans of fictional buildings, mapthe routes taken by characters through the spaces ofthe novel, and draw items of clothing or furniture, he would also propose to track the course of a single letter, offer a visual representation of a stylistic device, and uncover what he called the mysteries of literary structures. His methods are striking forthe range of gestures they call for inthe name of good reading. The published Lectures on Literature (New York: Harcourt, 1980) concludes with an appendix of sample exam questions. Responding to those questions some sixty years after the fact offers a means to explore what Nabokov’s take onhow to read might have to teach us today: about the novel, about how reading works across practices and disciplines, and about the past, present and future forms of literary criticism.
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Der 1956 inNew York geborene Jerry Spagnoli ist einer der bedeutendsten praktizierenden Künstler der Daguerreotypie undhält über dieses Verfahren regelmäßig Vorträge. Seine Arbeiten wurden bereits indie Beständedes Whitney Museum of American Art inNew York, des Museum of Fine Arts in Boston undder National Portrait Gallery in Washington DC aufgenommen.
American Dreaming presents a vision of America from 1990 to 1995. Spagnoli took these photographs with a small Leica camera inthe classic manner of street photography and then selected small details from the negatives. The resulting images of gestures, signs, faces and objects are freed from their original contexts and reconfigured. Spagnoli’s subject isthe build-up tothe First Gulf War, but wesee these social and political events at best obliquely as Spagnoli’s version of history is primarily subjective and fragmentary. American Dreaming isthe second of Spagnoli’s books in atrilogy about the personal experience of history, the first being Daguerreotypes.
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40 S., 27.2x19.7 cm, Auflage: 150, keine weiteren Angaben vorhanden Blätter gefaltet, lose ineinander gelegt
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Micronaut is an editorial project initiated in 2011 with a critical and singular approach to publishing and artist book. In three years of activity, the book serie took several different forms, engaging a dialogue between disciplines and blurring the boundaries between actors involved in a book process. An independent editor and photographer based in Switzerland, Julien Gremaud runs Micronaut as an interface to produce and publish books but also as an artistic practice through collaborations whether it is an artist, a gallery, a museum or an artists collective.
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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 onthe border between construction and collapse, with an elegant sense of seriousness.
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16 S., 29,7x21 cm, keine weiteren Angaben vorhanden Drahtheftung, ein Sticker eingelegt. Cover mit Prägedruck. Risographie. In braunem Papierumschlag mit Aufkleber
OWK is an independent visual library for words and images that create linear or abstract stories providing a structure for publishing and archiving projects. We focus on graphic design, illustration, photography, artand creative writing. OWK is a Riso print project, meaning that color will fail to present photographs inits purest form. Registration toowill fail and colors will be imperfect. It is what it is. An experimental electronic single drum screenprint with itsown unique aesthetic and feel.
The launch issue hits newsstands on March 9 with an April/May cover, andwill have 120 pages. The redesigned site will go live, without a paywall, on March 7, the same day that the social accounts andtheappwill revert from Intelligent Life to 1843. 1843 will, like Intelligent Life before it, publish six issues a year.
Newly appointed editor Emma Duncan has come on board from The Economist where shewas deputy editor. At 1843, she leads a team of 25 across editorial and commercial, and also can pull onthe wider global Economist team.
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A new magazine of ideas, lifestyle and culture
14 S., 29x13,6 cm, Auflage: 300, keine weiteren Angaben vorhanden Kunststoff-Heftstreifen, Siebdruck. Einzelblätter und gefaltetes Plakat
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DIY is a timeline ofthe history ofthe space occupied by W139. In the form of reportage, replete with interviews, maps, and images from the archive, it takes asits starting point the renovation ofthe gallery space that was proposed in 2003 and from there reflects onthe architecture ofthe building itself andits changing role within the city of Amsterdam over the years. DIY takes the ostensible form of a calendar and inits design and production embodies the do-it-yourself ethos that is so characteristic of W139. A fold-outmap shows where a series ofart objects were buried during a performance held before the previous renovation, in 1991.
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zur Veranstaltung vom 10.-12.06.2016 inder Akademie derKünste Berlin.
Miss Read: The Berlin Art Book Fair brings together a wide selection ofthe most interesting artists/authors, artist periodicals andart publishers and is accompanied by a series of lectures, discussions, book launches and workshops exploring the boundaries of contemporary publishing andthe possibilities ofthe book. In conjunction, the Conceptual Poetics Daywill explore the imaginary border between visual artand literature. In 2016 Miss Read: The Berlin Art Book Fair will return to Akademie derKünste, Berlin, whowill provide their main exhibition halls at Hanseatenweg.
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4 S., 21x14,9 cm, 2 Stück. keine weiteren Angaben vorhanden Einladungsflyer, beiliegend ein beidseitig bedrucktes Informationsschreiben zur Ausstellung
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zur Ausstellung vom 21.05.-04.06.2016 imNeo Toum - Neoterismoi Toumazou, Nikosia, Zypern. He was dancing steadily. He could seethe backs of people’s heads moving inthe darkness andwas aware ofthe shifting spaces between their bodies. He didnot register the music except as a sort of vibration. He felt as if hewas dancing in perfect silence. He sawthe already dim room growing ever darker around him. He became less conscious ofhis surroundings and more aware of himself. His introspection grew buthis body wasnow moving automatically, softly cycling through a short loop ofset motions. He noticed dust under his feet, and soon the realisation reached him that hewas slowly wearing a shallow hole inthe wooden floor. His body was locked in an efficient cycle. Before too long hewassix inches below floor level, his head parallel with some ofthe shorter dancers. Yet he could not stop. Gradually he sank deeper into the ground until his face was level with people’s waists. No one noticed, below theeye level ofthe crowd, he was almost invisible. Presently his eyes came level with the soles of dancing shoes. He could see shards of coloured light flashing through a forest of legs casting jagged shapes across the floor. There were points where soft reflected light shone through looming figures like sunlight into a clearing. Eventually hewas entirely submerged. He could look up through the hole andsee foreshortened bodies moving above him oblivious tohis plight. Still his feet moved, wearing away damp, pungent earth. The vibrations from the music lessened until the dull thump ofthe kick drum wasall that he could feel. When it stopped he realised hetoowas still, and looking up hesawthe sphere of light was gone.
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620873 Drahtheftung, Rückseite mit Silberprägung, in transparenter Kunststoffhüllemit beigelegtem Blatt, Aufkleber
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Faces of Feces isthe title ofthe third issue out. This time wewill explore the fascinating and deep original work of Finland's master mind Vilunki 3000. The Helsinki based artist shows us a small overview ofhis most inspiring and sought after works, which includes drawings, graphics, posters, adsand jokes. It can be called a small retrospect, and it's a perfect opportunity for those outside Finland toget familiar with his unique style. He has been a true inspiration for a whole decade in Finland, and we understand why.
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620672 Drahtheftung, Rückseite mit Metallfolienprägung, in transparenter Kunststoffhüllemit beigelegtem Blatt, Aufkleber
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Devoted to body and muscles, this issue of BLAD will explore the fascinating world of bodybuilding. Pictures, articles, adsand other good stuff about a strong and perfect body filled with rock-hard muscles. "Imagine walking through your local beach or neighborhood swimming area… Friends noticing your titanic legs, your manly shoulder, rock hard stomach muscles, and last butnot least, your full high-peaked biceps that attract second glances from all." With other words, this issue isfor strong and heavy readers!
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Ausstellung vom 16.03.-10.10.2016 im Sabatini Building Floor 3.
A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist ofthe post-1960s international artistic avant-garde.
Texts byGuy Schraenen, Felipe Ehrenberg and João Fernandes, among others, illustrate all aspects ofhis artistic and intellectual work. From his early career as a young, successful writer in Mexico tohis numerous activities in Amsterdam where he cofounded the independent artists' run space In-Out Center and founded the legendary bookshop-gallery Other Books and So (1975–79), the first ofits kind dedicated to artists’ publications.
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Publikation zur gleichnamigen Ausstellung vom 15.10.2014-02.03.2015. The exhibition catalogue of republic brings together a broad selection of works by Juan Luis Moraza that explore the museum as a system of conventions and possibilities of citizenship. If one ofthe problems of contemporary democracy isthe dilemma facing each citizen – between passivity andthe possibilities of participation in social life – in the museum Moraza finds a space of convergence between the citizen-artist and citizen-spectator. Texts bythe artist, in addition to a glossary and conversation, both developed bythe show’s curator João Fernandes, are presented. The publication is arranged into two complementary parts: theodd-numbered pages comprise a catalogue of works, documents and literary works selected bythe artist, while the even pages make an essay about republic.
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[12] S., 32x21 cm, 2 Teile. keine weiteren Angaben vorhanden Drahtheftung, Heft und Abfall-Fundobjekte zusammengesteckt und in verschließbarer Plastikhülle, beides in Plastikhülle,
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Die Publikation beinhaltet Collagen, zusammengestellt aus verschiedenem Material, wie Comics, Filme sowie fiktionale und theoretische Schriften. Die einzelnen Seiten können als eigenständige Collagen oder zusammenhängend gelesen werden.
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Erschienen zu einer Veranstaltung bei Circuits 30.10.-31.10.2015: Circuits and Currents isrun by students ofthe Athens School of Fine Arts. It hosts exhibitions, talks and workshops, bringing together artists , theoreticians and people from other fields. Supported by DAAD Programme: Partnerships with Greek Institutions of Higher Education 2014 – 2016, A Cooperation between the Academy of Fine Art Munich (ADBK) andthe Athens School of Fine Arts (ASFA)
An exhibition of work completed during a residency at Monagri.
euxec denotes wishes - interpretable as desires, but also as blessing and greetings. Its root refers to offerings, and itcan be associated with prayer. In its sense of wishes foroneself, for others andforthe future, it invokes a spirit of openness and generosity, a willingsness to give and receive.
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Anlässlich der gleichnamigen Ausstellung im Neuen Museum Weserburg, Bremen, 21.08.-27.11.2005, Museu D'art Contemporani de Barcelona, 17.05.-03.09.2006, Museu Serralves, Porto, Frühjahr 2008. As creative talents began to design record sleeves, the standard 30 x 30 cm album cover came to be an especially attractive object. Now vinyl has an almost mythic character and real historical value. 'Vinyl' is a detailed catalogue ofthe collection held bythe Archive for Small Press and Communication inthe Neues Museum Weserburg in Bremen, which includes not only records andCDsbut also books, posters and other objects.
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Whose heritage are we dealing with? With this one-day conference, we want to create an overview ofthe contemporary discussions on museums dealing with oldandnew formats of heritage. The morning session has been set up as an informal “World Café”. In this interactive format, the guests are invited to address pertinent topics such as transnationality, transculturality, shared heritage, intellectual property, “Deutungshoheit”, restitution, museological concepts & categorisations andthe management of meaning inartand culture. In the afternoon, the conference will bring together honourable guests from the academic and practical museum-fields. The podium isnot only dedicated to aspects ofhow to deal with/handle/encounter so called “other” cultures but also in addressing questions ofourown cultural and intellectual heritage. We would like to encourage the audience to participate inthe debate.
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... Bending and fusing different genres of music, the Kuwaiti producer and visual artist has released a handful of largely instrumental albums that often imply narratives wrapped in a dystopian atmosphere, evoking an uncanny imagery ofour increasingly oversaturated and disorienting information age. It is a simple yet complicated sound that owes as much to electronic music and video game soundtracks as it does to Russian composers and Arab musical traditions. ...
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So, here weare again. dienacht isnot just a portfolio magazine, but also a personal project. That's why some personal circumstances lead tothe fact that this issue is released much later as it should have been – butnow it's here, on the last days ofthe year 2014! We have, once again, outstanding photographers and artists, like Birgit Krause andherout-of-this-world-series "Pláně.tes", Jean-Marc Caimi showing a selection from "Daily Bread", Zhe Chen andher painfully intimate diary "The Bearable", the funny childhood memories translated into photography by Vendula Knopová, Magdalena Sawicka's rawbut precise illustrations, Elena Montemurro's "Coming ofAge" (which is also this issue's cover story) and many more incredible photographers and photobook reviews.
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