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Behind the Personal Library: Collectors Creating the Canon
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1 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Laserausdruck nach Webseite
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Eine AusÂstelÂlung von AlexÂanÂder CamÂpos, zusamÂmen mit Johanna DruÂcker (UCLA), Jae JenÂniÂfer RossÂman (Yale) und Tony White (MICA) ĂŒber folÂgende SammÂlunÂgen:
PhiÂlip E. Aarons & ShelÂley Fox Aarons (NY), Mary AusÂtin (CA), Duke ColÂlier (MA), Jack GinsÂberg (SĂŒdÂAfÂrica), Arthur Jaffe (FL), Monica Oppen (AusÂtraÂlien), BarÂbara PasÂcal (CA), Robert Ruben (NY), MarÂvin & Ruth SackÂner (FL), Julia VerÂmes (Schweiz), FranÂcis H. WilÂliam (MA/NY), MarÂtha WilÂson (NY), Estate of Tony ZwiÂcker (CT)
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Streichholzbriefchen â I got a clit
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4,8x3,8 cm, 4 Teile. keine weiteren Angaben vorhanden
Konvolut aus vier bedruckten Streichholzheftchen, teils handbeschrieben.
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Teil einer Installation, die in der Ausstellung "Marlene McCarty â Mund Verkehr: In die Hose gegangen" in der NGBK Berlin, 6.06.â12.07.1992 gezeigt wurde. Aus der Pressemitteilung zur Ausstellung:
Marlene McCartyâ (1957) Interesse gilt dem Machtgebaren und den patriarchalen Strukturen, der von ihnen geprĂ€gten mĂ€nnlichen Umgangssprache. Die alltĂ€glichen SprĂŒche die ihr, einer Frau, auf den StraĂen New Yorks zugerufen werden, die unverstellten oder unverschĂ€mten Aufforderungen mit denen sie konfrontiert wird, sind das Ausgangsmaterial fĂŒr ihre kĂŒnstlerischen Strategien wie fĂŒr ihre Kunstobjekte.
Marlene McCarthy zur Installation: âThis is a floor sculpture and itâs 15,000 matchbooks. Theyâre standard matchbooks you can order from a catalog. On one side they have pinup girls on them, and on the other side I had them print, âI got a clit so big I donât need a dick.â If youâll notice, clit and dick are handwritten. The company had called me up and were like, âUmmm, we have a problem. We can print dick but we canât print THAT OTHER WORD.â She wouldnât even say the word clit. So I said OK, take the mechanicalâthis was in the olden daysâand just slice the dick and the clit off. Then I got some friends together and we wrote them all in by hand. Iâm reproducing these for the retrospective, but the curator is worried about whether we can have NYU students writing dick and clit 15,000 times. Maybe the seniors can do it.â
Texte von den Webseiten.
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European-art.net - your link to the art world
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[4] S., 21x14,8 cm, 2 Stück. keine weiteren Angaben vorhanden
einmal gefaltet
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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 to the intrinsic data of its institutional partners. The highly professional profile of the partner institutions stands for the reliability of its contents.
Names, groups and institutions are listed alphabetically. You can either search per letter and get all the listed references to artists, groups and institutions, or you can type in a name (minimum 3 letters) and will get the references to the databases, where you can find more material. If you misspell the name or if the artist is listed with more than one name, you will find different entries.
Text von der Webseite
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[16] S., 26,6x18,4 cm, keine weiteren Angaben vorhanden
Drahtheftung.
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Zum Film Can-Can, Regie Walter Lang.
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2 S., 11,9x16,3 cm, keine weiteren Angaben vorhanden
Postkarte, Bild: Vermeintliche Löwin, Kleinmachnow Quelle: Tagesschau via X (Twitter)
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Postkarte zur Ausstellung "Catch me if you can" vom 26.01.-15.03.2024 in der ERES-Stifung MĂŒnchen.
Die Löwin war los im vergangenen Sommer. Mit der Katastrophen-Warn-App NINA wurden in der Bevölkerung archaische UrĂ€ngste vor vierbeinigen Fressfeinden wachgerufen. Gepanzertes SchwergerĂ€t pflĂŒgte durch die sĂŒdlichen WĂ€lder Berlins. Ein unscharfes Videodokument reichte, um ein Sondereinsatzkommando der Polizei ausrĂŒcken zu lassen und Jagd auf eine gefĂ€hrliche »Löwin« zu machen, die dann doch nur ein Wildschwein war. Wer war hier eigentlich der oder die Gejagte?
Die Ausstellung »Catch me if you can« folgt der FĂ€hrte des menschlichen Jagdinstinkts. Wie viel von dessen UrsprĂŒnglichkeit steckt heute noch in uns? Sollte dieser etwa genetisch angelegt sein? Was ist aus den »JĂ€gern und Sammlern« geworden, fĂŒr die die Jagd bis zur neolithischen Revolution ein existenzielles Handwerk darstellte? Die digitalisierte, global vernetzte Welt mit ihren nicht zuletzt durch den Klimawandel verĂ€nderten ökologischen Systemen steht diesbezĂŒglich vor neuen Herausforderungen. GegenwĂ€rtige Jagdstrategien Ă€uĂern 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 trophĂ€enorientiertem Gaming und Online-SchnĂ€ppchenjagd am Black Friday. Ein weites Jagdfeld, an das sich die kĂŒnstlerischen Positionen der Schau hintersinnig und humorvoll heranpirschen.
Text von der Website
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Katharina Gaenssler - Atlas und Sequenz - Konvolut
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2 S., 21x10 cm, 3 Teile. keine weiteren Angaben vorhanden
Zwei Postkarten, ein Flyer, mehrfach gefaltet, beidseitig bedruckt
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Zu den Ausstellungen Katharina Gaenssler Atlas und Sequenz, sowie Ădouard Baldus Transit und Monument, 05.04.-21.07.2019, Westlicht Wien. Katharina Gaenssler (*1974) hat sich auf die fotografische Komprimierung und Transposition von RĂ€umen spezialisiert. In tausenden Aufnahmen scannt sie mit ihrer Kamera Orte und durchfahrene Distanzen akribisch ab und errichtet sie an anderer Stelle als wandfĂŒllende Kollagen in ephemeren Installationen neu oder bindet sie zu voluminösen, mitunter mehrbĂ€ndigen Atlanten. Parallel zu den historischen Reise- und Architekturaufnahmen der Alben (Chemins de fer de Paris Ă Lyonet Ă la MĂ©diterranĂ©e (1863)) von Ădouard Baldus eröffnet WestLicht erstmals in Ăsterreich einen Einblick in das umfassende Buchwerk der international prĂ€sentierten und vielfach ausgezeichneten KĂŒnstlerin. Dabei wird das Buch als Zeitraum und analoge Festplatte im VerhĂ€ltnis zu seiner MaterialitĂ€t und Körperlichkeit vor Augen gefĂŒhrt. Systematisch entlang eines Rasters und Ordnungsprinzips erfasst, sind Gaensslers Lexika jeweils spezifische Formate, deren skulpturaler Reiz Hand in Hand geht mit den umspannten Sequenzen quasi zufĂ€lliger, teils abstrakt wirkender RealitĂ€tsfragmente.
Text von der Website.
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4 S., 29,7x21 cm, 2 Teile. keine weiteren Angaben vorhanden
2 BlĂ€tter, je pink und weiĂ
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Pressemitteilung zur Ausstellung 29.11.1995-21.01.1996. Es wurden 82 Schwarz-WeiĂ-Fotografien gezeigt, alle handabgezogene Unikate.
... Die Akteure in Lagerfelds Foto-Love-Story und Hochglanz-Roman sind Stars aus der Mode- und Entertainment-Welt. Claudia Schiffer ist das Gretchen, David Copperfield ein mit ZauberkrĂ€ften ausgestatteter Mephisto. Das Fotomodel Christian Willams posiert fĂŒr einen narziĂtischen Faust, und Veruschka von Lehndorf hat die Rolle der Miss Lucy Fer erhalten, in Lagerfelds Geschichte eine Nachtclubbesitzerin in Monte Carlo.
Lagerfelds Faust stellt eine MoralitĂ€tengeschichte der neunziger Jahre dar. Die Modewelt einer geld- und ruhmsĂŒchtigen, starbesessenen Gesellschaft liegt im Fadenkreuz des Objektivs. Die hochstilisierten Posen der Darsteller und der Gebrauch der begleitenden Texte erinnert an die Stilelemente des frĂŒhen Stummfllms, und so will Lagerfeld sie auch verstanden wissen - als eine Hommage an ein wunderbares Medium. ...
Aus dem Pressetext
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Loud and Quiet Issue 45 - The Germans are coming
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37,3x29 cm, ISBN/ISSN 20499892
BlÀtter lose ineinander gelegt
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Loud And Quiet is an independent, monthly music publication, printed the old fashioned way, physically and on news print, in London, England.
You can pick up a copy of our current issue from any of our stockists around the whole of the UK. Itâs free! And if you canât find it, we can post you copy wherever you are in the world.
Text von der Webseite
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2 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Schwarz-WeiĂ Laserausdrucke nach Webseite
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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 on the 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 of the DIY-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 you are able to browse and research thousands of releases, find further information about the Artists, the Organisations, Press & Label-People behind the scene and/or the published Small Print, Magazines, Information-sheets and Artists-Manifests that all defined a very exciting culture and era. Most of the releases listed here were only released in very limited amount and are hard to find these days but they had without any doubt their important role in the development of contemporary audio & sound-art and 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 all its connections and a framework. With this Database the collected, provided and connected Information can become knowledge. Knowledge that Media in Internet-Age can hardly supply with the current Information Overload.
Text von der Webseite
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ANTIBODIES - can you ear me?
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10,8x6,9 cm, Auflage: 40, keine weiteren Angaben vorhanden
schwarze C-40 Audiokassette in HĂŒlle mit einseitig schwarz-weiss bedrucktem, mehrfach gefaltetem Cover
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Recorded on Jan 03 2018 at Walpodenakademie Mainz, Collages by V.E.B. Freie Brandstiftung.
Antibodies is what we need. New publication of Duo-Loop-Sound-Poetry-No!-sense with my great Antibuddy Stefan Brand Stifter on Cassette Label Steepgloss from Wigan, England.
Text von der Webseite
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GroĂe Kunstausstellung Haus der Kunst MĂŒnchen 2004 - Konsens
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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 KĂŒnstler.
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erscheint zur GroĂen Kunstausstellung im Haus der Kunst MĂŒnchen, 21.04.-20.06.2004. Mit Sonderausstellung Stephan Deckert. Veranstalter: Ausstellungsleitung GroĂe Kunstausstellung im Haus der Kunst MĂŒnchen e.V., PrĂ€sident Helmut KĂ€stl.
Mit Texten zum Thema "Die Ăkonomie der Aufmerksamkeit - Kunst und radikales Denken im Zeitalter des strategischen Konsensus", von Francesco Bonami, Lynne Cooke, Richard Armstrong, Vicente Todoli (Umfrage von Massimiliano Gioni und Ali Subotnik, aus Parkett Nr. 69), Chris Dercon (You can be a museum or you can be modern, but you can#t be both), Jochen Meister (Wandlung eines Ortes - das Haus der Kunst, Wieland Schmied: Ăber die Bilder von Stephan Deckert.
Die Ausstellungsleitung GroĂe Kunstausstellung im Haus der Kunst MĂŒnchen benannte sich 2014 um in "KĂŒnstlerverbund im Haus der Kunst MĂŒnchen e.V." Ab 2013 gibt es ein neues Konzept fĂŒr die GroĂe Kunstausstellung: Eine groĂe Ausstellung mit langer Laufzeit soll nur noch alle zwei Jahre stattfinden, unter dem Titel "Biennale der KĂŒnstler", im WestflĂŒgel des Haus der Kunst, in den Jahren dazwischen eine kĂŒrzere Ausstellung, in einem der Galerie-Geschosse des Haus der Kunst.
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10,5x14,8 cm, keine weiteren Angaben vorhanden
Karte
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Postkarte, von Teilnehmern auszufĂŒllen, zum Projekt Books are Bridges, 11.03.-11.05.2021 bei A-Z, Berlin, Torstr.
How can we still find ways to connect with each other? Can books play a role in this connection? And from where to where can they take us? For the show in A â Z presents, Iâve come up with a strategy to bring people and ideas together. A participative, open, non-ending work that could exist in the space, but that couldnât exist without a form of contact. A book that will construct itself throughout the duration of the show. The thickness, amount of pages, and content wonât depend on me but on the public. A book that functions as a bridge that connects people, ideas, ways of distribution and collaboration. The answers that are sent back to us before the end of the show, will be arranged into a growing bookwork inside of the exhibition space. Books are Bridges. Always under construction.
Text von der Webseite
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we can only begin to notice
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30 S., 25x20,6 cm, keine weiteren Angaben vorhanden
Drahtbindung
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Begleitheft zur gleichnamigen Ausstellung von 18.03.-29.04.2023 im Nicosia Municipal Arts Centre.
"we can only begin to notice" prÀsentiert eine kuratierte Auswahl von Sachfilmen von zehn Filmemacherinnen aus Zypern und der zypriotischen Diaspora, die das Medium Film nutzen, um Aspekte ihrer eigenen und der von Anderen erfahrenen RealitÀt zu dokumentieren.
Die Ausstellung erforscht die Strategien der Betrachtung von Filmwerken innerhalb von Kunstinstitutionen und schafft gleichzeitig Raum fĂŒr Diskussionen und Reflexionen ĂŒber die VielfĂ€ltigkeit des weiblichen Blicks, indem sie zum Diskurs ĂŒber Geschlecht, ReprĂ€sentation, Zugehörigkeit, Klasse, Rasse und Macht beitrĂ€gt, auf Zypern und darĂŒber hinaus.
Die ausgewÀhlten Dokumentarfilme werfen die Frage auf, was unsere Aufmerksamkeit erregt und was wir kaum wahrnehmen.
Sie bieten Sichtbarkeit durch strukturierte ErzÀhlungen, meditative Aufnahmen, poetische Reflexionen und protokollierte Ereignisse.
Indem sie den alltÀglichen und rohen RealitÀten der Protagonist*innen folgen und Ereignisse, Worte, Stimmen, Gedanken und Erinnerungen aufzeichnen und freilegen, die in den vorherrschenden ErzÀhlungen oft als trivial oder unbedeutend gelten, wird ein "anderer" Blick ermöglicht.
Die zypriotische RealitÀt und die UmstÀnde haben sich direkt oder indirekt auf die Filme ausgewirkt, indem sie entweder das Thema oder den Hintergrund lieferten oder den Prozess der Filmemacherinnen beeinflusst haben.
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48x33 cm, 2 Stück. keine weiteren Angaben vorhanden
Plakat, vermutlich beschnitten
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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 to get 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 all the money earnt is always invested in new publications.
Why âAtemâ?
âAtemâ stands for âwind, breathâ in german. This word is inspired by an illustrated poetry book published by Paul Celan (poet) and GisĂšle Celan (illustrator) called Atemkristall.
Who we are
Atem Books curators are MarĂa Cerezo and Emma Llensa. We both do all the works involved with mantaining Atem Books.
What we can do
Weâre also offering our services to help you self-publish your book (both digital -pdf, epub, mobipocket-, Ipad and Iphone apps and print). Whether if you need advise on how to start self publishing a book or you need our services as curators, designers, layouters and image retouchers, just ask us what we can do for you.
Weâre 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 is 100% independent!
We donât receive any external money. This project survives with the earns we do selling our publications.
Von der Webseite
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10,4x15 cm, keine weiteren Angaben vorhanden
2 Postkarten
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60x25 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Plakat, mehrfarbiger Handsiebdruck
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zu einer Veranstaltung im Milla Live-Club MĂŒnchen
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60x25 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Plakat, mehrfarbiger Handsiebdruck, Irisdruck
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zu einer Veranstaltung im Milla Live-Club MĂŒnchen
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BREADCRUMBS WILL LEAD YOUR WAY HOME
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15x10,5 cm, keine weiteren Angaben vorhanden
Einzelblatt (Stadtplan, DIN A1) mehrfach gefaltet, Plotted colour print, Visitenkarte mit Telefonnummer beiliegend
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Zu einer Performance am 24.07.2015 in Berlin. During the Art Spin Event in Berlin the visitors were encouraged to call the performer on his cell phone number that was handed out before the event started. Hen then asked for instructions on where to go. The route was tracked through a GPS signal and afterwards converted into a map, both documenting and visualising the performance. The printed map can also be used to retrace and follow the whole route, expanding the idea of a performance that only lives through the moment towards performative aspects that can be recreated.
Text von der Webseite
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Keep Going West Until You Can See The Sun Set In The East
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[8] S., 46,5x31,5 cm, Auflage: 1.000, keine weiteren Angaben vorhanden
Broschur, teils spiegelverkehrt
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A newspaper was distributed at selected points during the Kunst Fest in the city of Weimar. Both in newspaper stores and on the street by various performers.
It contained propositions for small interventions in public space in Weimar. These propositions function as a written proposal: in relation to Lawrence Weiner's âDeclaration of Intentâ the interventions do not need to be executed but can be read as a manual and performed by anybody. Each format is equal. Every written intervention is formulated in a more or less abstract way opening the possibilities of interpretation for the viewer. Poetic connotation is intended.
Text von Website
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166 S., 20,5x13,5 cm, ISBN/ISSN 978-3-956790652
Broschur, auch Gerhard Bibby, Natasha Soobramanien (Hrsg)
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per Hand zugeschnittener Zettel zur Lesung inliegend,
in Kooperation mit If I Canât Dance, I Donât Want to Be Part Of Your Revolution, Kunsthaus Bregenz ARENA, CCA Glasgow, The Showroom London und dem Institute of Modern Art Brisbane
"Der in Australien geborene und in Berlin lebende Gerry Bibby (geboren 1977) vermeidet in seiner kĂŒnstlerischen Produktion bewusst jegliche Kategorisierung und erschlieĂt dadurch noch unerforschtes Terrain. Bibbys aktuelles Projekt ist ein fortlaufendes Auftragswerk fĂŒr die in Amsterdam ansĂ€ssige Organisation If I Canât Dance, I Donât Want To Be Part of Your Revolution. Sie war fĂŒr ihn Anlass, sein persönliches VerhĂ€ltnis zum Schreiben, das schon immer ein wesentlicher Aspekt in seiner Praxis war, weiter zu vertiefen. WĂ€hrend eines mehrmonatigen Aufenthalts in Bregenz nutzte Bibby die KUB Arena als eine Art Lese- und Schreibsaal â die daraus entstandene Publikation ist bei Sternberg Press Ende 2014 erschienen."
Text von der Website
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Stickers. From the first international sticker awards
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[324] S., 13x21 cm, 3 Teile. ISBN/ISSN 978-3-899551518
Broschur, beiliegend 2 Bögen mit Stickers, Aufklebern
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Stickers have become an essential element of contemporary street art used by the 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 at eye level on public surfaces blending into and becoming part of the 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 â proving to be effective tools in establishing dialog, inspiring reaction and feature messages that are subversive, fun and often cryptic.
This extensive volume presents over 800 examples from around the world and includes 2 pages of award winning real stickers for the readerâs enjoyment.
Text von der Webseite
Sticker aus Asien, Israel, Latein- und SĂŒd-Amerika, Nordamerika, Europa
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114 S., 24x15,7 cm, ISBN/ISSN 9789491819490
Fadengeheftet, Hardcover, mit signiertem Exlibris in Pergaminumschlag
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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 recipientâs desires. This exceptional book by New 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 art and life, whilst offering new insights on notions of concealment and revelation. âCan the box be an artwork? Can the wrapping be the gift?â â she questions her readers.
Text von der Website.
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Doing the Document - Fotografien von Diane Arbus bis Piet Zwart - Die Schenkung Bartenbach - Ausstellungsbegleiter - Exhibition guide
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21x10,5 cm, keine weiteren Angaben vorhanden
Heft A5 mit aufgeheftetem monochromen kleineren Karton (A6) als Cover. Innenteil mattes ungestrichenes Papier, Schwarz-WeiĂ, Cover glĂ€nzend, oliv
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Ausstellungsbegleiter zur Ausstellung 31.08 2018â06.01.2019. Diane ArÂbus, Boris BeckÂer, Karl BlossÂfeldt, WalkÂer Evans, Lee FriedÂlanÂder, CanÂdiÂda Höfer, Gabriele und HelÂmut NothÂhelfer, TaÂta Ronkholz, AlÂbert Renger-Patzsch, AuÂgust SanÂder, HuÂgo und Karl HuÂgo SchÂmölz, GarÂry WinoÂgrand, PiÂet Zwart â genÂerÂaÂtionÂsĂŒberÂgreifend eint all diese FoÂtoÂgraf*inÂnen eine ArÂbeitsweise, nĂ€mÂlich ĂŒber JahrzehÂnte hinÂweg kontÂinuierÂlich TheÂmen zu verÂfolÂgen. Bei SanÂder könÂnen solche ReiÂhen eiÂnen AtÂlas der MenÂschen des 20. JahrhunÂderts bilÂden, bei Höfer ein Archiv von öfÂfentlichen RĂ€uÂmen und deren Codes der ReprĂ€senÂtaÂtion, oder bei BlossÂfeldt ein solchÂes der ForÂmenÂvielÂfalt von FauÂna und FloÂra. In der âdiÂrekÂten FoÂtoÂgraÂfie" vereinigt sich die wechÂselvolle RezepÂtion der FoÂtoÂgraÂfie als kĂŒnÂstÂlerische und dokuÂmenÂtarische auf beÂsonÂdere Weise. In der ZusamÂmenÂschau lĂ€sst sich zuÂgleich der wechÂselÂseitige EinÂfluss deutschÂer und amerikanischÂer PoÂsiÂtioÂnen in der verdichteten KulÂturÂlandÂschaft des RheinÂlanÂdes der 1960er bis 1990er Jahre nachvolÂlzieÂhen. HiÂer waren in den 1970er Jahren die erÂsten GaÂleÂrien fĂŒr FoÂtoÂgraÂfie zu finÂdÂen, die sich fĂŒr AuÂgust SanÂder, FloÂrence HenÂri, PiÂet Zwart, Karl BlossÂfeldt, aber auch fĂŒr die amerikanischen PoÂsiÂtioÂnen der 1960er Jahre wie WalkÂer Evans, Diane ArÂbus, Lee FriedÂlanÂder, GarÂry WinoÂgrand begeisÂterten und durch kontÂinuierÂliche VerÂmittlungsarÂbeit bekanÂnt machtÂen. ZuÂgleich ĂŒbten Bernd und HilÂla BechÂer mit ihrÂer Lehre an der KunÂsÂtakademie DĂŒsÂselÂdorf groĂen EinÂfluss aus. Und nicht zuletÂzt prĂ€gten beÂdeuÂtende monoÂgraÂfische AusstelÂlunÂgen sowie GrupÂpeÂnausstelÂlunÂgen nachÂhaltig die RezepÂtion. L. Fritz GruÂber zeigte bereÂits in den 1950er Jahren AuÂgust SanÂder in den PhoÂtokÂiÂna BilderÂschauen. Die KunÂsthalle DĂŒsÂselÂdorf stellte 1976 FoÂtoÂgraÂfien von WalkÂer Evans aus, und Klaus HonÂnef kuÂratierte zeitÂgleich wichtige GrupÂpeÂnausstelÂlunÂgen dokuÂmenÂtarischÂer FoÂtoÂgraÂfie im Rheinischen LanÂdesÂmuÂseÂum, Bonn. DiesÂer dokuÂmenÂtarisch-kĂŒnÂstÂlerische AnÂsatz wird mit DoÂing the DocÂuÂment vorgestellt und zuÂgleich beÂfragt. WalkÂer Evans bezeichÂnete seine FoÂtoÂgraÂfien nicht als dokuÂmenÂtarisch, sonÂdern sprach von einem âdokuÂmenÂtarischen Stilâ. 1967 zeigt das MuÂseÂum of ModÂern Art in New York, Werke von ArÂbus, FriedÂlanÂder und WinoÂgrand, alle auch hiÂer vertreten, unÂter dem TiÂtel New DocÂuÂments. Wo enÂdet das DokuÂment und wo beÂginÂnt die kĂŒnÂstÂlerische Geste? Dies ist eine Frage, die in der Geschichte der FoÂtoÂgraÂfie imÂmer zur DiskusÂsion stand und auch heute, in postÂfakÂtischen ZeitÂen und der zunehÂmenÂden ĂsÂthetisierung von Archiv- und DokuÂmenÂtaÂtionsÂmaÂteÂrial in der zeitÂgenösÂsischen Kunst wiedÂer neu zu verÂhanÂdeln ist. Der AusstelÂlungstiÂtel DoÂing the DocÂuÂment löst beÂwusst die vermeintlichen GeÂgenÂsĂ€tze von âherÂstellen (doÂing)â und âdokuÂmenÂtierenâ auf, um die imÂmer wiedÂer beschÂworene âKrise der ReprĂ€senÂtaÂtionâ im Werk von zwanzig FoÂtoÂgraf*inÂnen und deren RezepÂtion auszuÂloten.
Zu verÂdanken ist diese AusstelÂlung einÂer Schenkung von ĂŒber zweiÂhunÂdert Werken deutschÂer und amerikanischÂer FoÂtoÂgraf*inÂnen durch die KölÂnÂer FamÂiÂlie BartenÂbach, die die SammÂlung des MuÂseÂum LudÂwig kĂŒrÂzlich subÂsÂtanziell erÂweitÂert hat. ErgĂ€nzend zu den reichen BildÂkonÂvoÂluten vom BeÂginn des 20. JahrhunÂderts bis in die GeÂgenÂwart, beinÂhalÂtet die SammÂlung BartenÂbach auch QuelÂlenÂmaÂteÂrial, das im Zuge der AusstelÂlung erÂstÂmals wisÂsenÂschaftlich erÂschlossen wird. Neben der foÂtoÂhisÂtorischen AuÂfarÂbeiÂtung der SammÂlung werÂden auch die Stifter*inÂnen gewĂŒrdigt. Das EnÂgageÂment der SammÂler*inÂnen zeichÂnet sich insbeÂsonÂdere daÂdurch aus, dass sie nicht auf EinzelÂbilder fokussiert ausÂgewĂ€hlt, sonÂdern reiche und vielÂseitige BestĂ€nde einzelÂnÂer, inÂterÂnaÂtioÂnÂal bekanÂnÂter KĂŒnÂstler*inÂnen zusamÂmengeÂtraÂgen haben. Ihr InÂteresse am Werk ausÂgewĂ€hlÂter FoÂtokĂŒnÂstler*inÂnen spiegelt sich in umÂfanÂgreichen WerkÂseÂrien, die breite FacetÂten einzelÂnÂer KĂŒnÂstler*inÂnen aufzeiÂgen. Die Schenkung ergĂ€nzt die SammÂlung FoÂtoÂgraÂfie im MuÂseÂum LudÂwig herÂvorÂraÂgend, da sie LĂŒckÂen fĂŒllt, sowie besteÂhende SchÂwÂerÂpunkte verÂtieft und erÂweitÂert. In der deutsch-enÂglischen PubÂlikaÂtion wird dies umÂfassend vorgestellt werÂden, wĂ€hrend die AusstelÂlung sich ganz auf die Schenkung fokussiert.
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BEFORE AND AFTER - DOCUMENTING THE ARCHITECTURE OF DISASTER
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72 S., 23,5x19 cm, Auflage: Print on Demand, ISBN/ISSN 9780992914691
Broschur, Fehldruck, Inhalt zweimal eingebunden, letzte Seite falsch beschnitten
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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 of war or climate change, from the safe distance of orbit. But one thing is rarely captured: the event itself. All we can read is its effect on a space, and thatâs where the architectural expert is required, to fill the gap with a narrative. In this groundbreaking essay, Eyal and Ines Weizman explore the history of the before-and-after image, from its origins in 19th-century Paris to todayâs satellite surveillance. State militaries monitor us and humanitarian organisations monitor them. But who can see in higher resolution? Who controls the size of the pixels? Interpreting these images is never straightforward.
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Fotografija NR. 1 (35) 2018
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[116] S., 27,5x23 cm, ISBN/ISSN 16487273
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We are heading into a future where our choices will be shaped â if not outright determined â by algorithms and artificial intelligence. This coming state has been labelled âthe new dark ageâ (James Bridle, 2018).
It remains to be seen what this brings to photography, and vice versa.
One thing, however, seems clear: photography, which has already changed significantly in the 21st century, is affected by â and in some important ways is part of â this development. This issue of âFotografijaâ explores how programmes, apps and AI-related technologies shape and change the discourse of photography, challenging traditional boundaries of the medium.
Various programmes and services â Google, Photoshop, Flickr, Snapchat, visual recognition, etc. â provide new tools to conceive image-making and think photographically. Technological interfaces not only deliver instruments for making work but can become the very logic for creating photographic series.
The presented artists offer perspectives to raise questions and discuss these technological shifts. From dealing with traumatic events (Indrė Ć erpytytė) and inaccessible sites (James Bridle) through technological mediation to playing with our expectations of an all-pervasive Photoshop manipulation (Erin EâKeefe). From exploring so-called smart surveillance systems (Esther Hovers) and censoring politically sensitive sites (Mishka Henner) to everyday glitches (Mantas Grigaitis). From playing with the copyrights of such collective websites as Flickr (Penelope Umbrico) to exploring the shared language of being in some of the most photographed places on earth (Thomas Albdorf). And from using Photoshop to create images (Aaron Hegert) to an image that is barely photographic (Zachary Dean Norman). The four essays (Kate Palmer Albers, Roksana Filipowska and Marijana Rayl, Ilaria Speri, Alise Tifentale) map out the works in broader social, historical and art contexts.
In short, the works deal with our technologized world. They talk about being in the middle of changes that few have envisioned. Being so immersed, one can feel it (almost) hurts.
Text von Paul Paper.
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29,7x21 cm, signiert, keine weiteren Angaben vorhanden
Einzelnes Blatt, beklebt, gestempelt
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Altered book pages mail art project - August 2016. You are invited to participate in a Mail Art project entitled âAltered book pagesâ. You may paint, make a collage, use photos and more on a book page. You can use any 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 to use. Theme: Altered book pages. Size, media, number of submissions: Free. No fees, no jury, no returns. Deadline: May 1st 2017.
Text von der Webseite.
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Die Horen 272 - Zeitschrift fĂŒr Literatur, Kunst und Kritik - Das Wort beim Wort nehmen - Konkrete und andere Formen der Poesie 2
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184 S., 23,5x15,5 cm, ISBN/ISSN 978-3-835333789
Broschur
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die horen haben zu einem Themenband geladen, der sich ganz dem formalen Spiel widmet - ob man diese Poesieformen nun als »konkret« bezeichnen mag, als »visuell« oder schlicht als poetisches Sprachspiel. Und dies - horenĂŒblich - in vielfĂ€ltigen Formen und mit nationalen wie internationalen BeitrĂ€gern âŠ
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if you can read this, you are accepted
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[48] S., 29,7x21 cm, Auflage: 100, ISBN/ISSN 9783903188099
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Capital of the 20th Century
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913 S., 27x19x5 cm, ISBN/ISSN 978-1-784781569
Hardcover, in Schuber,mit Metallfolie kaschiert, PrÀgedruck
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Acclaimed artist Kenneth Goldsmithâs thousand-page beautiful homage to New York City. Here is a kaleidoscopic assemblage and poetic history of New York: an unparalleled and original homage to the city, composed entirely of quotations. Drawn from a huge array of sourcesâhistories, memoirs, newspaper articles, novels, government documents, emailsâand organized into interpretive categories that reveal the philosophical architecture of the city, Capital is the ne plus ultra of books on the ultimate megalopolis.
It is also a book of experimental literature that transposes Walter Benjaminâs unfinished magnum opus of literary montage on the modern city, The Arcades Project, from 19th-century Paris to 20th-century New York, bringing the streets to life in categories such as âSex,â âCommodity,â âDowntown,â âSubway,â and âMapplethorpe.â
Capital is a book designed to fascinate and to failâfor can a megalopolis truly be written? Can a history, no matter how extensive, ever be comprehensive? Each reading of this book, and of New York, is a unique and impossible passage.
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Temporary Services Booklet No. 118 - What Problems Can Artist Publishers Solve?
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38 S., 21,7x13,8 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Das Temporary Services Booklet #118 ist eine Zusammenarbeit mit unseren alten Freunden von PrintRoom in Rotterdam und wurde im Vorfeld einer Mini-Ausstellung unserer Self-Reliance Library 07.2018 produziert. FĂŒr dieses Heft haben wir 17 KĂŒnstlerverlage eingeladen, auf die Frage zu antworten: Wenn wir lokal, regional, national und international denken: Was sind soziale, politische, ökonomische und ökologische Probleme, die KĂŒnstlerverlage mit ihrem Wissen, ihren FĂ€higkeiten und Ressourcen angehen oder lösen können?
Das Ergebnis ist eine umfangreiche Sammlung von Texten (und Bildern), wobei jedem Beitrag zwei Seiten gewidmet sind. FĂŒr uns sind dies einige besonders wichtige Gedanken darĂŒber, wozu KĂŒnstlerverlage in diesem besonderen Moment fĂ€hig sind, mit einigen groĂen Aufrufen zu SolidaritĂ€t, GroĂzĂŒgigkeit, Teilen und Experimentieren.
Text von der Webseite, ĂŒbersetzt mithilfe von DeepL.
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112 S., 17,2x12 cm, Auflage: 500, numeriert, signiert, ISBN/ISSN 3924475032
Spezialausgabe mit Originalmalereien und -zeichnungen
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Auflage: 500, numeriert, signiert, keine weiteren Angaben vorhanden
mit Originazeichnungen, Cover mit Goldstift bemalt
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Auflage: 500, numeriert, keine weiteren Angaben vorhanden
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Auflage: 500, numeriert, keine weiteren Angaben vorhanden
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Auflage: 500, numeriert, keine weiteren Angaben vorhanden
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Auflage: 500, numeriert, keine weiteren Angaben vorhanden
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Auflage: 500, numeriert, keine weiteren Angaben vorhanden
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Auflage: 500, numeriert, signiert, keine weiteren Angaben vorhanden
mit Originalzeichnungen
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Auflage: 500, numeriert, signiert, keine weiteren Angaben vorhanden
mit Originalzeichnungen, Cover mit Goldstift bemalt
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Auflage: 500, numeriert, signiert, keine weiteren Angaben vorhanden
mit Originalzeichnungen, Cover mit Goldstift bemalt
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Kunstzone MĂŒnchen 1971 Katalog
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29,7x21 cm, Auflage: 4.000, 2 Stück. keine weiteren Angaben vorhanden
Broschur mit Leinenband, Aufkleber auf dem Cover, OriginalbeitrĂ€ge vieler beteiligter KĂŒnstler, verschiedene Papiere und Techniken. Die letzten 9 BlĂ€tter verkehrt herum eingebunden
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Katalog der ersten freien Produzentenmess 07.-12.09.1971 auf dem Jakobsplatz MĂŒnchen, nach einer Initiative des Genossenschaftlichen Kunstvertriebs zehn neun
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You never can tell - 75 Songs aus Timm Ulrichs' Jukebox
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keine weiteren Angaben vorhanden
6-seitiges Faltblatt
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MONO.KULTUR #20 Dries van Noten - A World in Season - I love to learn from things I can't appreciate
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40 S., ISBN/ISSN 18617085
Drahtheftung,
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MONO.KULTUR #07 Matias Faldbakken: Upping the anti - The biggest problem you can have is of course being mainstream: being white, male and heterosexua
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ISBN/ISSN 18617085
Einige Seiten mit Goldfarbe gedruckt, Heft drahtgeheftet, Hefte 01 bis 15 in Schuber,
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40 S., 20.5x12.5 cm, signiert, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Quick Response is a hands-on introduction into the realm of QR code applications and demonstrates a way in which two-dimensional bar codes can be used to view images. People have to âreadâ this book by taking photos of each page using a cameraphone. The phoneâs QR code reader will then decode the abstract image to reveal that each of them is an encoded URL for a photograph hosted on Flickr. The series of photos demonstrates the variety of modern commercial, artistic and subversive QR code applications. In addition, the book demonstrates a new way of appropriating other peopleâs photographs.
Text von der Website des KĂŒnstlers
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Slanted #12 â Beat that if you can - Women, Typography, Graphic Design
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146 S., 27x21 cm, ISBN/ISSN 18676510
Französische Broschur
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Photobooks - affordable collectibles that are soaring in value - Rare editions now sell for ten of thousands, but collectors on a limited budget can invest in emerging photographers
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3 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farbkopien eines Artikels, mit Hinweisen zu FotobĂŒchern von William Eggleston und Ed Ruscha
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13x13 cm, keine weiteren Angaben vorhanden
naivsuper Nr 012, Musik-CD in gefalteter PapphĂŒlle und transparenter KunststoffhĂŒlle
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"My compositions have no concept. That's my concept. I just see them as a tool that stirs up the minds or consciousness of the people listening. I've never felt that a performer did injustice to my pieces, for a composition only comes to life in the particular context, the combination of the performer and the atmosphere of the public. I like to compose not only for instruments, but for "things" as well. Sound of things can be surprising, especially their artificial sound. For example, without looking, one would never guess that my tapping and dragging fingers across the surface of a cigar box that is connected to a laptop for what it is." (Tetsuya Hori)
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13x13 cm, keine weiteren Angaben vorhanden
naivsuper Nr 001, Musik-CD in KlappPapphĂŒlle, transparenter Kunststoff, mit Infoblatt in transparenter KunststoffhĂŒlle, 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 ÂŽmaintainÂŽ (Bonustrack) recorded in 2004 is filmmusic for ÂŽDie BegegnungÂŽ- a short film by Claudio Pfeifer and Stephane Leonard.
ÂŽSchmalfilmerÂŽ is the first official album (ep) by Stephane Leonard. Tracks 1.1 to 1.8 belong together and can be seen as one song. ÂŽSchmalfilmerÂŽ shows early experiments including beats, rhythm and loop based music. Most parts of this EP were build with an old 8 track cassette recorder. Some beats were created on a neighbourÂŽs PC and Fruity Loops, the rest of the sounds are guitar noise, found objects, filter and loop machine
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X Exercises for Kurt Johannessen - 21.02.2012
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16 S., 21,7x21 cm, 2 Stück. keine weiteren Angaben vorhanden
Farbkopien nach PDF, nach free download, in drei verschiedenen GröĂen ausgedruckt
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Sarah Bodman made her first artistâs book tribute to Kurt Johannessen after Tanya Peixoto introduced her to his books at bookartbookshop.
She produced âAn Exercise for Kurt Johannessenâ in 2010, in tribute to his book âExercisesâ. The titles of the 100 short stories she wrote and buried for her 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 Sarahâs short story titles.
As it is now the 10th anniversary of bookartbookshop in February 2012, and the celebrations are based on theme of: x or what is to be done? Sarah asked Kurt Johannessen if she could select a further 10 (x) exercises from his artistâs book to carry out.
The result is âX Exercises for Kurt Johannessenâ an image only artistâs 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 Johannessenâs âExercisesâ. Sarah has made her book as a free PDF download for you to print out and assemble yourself, you will need 4 sheets of A4 paper and a stapler
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24copies - Can I be your boyfriend for one day?
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20 S., 21x14,6 cm, Auflage: 68, numeriert, signiert, 2 Stück. keine weiteren Angaben vorhanden
Spiritusumdruck = Hektografie, blaue Farbe auf weiĂem Papier, Drahtheftung
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69 - but you have no idea of it
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1 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Laserausdruck nach Email vom slowenischen Autor
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My work »69. but you have no idea of it« means a concept of non-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 in his own combination. You can read my book in 276! 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
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18 S., 15x10,5 cm, keine weiteren Angaben vorhanden
Flyer zur Ausstellung, mehrfach gefaltet
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As a textual piece, NOMS DE GUERRES was created in 2006 and its material derives from a study of post-1945 military campaigns and consists exclusively of the codenames employed for specific campaigns. Brief explanatory notes on each of the designated operations can be found on the reverse of the text sheets. In the present publication, a partly updated and extend
ed version of these explanatory notes is also to be found in the final section.
Olaf Nicolai zeigt Leuchtschriftwerke in ultraviolettem Licht.
Wortfolgen, die zunĂ€chst ohne konkreten Sinnzusammenhang erscheinen, Arbeiten nahe konkreter Poesie, mit ungewöhnlicher Begriffswahl, in einer Lichtform, die Fluoreszenz hervorrufen kann. Die Wortfolge der Poems setzt sich aus Codenamen fĂŒr internationale militĂ€rische EinsĂ€tze zusammen. Diese zumeist 4er oder 5er Wortfolgen werden als Neoninstallation prĂ€sentiert. Beigeordnet sind 2 gerahmte A4 BlĂ€tter, diese ErlĂ€uterungen erklĂ€ren den Namen, den Einsatzort, die Beteiligten und das Jahr der Intervention.
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Maybe You Can Be One of Us
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222 S., 26,5x19,7 cm, ISBN/ISSN 978-3-775720946
Hardcover
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Alle Worte sind aus! All words have run out!
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14,8x21 cm, keine weiteren Angaben vorhanden
Postkarte, Einladung zur Ausstellungseröffnung
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Karaoke â spoken not sung!
Speech Karaoke â as the name suggests â works in a similar way as a traditional karaoke. Instead of choosing between songs from a booklet, the user chooses between speeches. Within a relaxed atmosphere one can listen to speeches delivered by other karaoke bar guests â or try out how it feels to interpret someoneÂŽs speech.
Speech Karaoke is a constantly expanding project by The Speech Karaoke Action Group. When the Speech Karaoke-project arrives to a new city, local speeches are added to the Karaoke archive.
The project was created in Finland, the promised land of karaoke bars.
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Photograph Converted into Base64 Code
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24 S., 20x14 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Drahtheftung. Schwarz-WeiĂ-Digitaldruck
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This publication is part of the Tate Gallery special collection.
A photograph of a sculpture, made as part of an installation, converted into Base64 code. The code represents the image, and the sculpture yet is indecipherable. The code becomes an object on the page, a new language and text that cannot be read. Only the form can be read. The code is presented at a width of 72 characters using Courier. The width and font understood by the encoding software.
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Future Fantasteek, Issue 13
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20 S., 21x15 cm, Auflage: 40, numeriert, signiert, keine weiteren Angaben vorhanden
Drahtheftung, Farbkopien auf verschiedene Papiere, 2 aufgeklebte Spielzeug-Augen auf Vorderseite, RĂŒckseite mit PrĂ€gedruck
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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 âBritishnessâ. The series can be read as a sequence, from just prior to the âcredit crunchâ through to the âage of austerityâ. 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 in the UK. Visual humour is developed throughout as a vehicle for change, combining techniques such as pastichĂ©, parody and socratic irony. Typography and images are juxtaposed to create new narrative possibilities. Language is explored using different âvoicesâ such as anecdotal, colloquial or profane. This text is then translated into drawn commentaries on etiquette, politics and advertising. The âanxiety of the individualâ is a running theme throughout the series with many reoccurring protagonists and antagonists soliloquizing their notions of âDas Unheimlicheâ. The series also explores changing technologies with regard to notions of âthe bookâ with online versions of Future Fantasteek! available via a blog and online PDF reader (issuu and .swf).
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[40] S., 32x22 cm, 2 Stück. ISBN/ISSN 7629999015104
Drahtheftung. Verschiedene farbige Papiere. Eingelegt ein gefaltetes Poster
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The publication Spheres is the creative documentation of a close collaboration between an artist and the 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 of the artist and his or her work. The focus lies on what is important to the artist during the time period of working together for the publication, hereby capturing a certain essence of the artists work at the moment. Not only can the reader dive in to the artistâs world, receiving little personal snippets of the life in and around his or her art, but also (and perhaps even more importantly) â how the artist chooses to present things in the publication gives the reader an idea of his or her whole artistic sphere.
Melanie Bonajo explores the relationship of the individual to its surroundings in a commodified, globalised culture. In her work, she uncovers how our ideas of identity, genre, value and such structures formed by conventions are ever shifting 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 by our consumer society and tries to get nearer to traits that are rooted in human nature.
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documenta 1955-2012 - The Endless Story Of Two Lovers
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60 S., 28x21 cm, Auflage: 200, ISBN/ISSN 9788897503156
Drahtheftung, goldener Umschlag
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Publikation anlÀsslich der dOCUMENTA (13)
This publication contains a selection of 60 photographs from the documenta Archive, one of the oldest and most esteemed exhibition of contemporary art in the world. The photographs â belonging to different ages â depict the two elements that make art history possible: artwork and spectator. This amazing journey through time not only concerns the history of one of the most important exhibitions in the world, but also traces the evolution, customs, and traditions of the society that created it. The book portrays a love story between two subjects â a human being and an inanimate element â 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 we are not able to listen to the dialogues, but we can still imagine them.
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keine weiteren Angaben vorhanden
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bad liver and broken heart
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[28] S., 30x20 cm, Auflage: 300, 2 Stück. keine weiteren Angaben vorhanden
BlĂ€tter lose ineinander gelegt, Risographie, in transparenter KunststoffhĂŒlle
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The origin of this work of self-fiction can be found in one of SĂŁo Trindadeâs sketchbooks, this one entirely devoted to the subject of loss or decadence. With references to the aesthetics of crime scenes and nightlife photographed by Weegee in New York in the 1930 and 1940âs, the device is simple: in a "real dĂ©cor," SĂŁo Trindadeâs body, abandonned and unconscious, is photographed. The body is always the same but differently âpreparedâ and âcomposedâ with new dresses, new gestures, new signs of a recent activity or a different personality. Each image has its particular story and each space is a sounding board for each of these performative states of body.
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VERSUCH, No. 1 - Notes and Projects
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110 S., 20,5x14,6 cm, keine weiteren Angaben vorhanden
verschiedene Papiere
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Notes and Projects is about making something because you love something else. In light of this, the first chapter of Versuch is on forms of notation that use preexisting things, for example quotes or other objects, to try to articulate, or just share, that indeterminate quality that can make something so important to us.
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Der Pfeil Nr. 1 - Zeigefinger
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[74] S., 26x33,6 cm, Auflage: 100, ISBN/ISSN 978-3-945247006
., offener RĂŒcken
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DER PFEIL conceives itself as a fictional space, which by means of a series of publications, spreads transportable works and positions. Each issue is devoted to the connotation of a term and accompanying questions as: to what extend are diversified agendas and significances triggered through one word, and how can they later be traced back? As a fragmented, ongoing dictionary, various artistic approaches are gathered in what we call "Edizin", with all the unique contributions released in an edition of 100 - in order to un-tighten the terms from their tasks.
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23x18,5 cm, keine weiteren Angaben vorhanden
Drahtheftung, Pappumschlag, bestehend aus drei ausklappbaren Teilen, verschiedene Papiere, perforiert, metallverstĂ€rkte Ecken, in transparenter KunststoffhĂŒlle, mit angebrachten Aufklebern
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"RRRUIDOSSS" is a handmade publication divided in three parts that wants to take in the 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 as you can unfold and streap through the micro holes! So you have the possibility to get three books in one or an unfold one.
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48 S., 17,8x11,2 cm, ISBN/ISSN 978-3-905999518
Broschur, First Edition
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Erik Steinbrecher is a true art lover. He loves art and makes art ever since he can remember. This small volume for the first time combines a selection of his collected sketches and drawings from the early 80ies up until now. doodles, drafts, gouaches, chalkdrawings, montages on paper. It is about conceptual studies, outlines for artworks and concrete art.
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16 S., 25,5x19,5 cm, ISBN/ISSN 978-3-905714616
Drahtheftung, First Edition
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Taylor McKimens was born in 1976 and grew up in Winterhaven, California, a small town on the borders of Arizona and Mexico. Strong comic book influences and his childhood in a small desert border town lend an edge to the tragico-comic energy of his pieces, and moments of elegant painterliness can invest even his ugliest image with a complex beauty.
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160 S., 23x17,5 cm, Auflage: 2.000, ISBN/ISSN 978-2-916275635
Hardcover
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The names of all the artists featured in the collections of the Louvre are first mixed with the names of the museum's employees to comprise a unique and generic list. The authors can thus play on the notions of anonymity and celebrity, while creating a sort of directory of all those, whether known or unknown, artist or employee, who uphold the Louvre's reputation. They also add several "themed" lists cleverly organized with a good dose of humor. The third part of the book likens the portrait of Louvre employees to the self-portraits of artists displayed at the Louvre.
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Uma Conversa Infinita. Livros de artista, ephemera e documentos
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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. Artistsâ books, ephemera and documents was designed as an addendum to the permanent exhibition of Museu Coleção Berardo, and presents a selection of artistsâ 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 it can take, suggesting what is perhaps a more intimate view
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24 copies - 555 Schnapspresse Sonnets, folded, stapled and sold in chunks of 5
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10 S., 14,8x21 cm, Auflage: 111, numeriert, 2 Stück. ISBN/ISSN 978-3-941601970
Spiritusumdruck = Hektografie, blaue Farbe auf weiĂem Papier, Drahtheftung, ein Exemplar ohne Numerierung
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a variation of a SONNET written by Rossetti in 1871, re-written by CarriĂłn in 1972 and subsequently re-written by Pichler since 2009.
It is exploring the materiality of language, how books travel into the world, and how a fragmented printrun can still constitute an organic piece.
It is awkward to read, and the awkwardness certainly is half of its charme. Due to their rotated binding and blurring through the pages, they also look like Rorschach-drawings.
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OFF-Biennale Budapest - Call for contributions to map artistic/curatorial self-organizations worldwide
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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 â 31 May 2015.
OFF-Biennale Budapest is a series of exhibitions and art events in and beyond the city of Budapest. Its concept is different from traditional biennials as we know 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 to the public at large. OFF proclaims the importance of independent thinking and action, breaking away from clichĂ©s and habitual routines. It is meant to demonstrate that contemporary art can foster and catalyse this kind of activity â in other words, that contemporary art is much more than mere luxury and a source of aesthetic pleasure.
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720 S., 21x15x4.5 cm, Auflage: Print on demand, keine weiteren Angaben vorhanden
Softcover, Schwarz-Druck auf Papiere, Titel und Autor in weiĂer Schrift auf dem BuchrĂŒcken. Gedruckt bei Lulu
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Ink used for digital printing is one of the most precious substances in the world. A single gallon of ink costs over four thousand dollars and this is one reason why digitally printed books are so expensive.
However, the price of a book is not calculated according to the amount of ink used in its production. For example, a Lulu book of blank pages costs an artist as much to produce as a book filled with text or large photographs. Furthermore, as the number of pages increases, the price of each page decreases. A book containing the maximum number of pages printed entirely in black ink therefore results in the lowest cost and maximum value for the artist.
Combining these two features, buyers of The Black Book can do so with the guarantee that they are getting the best possible value for their money.
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12,5x14,2 cm, keine weiteren Angaben vorhanden
CD-Rom in HĂŒlle
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The Perfect Picture is a project on CD-ROM. It is an attempt to make a perfect picture of a formerly impassible part of the town of Utrecht: the military barracks The Kromhoutkazerne. The goal of The Perfect Picture is not to formulate a representative photographic vision of the subject. It seeks rather to present a method whereby the subject can be experienced - experienced in a manner that verges on the way we do that in reality: one that is complex, abundant, and not always equally clear and unambiguous.
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I can't breathe (Eric Garner)
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[16] S., 21,8x18 cm, Auflage: 100, keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-WeiĂe-Fotokopien
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printed in New York in January 2015
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[8] S., 21x14,8 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Programmheft zur Verbale 2, die 2011 in 7 verschiedenen Institutionen in Wien und Innsbruck stattfand.
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The Time Is Nigh - Work Holiday
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[28] S., 27,6x19,6 cm, keine weiteren Angaben vorhanden
Drahtheftung. Einzelne Papiere. Mehrfarbiger Risographie und Ricoh
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Work Holiday refers to a series of book residency projects which take place in Knust, Extrapool. Within Work Holiday an artist can publish a book together with Knust, Extrapool after a residency of 7 days.
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Pixel this no. 006 - Connected Urban Retreat
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[40] S., 20x20 cm, Auflage: 200, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, in transparenter KunststoffhĂŒlle mit Aufkleber
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PIXEL THIS zine is a communication medium that aims to bring together voices to unleash feelings, concepts, desires, experiments, thoughts and questions. Targeted to creative lovers, every issue will have a theme that all contributing artists (local & international) will work towards â the zine accepts illustrations, photographs, graphic art, poetry, articles, and rants, basically anything that can be printed. The zineâs format is: 20x20cm, black & white, photocopied, staple bind, in plastic sleeve and sealed with paper sticker
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I'm glad if I can make an interview
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12 S., 21x14,5 cm, keine weiteren Angaben vorhanden
Drahtheftung,eingelegt 3 Postkarten ZerOdemo â Budapest, 2 May 2013
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die deutsche Ăbersetzung eines Interviews, das Marta Smolinska fĂŒr das polnische Kunstmagazin artluk, Nr. 1/2011 fĂŒhrte
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Starship Nr. 06 - Verdunklung Darkening
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226 S., 17,8x10,8 cm, ISBN/ISSN 978-3-937577685
Broschur
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Das Thema dieses Heftes ist keine Behauptung, sondern eine Frage. Die Frage ist an einem Punkt gestellt, wo nicht gesprochen wird. Das kann eine Strategie sein, in der das Geheimnis eingesetzt wird, um Aufmerksamkeit zu erzeugen. Obskurantismus, also das absichtliche ZurĂŒckhalten von Informationen, die fĂŒr eine nicht ambivalente Lesart notwendig wĂ€ren, also Esoterik, die zur Verdunklung beitrĂ€gt.
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Wir schaffen das - We can do it
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40x34,5 cm, keine weiteren Angaben vorhanden
Kunststoffbeutel
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I can't Speak & Spell So Well #1
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keine weiteren Angaben vorhanden
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I Can't Speak & Spell So Well #2
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keine weiteren Angaben vorhanden
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The Economist 1943 Issue 01
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130 S., 27,5x20,2 cm, ISBN/ISSN 23972238
Broschur
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The launch issue hits newsstands on March 9 with an April/May cover, and will have 120 pages. The redesigned site will go live, without a paywall, on March 7, the same day that the social accounts and the app will 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 she was deputy editor. At 1843, she leads a team of 25 across editorial and commercial, and also can pull on the wider global Economist team.
Text von der Webseite
A new magazine of ideas, lifestyle and culture
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the convincing victory - two stories on what really happened
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[12] S., 51x26 cm, keine weiteren Angaben vorhanden
BlÀtter, lose ineinander gelegt,
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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 âThe Office for Anti-Propagandaâ 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 and has 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 the day and night of December 19, when the citizensâ peaceful demonstration against falsified elections was brutally suppressed by the police. The novel presents two views on the developments in parallel. The first one shows how the events are interpreted by the state regime and currently widely publicized by state-run newspapers and television. The other version was assembled from information presented by independent media, which for the most part can exist only in the Internet, i.e. blogs, oppositional websites, usersâ comments, testimonies of victims and political activists.
Text von der Website
Mit UntzerstĂŒtzung der Konrad Adenauer Stiftung und der Zeit-Stiftung Ebelin und Gerd Bucerius
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69 , A Ti O Tem Pojma Nimas - 69, But You Have No Idea Of It
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[69], S., 27x19,2 cm, Auflage: 150, ISBN/ISSN 9789616400619
Leineneinaband mit Schutzumschlag. Aus dem Buchblock ausgestanzte Seiten in den Ausschnitt eingelegt, kopfĂŒber beidseitig bedruckt. Beigelegter Brief
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My work "69. but you have no idea of it" means a concept of non-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 in his own combination. You can read my book in 276! 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
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I CAN'T CUT OFF MY EAR EVERY DAY.
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[44] S., 20,9x14,8 cm, Auflage: 250, numeriert, ISBN/ISSN 978-3-943061017
Drahtheftung, Risographie, eingelegt mehrfach gefaltetes, einseitig bedrucktes Blatt "Kunst-Knigge",
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Der fabelhafte Fabian Knöbl schreibt: â[âŠ] Der KĂŒnstler wird zu einem eingetragenen Markenzeichen. Er ist das Label. Ein Werk von Damien Hirst, Takashi Murakami oder Anselm Reyle funktioniert da genau wie ein Kleid von Chanel oder ein Auto von Porsche. Von wem die Idee und Handarbeit stammt, ist nicht immer entscheidend. Viel wichtiger ist die Signatur an der richtigen Stelle [âŠ]â und hat sich mit sehr viel Humor und genialen Zeichnungen diesem aktuellen Thema angenommen.
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Artist's Book Yearbook 2016-2017
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268 S., 29,6x21 cm, ISBN/ISSN 978-1-906501105
Broschur, Softcover, design by Tom Sowden
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International listings of artistsâ books activity includes: collections, courses, dealers, publishers, galleries, centres, bookshops, libraries, artist-led projects, organisations, societies, print studios, fairs, festivals and competitions.
In the Artistsâ Books Listings section you can also find 537 examples of new artistsâ books, with information about their work sent in by 182 artists in the following countries: Australia, Belgium, Canada, Chile, China, Denmark, France, Germany, India, Ireland, Italy, Japan, Norway, Poland, Russia, South Africa, Spain, Sweden, The Netherlands, the UK and the USA.
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26.878 N 93.268 W -11945 m - Deep Water Horizon
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[20] S., 23x18x6,5 cm, Auflage: 8, numeriert, signiert, keine weiteren Angaben vorhanden
fadengeheftet, Umschlag Bitumen auf Styrodur, innen Anklebevorsatz aus schwarzem Tonpapier und Seiten aus Transparentpapier, beigelegt ein zweiseitiges Anschreiben
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This book works by haptics. You can read it eyes closed. The hardcover is made by a thick bitumen surface on styropor. For this reason the book is not heavy. Inside the book are ten pages of transparent paper with abstract illustrations that assosciate to biological structures. The topic of the book is about the sensitive creatures that live in the sea and oil shipping disasters
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31,5x32 cm, Auflage: 500, keine weiteren Angaben vorhanden
Vinyl Schallplatte in Schuber, aufklappbar
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Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works. In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd⊠They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal it's nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear.
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B.L.A.D. NO. 03 - FACES OF FECES
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620873
Drahtheftung, RĂŒckseite mit SilberprĂ€gung, in transparenter KunststoffhĂŒlle mit beigelegtem Blatt, Aufkleber
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Faces of Feces is the title of the third issue out. This time we will explore the fascinating and deep original work of Finland's master mind Vilunki 3000. The Helsinki based artist shows us a small overview of his most inspiring and sought after works, which includes drawings, graphics, posters, ads and jokes. It can be called a small retrospect, and it's a perfect opportunity for those outside Finland to get 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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B.L.A.D. NO. 05 - ENTER IAN STEVENSON
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620074
Drahtheftung, RĂŒckseite mit SilberprĂ€gung, in transparenter KunststoffhĂŒlle mit 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 we can proudly say that he did! 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 for you".
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B.L.A.D. NO. 07 - RAT SALAD
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09640974
Drahtheftung, RĂŒckseite mit MetallfolienprĂ€gung, eingelegter Aufkleber, in transparenter KunststoffhĂŒlle mit beigelegtem Blatt, Aufkleber
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The man, the myth, the rat! Rat Salad! This issue of BLAD is dedicated to the number one bad attitude rock and roll star out there. We will take you down and in to the dark and stinky obscure world of Rat Salad! Here you can find nice slapstick cartoon drawings made by the man himself, ads about his legendary gigs all around the world, and last but not least a splendid in-depth interview with the Rat talking about his career, band and life on the road in general. This is an absolute must to have for all dedicated fans of this obscure character and for heavy rockers with the right attitude in general. As Rat Salad would say "Eat Shit and Die!".
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B.L.A.D. NO. 15 - PLEASURE TO BURN
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[52] S., 13,5x9,5 cm, Auflage: 300, keine weiteren Angaben vorhanden
Drahtheftung, RĂŒckseite mit GoldprĂ€gung, in transparenter KunststoffhĂŒlle mit beigelegtem Blatt
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Flip your dimensional switch and experience a world where poodles gather at the bar to smoke and that suffocating feeling of 20 a day can be cured with a new improved filter. In PLEASURE TO BURN we dig deeeeeeeeeep for the very best, including advice on smoking in bed, a showcase of the finest brands for the Finnish proletariat, and an introduction to Japanese outdoor smoking etiquette. An essential guide to find what suits YOUR T-Zone.
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Letterpress - New & material poems by Simon Cutts
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132 S., 23,3x14,2 cm, ISBN/ISSN 9780956855978
Klappbroschur,
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As a visual artist, Simon Cutts is a poet, and as a poet he is a visual artist. This is no glib turn of phrase, but a lived reality insofar as he conceives how one artistic practice can show the ways of opening the other. For some time now he has insisted that the book is not merely (or simply) a vehicle for poetry, but is itself part of a poemâs form. He extends the idea of a poem being a field of dynamic action beyond the boundaries of the page so as to encompass the book as whole. To read Letterpress is to become a participant in its total and encompassing range. Text von der Webseite
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[28] S., 21x13,8 cm, Auflage: 60, numeriert, keine weiteren Angaben vorhanden
Fadenheftung, auf farbige Papiere gedruckt,
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Bast Fooks was one of my new years resolutions for 2016. I havenât given up smoking yet, but I did end up spending my new 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, I can 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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1 S., 64x42 cm, keine weiteren Angaben vorhanden
Plakat,
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Ausstellung der Privatsammlung Anastasios Gkekas bei VOLKS 10.09.-13.10.2015.
A key to a potential approach is possibly the innerness, the esoteric and sometimes confessional character of the works, but also the place they occupy in the collective work of the artists - as I am of the opinion that one can find more comprehensible examples within their work. It seems that as if from a recurring tic, I wanted to catch them red-handed, naked I would say, within their own work. To a lesser extend, it is perhaps a sort of innocence.
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29,7x21 cm, ISBN/ISSN 9963622003
Drahtheftung, Cover mit PrÀgung
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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 it can be associated with prayer. In its sense of wishes foroneself, for others and for the future, it invokes a spirit of openness and generosity, a willingsness to give and receive.
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Le point d'ironie no 59 - Beckett is back / I guess we can always fly back to Canada
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8 S., 42x29,7 cm, 2 Stück. keine weiteren Angaben vorhanden
BlÀtter lose ineinander gelegt, mit zahlreichen farbigen Zeichnungen, Texte in vielen Sprachen
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herbst - Theorie zur Praxis
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238 S., 29,7x23 cm, keine weiteren Angaben vorhanden
Broschur
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Magazin begleitend zum Festival, Thema "Europe, what can it teach us?".
Bereits zum elften Mal erscheint heuer das herbst-Magazin begleitend zum Festival. Und wie immer ist es kein Programmheft, das einzelne Arbeiten, Ausstellungen oder Projekte zusammenfassend erklĂ€rt. Vielmehr sucht es eine andere Art der NĂ€he â und findet sie durch BeitrĂ€ge von am Festival Mitwirkenden. Durch PortrĂ€ts und kĂŒnstlerische BeitrĂ€ge. Durch öffentliche Reflexion, GrenzĂŒberschreitungen oder lautes Nachdenken. Durch theoretische AusfĂŒhrungen, die aus den unterschiedlichsten Perspektiven das Leitmotiv âWir schaffen dasâ beleuchten. Durch die zahlreichen Essays, Reportagen oder Bildstrecken wird âherbst. Theorie zur Praxisâ ein eigenstĂ€ndiges Projekt des Festivals.
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14,7x20,8 cm, ISBN/ISSN 978-1-908211064
Hardcover,
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Legal or illegal graffiti It's sometimes beautiful, sometimes ugly, but given time it can be breathtaking in it's skill of execution. 'Burn After Reading' is the end result of a unique meeting of styles. When high end professional photography meets cutting edge graffiti
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64 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, unbeschnitten, beigelegt der Ausstellungsplan und handschriftliches Anschreiben
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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 to the production of printed matter or artistâs 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 of the artists, a little less than 300 books from the KASK collection (School of Arts, Ghent) and private collections from Belgium and England are displayed in the 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 of the exhibited books, different contributions by the artists, an interview with a book collector, etc.
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one to one - Issue No 5 - Victoria Square - 13 Elpidos Street
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4 S., 42,5x29 cm, keine weiteren Angaben vorhanden
mehrfach gefaltetes Blatt
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The publication is an attempt to map the local businesses in the area around Victoria Square, and a âmeeting point" for the people of the neighborhood where they can narrate their stories. Every issue will host two new stories. Ausgabe vom 21.04.2017
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Techno-somatics and physical experience - Memory on the Internet - Our ears open a whole world to us: about the experiment to program an exhibition on a vinyl record
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[12] S., 29,5x21 cm, keine weiteren Angaben vorhanden
Drahtheftung
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âCurated by Weeklyâ is a digital art project. It aims to raise questions regarding online formats, web-based distribution and the 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 and the questions about media and matter in the post-analogue space. Every week, an artwork will be âcuratedâ and published on the website. In cooperation with different individuals, institutions and independent projects from the art field, artistic positions and works will be displayed. They can function as pieces of art in the digital sphere as well as be critical about it, or to contrast itself with the functions of the web. The projectâs pace and composition orientates itself around the relevant visual environment of the present day.
The format of the website is consciously purely visual, while complementary content will be published in the magazine. This content will consist of essays and contributions around certain questions. For example: How new formats will be established in contemporary art, which technological tools are required or how 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 and the possibilities of the digital space, but instead of reproductions and documentations we want to show artistic work itself, to address availability in the digital space and to use catchy visual surfaces. At the same time, the discourse and the self-reflection of the format is discussed in the appearing magazines/readers online and offline.
Text von der Webseite
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40 S., 14,8x21 cm, keine weiteren Angaben vorhanden
Broschur, Digitaldruck
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The Pepsi Challenge
Oversized âpromisesâ in the form of real estate advertisements are promoting the new city along the lines of global real estate and living standards. âThe perfect union to all you desireâ and âWe believe luxury is best served in small quantitiesâ 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 to the United Arab Emirates and Shanghai. The new urbanity becomes exchangeable, custom-tailored and its âultra-luxurious villasâ accessible âfor the chosen fewâ of the Pepsi Generation.
But what happens to the majority of a cityâs population and its needs, uncertain ownership and neglect of basic amenities? Can it withstand the pressure flashed on every corner of the city? Do these promises affect social cohesion? ...
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Annahme erwĂŒnscht! - Die Idee einer offenen Gesellschaft: KĂŒnstlerische Netzwerke im Kontext des Archivs Kees Francke. - Acceptance Welcome! - The Idea of an Open Society: Artistic Networks in the Context of the Kees Francke Archive
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2 S., 16x11,5 cm, keine weiteren Angaben vorhanden
Einladungskarte zur Ausstellungseröffnung, beidseitig bedruckt
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Einladung zur Eröffnung der Ausstellung am 14.09.2017.
Ausstellung 14.09.2017-06.01.2018
The philosopher Karl Popper called in 1945 for an open society âin which one can breathe and think freely, in which each person has a value, and in which the society exerts no unnecessary pressure on the individualâ. In the 1960s and 1970s a new generation of artists began to replicate works of art in the form of artistsâ books, magazines, newspapers, small multiple objects, postcards, graphic posters or audio cassettes. These were sold for a small fee or exchanged internationally with artist colleagues, disregarding all political frontiers, from Eastern Europe to Latin America. An international network was thus formed via the post, enabling artists to circumvent the censorship of their work. This was the genesis of so-called Mail Art. Everyone could participate, nobody was excluded. there were no juries and no censorship. A societal vision in accordance with that envisaged by Karl Popper was apparent in the dehierarchisation and the democratisation of art. The exhibition shows works from the archive of the Dutch artist Kees Francke, who would have celebrated his 65th birthday this year, supplemented by works from other archives that help to form a picture of the networks though which these artists were interconnected. A cabinet exhibition in the series "On the Gallery"
Text von der Webseite
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2 S., 18,5x10,4 cm, keine weiteren Angaben vorhanden
Einladungskarte
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Vom 15.11.-16.12.2017 in den Kunstarkaden. Es geht um IdentitĂ€tssuche, Wahrnehmung, Grenzen, Haltung, Freiheit, KreativitĂ€tâŠund natĂŒrlich sich das Wissen selbst anzueignen.
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192 S., 28x24 cm, ISBN/ISSN 978-3-899553444
Broschur
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Die Entdeckung der klassischen Moderne im aktuellen Grafikdesign
Todayâs 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 of the 1950s, the geometric patterns and graphic elements of the 1960s and 1970s, and the vector graphics and computer-aided montage of the 1990s. With its fresh perspective on the legacy of past craftsmanship and quality in outstanding current work, The Modernist expands our understanding of what modern graphic design can be.
Text von der Website
Der Zeitungsartikel "Die gestern ertrĂ€umte Zukunft sieht einfach besser aus. In dem Bildband "The Modernist" simulieren Designer Menschen und Gebrauchsspuren" (SĂŒddeutsche Zeitung) von Jan FĂŒchtjohann liegt bei.
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Heyt be! No: 08 - #sahte popĂŒlarite
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[32] S., 27,3x19,4 cm, keine weiteren Angaben vorhanden
Drahtheftung, schwarz-weiĂer Druck auf weiĂem und farbigem Papier.
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Fanzine. Thema der Ausgabe "gefÀlschte PopularitÀt".
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[32] S., 28,7x8,3 cm, ISBN/ISSN 978-3-943514940
Broschur, Softcover, in Papierbanderole
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Eleven Poems is a collection of 11 poems printed on single sheets that can be used as page markers to interrupt whatever else you are reading. Each poem is based on descriptions of natural phenomena, to talk about everyday situations of human social behavior. Valentina Jagerâs work is primarily related to the world of actions approached via sculpture, written and spoken word, furniture design, and installation.
Text von der Website.
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66 S., 27,3x20 cm, Auflage: 500, ISBN/ISSN 9789491843945
Drahtheftung, beigelegt der Ausstellungsplan und handschriftliches Anschreiben
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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 to the production of printed matter or artistâs 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 of the artists, a little less than 300 books from the KASK collection (School of Arts, Ghent) and private collections from Belgium and England are displayed in the 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 of the exhibited books, different contributions by the artists, an interview with a book collector, etc.
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[224] S., 23x15,2 cm, ISBN/ISSN 978-1-908452610
Paperback mit Klebebindung, BlĂ€tter rĂŒckseitig in Spiegelschrift bedruckt, so dass sie durch das dĂŒnne Papier lesbar sind.
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a non-complete and subjective collection of english weather forecasts- edited out of 28 random newspapers during 4 ifferent London visits betweem october 2012 and september 2013. read in those small excerpts, the english weather appears like poetry. this book is a twin. whereas weather forecast (1) shows the "weather poems" one after another, page by page, black on white, weather forecast (2) uses the book format differently: every "poem" is printed side-inverted on the backside of front page. due to transparency of the paper, the text can be read "through" the page. every "weather poem" also exists as fine hand letterpressed sheet in A4 format.
Text von der Webseite.
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236 S., 21x15 cm, Auflage: 500, ISBN/ISSN 14313537
Broschur
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Teil der Arbeit "Das System" von Hlynur Hallson und Jona Hlif Halldorsdottir in der Ausstellung "(I)NDIPENDENT PEOPLE auf dem Reykjavik Art Festival im Reykjavik Art Museum, 19.05.-02.09.2012.
BLATT BLAĂ was founded in 1994. It is made in the way that âMagazin for everythingâ by Dieter Roth published for years. Everyone can publish in the paper. Each author gets one example for his contribution.
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Tinnitus Tales - le Forbici di ManitĂč and Friends (SD010)
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27x28,5 cm, keine weiteren Angaben vorhanden
PlattenhĂŒlle, gestanzt mit 3 einklappbaren Teilen, beiliegend gestanzte Pappschlaufe mit handbeschrifteter DVD, Infoblatt zur Edition
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What do Martin Luther and Pete Townshend, Ozzie Osbourne and Oscar Wilde, Ludwig Van Beethoven and Star Trekâs Dr. Spock have in common? They all painfully suffered from tinnitus, a permanent hiss heard in one or both ears. The condition affects a large percentage of the world population (5-10%) and represents a real âoccupational illnessâ for musicians and rock fans. On the subject, surprisingly, an inexplicable silence is observed by the music press and industry. At the current state of medical research, there is no effective cure for chronic tinnitus and the unpleasant humming can only get worse if you do not protect the ears properly.
In the works for nearly five years, the triple concept album Tinnitus Tales (a 10" vinyl record and two CDs) conceived by Le Forbici di ManitĂč (i.e. ManitĂč 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 of XTC or Bono and The Edge of U2. To make this "educational audio project" a more collective effort, several old and new friends - many of them with tinnitus problems - were invited to record their own versions of the songs by Le Forbici di ManitĂč or to contribute original compositions on the subject (included in the CD 1 Songs).
Text von der Webseite
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EMOP - European Month of Photography 2018
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298 S., 27x20 cm, 3 Teile. keine weiteren Angaben vorhanden
Broschur, 3 verschiedene Covers, von Alina Simmelbauer, Herbert List und Josef Wolfgang Mayer
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Ausstellungskatalog zum EMOP, 28.09.-31.10.2018. Der Band listet alle 115 Ausstellungen des 8. EuropĂ€ischen Monats der Fotografie Berlin mit Texten und Abbildungen auf. Zudem gibt es einen Index aller teilnehmenden KĂŒnstlerinnen und KĂŒnstler.
Seit 2004 stellt Deutschlands gröĂtes Fotofestival alle zwei Jahre die ganze Bandbreite historischer und zeitgenössischer Fotografie in Berlin vor. Museen, Kulturinstitutionen, Galerien, ProjektrĂ€ume, Botschaften und Fotoschulen in Berlin und Potsdam prĂ€sentieren zahlreiche Ausstellungsprojekte und Veranstaltungen, ausgewĂ€hlt von einer Fachjury. Die Formate reichen von Ausstellungen im AuĂenraum und groĂen MuseumsprĂ€sentationen,ĂŒber Einzel- und GruppenprĂ€sentationen in Galerien und ProjektrĂ€umen bis zu beeindruckenden BeitrĂ€gen vieler auslĂ€ndischer Kulturinstitute und Botschaften sowie der stĂ€dtischen Kunst- und KulturĂ€mter.
2016 fanden erstmals zum Auftakt des Festivals die EMOP Opening Days in Kooperation mit der C/O Berlin Foundation im Amerika Haus statt, die in 3 Tagen mehr als 10.000 Besucherinnen und Besucher anzogen. Wegen des groĂen Erfolges finden sie in diesem Jahr erneut statt und werden von C/O Berlin kuratiert.
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[2] S., 17x12,2 cm, keine weiteren Angaben vorhanden
Postkarte, beidseitig bedruckt
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Einladungskarte zur Ausstellung Written Room in der Galerie Karin Sachs vom 15.09.-27.10.2018.
The Persian script is turned into an ornament. Covering the white walls of the museums, the characters serve Forouhar as âpaperâ for her own text. The room becomes a âwritten roomâ. Whereas the white walls of the gallery room are raised to a universal norm and an unmarked instance, the Oriental ornament stands for difference or the deviating.
The writing is also strange, if not alien, because it is illegible for Western visitors â as an âincomprehensibleâ text it becomes a pure ornament. In defying attempts by Western visitors to assign its meaning, the script remains locked into its irreducible pictorial graphicness and indissoluble representation. The meaning cannot be grasped. at best, the inscribed ping-pong balls, which cover the base of the installation, can be grasped in the tactual sense. The legibility is made even more difficult by the movement of the ping-pong balls, which due to their spherical form also offer no stable vertical or horizontal reading axes. they form new patterns over and over again, are always in motion, and become incoherently disjointed.
Even if one has a command of Persian, the characters prove to be nothing more than word fragments and syllables, which are not subject to a linear order. The script ornamentation covers the whole room. Viewers entering the rooms are surrounded by patterns, forcing them to give up their sovereign, distanced standpoint.
Text von der Website der KĂŒnstlerin.
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wordpharmacy - Adjectives - Contens: 238
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18x30 cm, ISBN/ISSN 978-3-943196054
Kartonbox 10x11,5x7,5 cm (HxLxB, auseinandergefaltet 18x30 cm, mit Beipackzettel A4 gefaltet auf 4x7 cm
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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 by the body, and in turn it does not only affect our conceptions of things, but it also comes to designate our very corporal movability in the world. Consequently, words are not only something we consume, they are refractory entities that in turn define and consume us. Wordpharmacy can be seen as a poetical gesture endeavouring to let words work their magic from within the body itself. The Wordpharmacy is written and produced by the danish poet Morten SĂžndergaard. The Wordpharmacy has be shown in several cities like Paris and London and Berlin and Bangor and TromsĂž and Voss. The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian RamsĂž and is now available in six languages.
Text von der Webseite
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke, Nr. 037 aus der 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 and how to use them in creative, functional or artistic way. I appreciate the wide field of modern creativity tools that I got to know. But actually I felt deeper connected to handcraft because I can express myself more immediate. So I decided to go back to the roots and applied at the 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 of art that results out of the psyche. So please enjoy watching my pictural diary.
Text von der Webseite.
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke, Nr 038 aus der Reihe 100for10.
75 g/mÂČ 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 and her personal life. She is co-founder of Vesselroom Project and Atelier29. The first 75 g/mÂČ exhibition took place in Berlin in 2014 with Maycec alongside Vonverhille and Damien Sayer whom both grew up in the suburbs of Paris. Vonverhille started in the graffiti scene in the 90s. 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 II and part III. She is a poet DeepLy influenced by Pop Culture mostly because you cannot not be influenced by a soft machine that creates so many idols you can hate and worship at the same time. She is currently working on her first chapbook manuscript.
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke, Nr. 039 aus der Reihe 100for10.
Alessandro Apai is a young freelance illustrator and graphic artist from Italy and current based in Barcelona. His works are inspired by perfectly normal everyday interactions and social experiences. His aim is to use the drawingâs practice like a vehicle to documents and interpret his daily observation of the world and to could translate whatever concept in images. He had work on commissioned projects for clients like the Guardian, Zeit Magazin, itâs Nice That and many others. He also use to work on personal projects like the weekly series âRelaxed Sunday with Familyâ started in 2014, that you can follow each Sunday.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke
Monoperro can be considered a self-taught artist, given his almost non-academic experience. At age 33 he suffers a major crisis that transforms all the important aspects of his life. From that moment on, a personal journey begins which takes him to explore into various fields such as shamanism, alchemy, tarot, reiki, etc⊠(always from an unorthodox position). Since a few years back all his production is being guided by a Spiritual Entity. As a result of this, his first book âGreat Endâ (jekyllandjill.com) was published in Spain in Autumn 2015 and today he also offers a monthly workshop âUnleashing your inner creativityâ in his studio, and one-to-one skype sessions. Urban Animism is the term monoperro uses to encompass all his artistic and vital experience.
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Hin und Weg, Carried away
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke
Stanislaus MĂŒller-HĂ€rlin works as a freelance artist and lecturer. His drawings and sketches are usually brief notations that can make changing series over the years. They focus on social, political and social issues as well as memories, reports about traveling or show all sorts of trials and tribulations. Another artistic focus are installed, in which graphics, light and space combine.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke
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 to New York and attended Parsons The New School for Design. The transition to the 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 Mar and Gregg Shienbaum Fine Art. His commercial work includes clients such as HBO, Pepsi and The Wutang Brand.
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When looking at cars, I sometimes see bread on wheels
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke
Dario Forlin studied Visual Communication in Bern, Switzerland and Illustration in Falmouth UK. He now lives in a small town in the eastern part of Switzerland and works in the field of Illustration. From time to time his work mixes with graphic design and typography. But if he can he draws. He selfpublishes his own zines, comics, and prints and has also a monthly zine called GAFFA which he publishes with some friends.
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[2] S., 14,7x10,3 cm, keine weiteren Angaben vorhanden
Werbekarte
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[24] S., 29,5x13,6 cm, 4 Teile. keine weiteren Angaben vorhanden
Drahtheftung, ein Streifen aus Papier, ein Anschreiben, alles in Briefumschlag
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BOM DIA BOA TARDE BOA NOITE â âgood day, good afternoon, good nightâ in Portuguese â conveys the idea that books can become part of everyday life, regardless of the time of day. BOM DIA was founded in 2011 by Manuel Raeder and Manuel Goller in Berlin, solely run by Manuel Raeder since 2013. BOM DIA is specialized in high quality artist books that are conceived as an integral part of an art work or as the art work itself that, often, plays with the format of the book and reflects its medium. A focus of BOM DIA lies in publishing contemporary artists from Latin America. The books of BOM DIA are produced in close collaboration with a group of fellow artists, among others Henning Bohl, Daniel Steegmann MangranĂ©, Mariana Castillo Deball, Haegue Yang, Leonor Antunes, Abraham Cruzvillegas, Danh Vo, Nina Canell, and BLESS.
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Fieber 01 Cosima von Bonin
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18x18 cm, Auflage: 300, numeriert, signiert, keine weiteren Angaben vorhanden
zwei Vinylschallplatten 7", 45 rpm, HĂŒlle Kunststoff und Papier (zwei gefaltete Drucke), signiert auf Umschlag Vorderseite, mit Bauchbinde
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This edition contains two vinyl 7″. singles with music by Doctorella and Justus Köhncke as well as two exclusive prints designed, handnumbered and signed by Cosima von Bonin. Limited Edition of 300 only.
You canât really fully understand the work of Cosima von Bonin without looking at her collaboration with other artists. Even when invited to produce a solo exhibition, von Bonin rarely shows up without the input of her friends, either through music, lyrical fragments, fashion accessories, cameo performances, or, and, or⊠And letâs be clear, the musicians get the von Bonins thing.
Text von der Webseite
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MONO.KULTUR #35 Marina Abramovic - Army of Me
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48 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung
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Frequently using her own body as a starting point, she has subjected herself to ordeals testing physical and psychological boundaries, as she did most famously during the 736 hour-performance The Artist Is Present, where visitors were invited during the course of her large retrospective to sit opposite Abramović. and share a silent but intense contact that often caused a highly emotional response â an act that in its 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 she has been facing and what cosmetic surgery has to do with art. Graphically, the issue is an exercise in friction and restraint, by setting up the three elements of text, images and subtitles on different grids and letting chance run its course. All works were selected by Marina Abramović. as personal milestones in her career.
Text von der Website.
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MONO.KULTUR #34 Brian Eno - Revaluation (a warm feeling)
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44 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, gedruckt auf verschieden farbigen Papieren
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Chances are that you will be far more familiar with Brian Eno and his work than you might realise. Whether you know him as a founding member of the gloriously influential 1970s art-rock outfit Roxy Music, or as the inventor of ambient music, in one breathless career Eno has 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 â think U2, Talking Heads or Coldplay, to name but a few â composed several film scores not to mention the start-up theme for Microsoftâs Windows 95. All of which is to say that it is hard to not be in earshot of his musical influence in one way or another. With mono.kultur, Brian Eno talked about the impact of technology on culture, the similarities between producing music and parenting, and why they called Elvis âThe Pelvisâ. Given Brian Enoâs interest in how art can affect moods and emotions, our new 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 of the yellow text, but also how one responds to the content of the interview. Suffice to say: this must certainly rank as the most colourful mono.kultur to date.
Text von der Website.
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80 S., 23,6x16,5 cm, Auflage: 1.000, keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-Weiss Offsetdruck
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Does anyone remember Plastic Bertrand? They thought heâd be unforgettable. And do you remember when the word plastic had a positive ring to it? In a scene from Mad Men a child is running around with a plastic bag over his head and his mother doesnât bat an eyelash. It was the sixties. But even then, usage of the word could be confusing: plastic bomb, plastic surgery, plastic sculpture. Let us build an imaginary bridge between Henry Moore and rubbery explosives. Naturally, Iâm building mine out of plastic. I canât imagine it any other way. Plastic is the pre-manufactured utopia of the past. Plastic is the present. Plastic Bertrand is sure to make a comeback soon. Ăa plane pour moi. Text von der Webseite.
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88 S., 23,6x16,5 cm, Auflage: 1.000, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-Weiss Offsetdruck
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As an object travels through space and appears in time, we can only see it moving because of the faster arrays of light that break at the very moment in which they meet it. The breaking lines of flight delineate an object in an irreversible physical process. At the speed of light, it appears before our eyes. It is only this fragility that enables us to see. The breaking light names a border which our eyes are unable to cross. A border to another space and time, that of the inside, this time asking for a new faculty. Text von der Webseite.
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[56] S., 26x18 cm, Auflage: 1.000, ISBN/ISSN 9780957586710
Drahtheftung
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2. Auflage 0817. Index is curated by Café Royal Books and supported by the Contemporary Arts Development Group at the University of Central Lancashire (Impressum)
Index began as an online open submission project. Criteria being, âsubmissions must have already been used to communicate, or be communicative in their own rightâ. All submissions have been removed from their original context, breaking the messages or ideas for which they were created. Using Index as a container, exhibition space and story telling device, the pages that follow have been edited to create pairs or combinations of images that can be read as new narratives. The book is an experimental exchange of out-of-context, repurposed text and image. CafĂ© Royal Books produce weekly photographic publications focussing broadly on aspects of change, usually within the UK. Founded in 2005 CafĂ© Royal Books is an independent publisher based in the North West of England.
(Text von der Webseite)
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unendlich unwahrscheinlich Nummer 01 - I can't relax
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[36] S., 14,8x10,3 cm, 2 Stück. ISBN/ISSN 978-3-955660673
Drahtheftung, farbiger Umschlag
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AufklÀrung und Kritik 513
Die Fotografien von Jenny SchĂ€fer zeigen Ăberwachungstechnologie. Sie zeigen, wo aus Skepsis Paranoia wird: maschinelle RationalitĂ€t und die erschöpfende Panik in Zeiten der unausgesetzten Krise. Auch in Anja KĂŒmmels Ăberlegungen finden wir die AuswĂŒchse unserer wahnwitzigen Sicherheitsbestrebungen wieder, ĂŒbersetzt in Literatur. Alles wird aufgezeichnet, alles wird Information. Und nur noch ganz zart und abseitig schimmern die »anderen Wahrheiten, die optisch gekrĂŒmmt, irgendwo da drauĂen, zeitgleich existieren.« Jenseits der reiĂfesten HĂŒlle der Filterblase, da wo der Widerstand keimt, in den SehnsĂŒchten, in den Wagnissen, im Zufall.
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12,5x17,5x1,5 cm, signiert, keine weiteren Angaben vorhanden
Schachtel aus Karton, beklebt und befĂŒllt mit 17 kleinen Papierobjekten und eine gefaltete Laserkopie nach einem Zeitungsartikel zur Ausstellung
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Ausstellung im Kunsttempel Kassel, Co-books & Co, Rod Summers + JĂŒrgen O. Olbrich & Collaborateure. 20 Jahre Kunsttempel. 40 Jahre Zusammenarbeit R. Summers + J.O. Olbrich & 20 KĂŒnstler, 24.05.â30.06.2019
mit Anna Banana (CAN), Vittore Baroni (I), Carl Chew (USA), Johan Everaers (NL), Max Christian Graeff (D), Wolfgang Hainke (D), Robert Hirsch (USA), Martin La Roche (RCH), Hans Lemmen (NL), Jacqueline Machado de Souza (BRA), Gerhard Meerwein (D), Ăsta OlafsdĂłttir (ISL), Cheryl Penn (SA), The Rapid Publisher (D), AndrĂ© RobĂšr (F), GĂŒnther Ruch (CH), Matthias Schamp (D), Linda Schwarz (D), Herbert Wimmer (A), Peti Wiskemann (CH).
Im JubilĂ€umsjahr des Kunsttempels realisieren Rod Summers(Maastricht) + JĂŒrgen O. Olbrich (Kassel) das Projekt âCo-books & Coâ. Beide haben seit 40 Jahren in verschiedensten Projekten weltweit zusammengearbeitet: Performances, Audio-Art, KĂŒnstlerbĂŒcher, Installationen, Ausstellungen, Mail-art, Publikationen etc.
Die viertĂ€gige öffentliche Arbeitssituation ab dem 20. Mai im Kunsttempel hat folgende Ausgangssituation: Summers + Olbrich nehmen sich von den beteiligten Collaborateuren jeweils eine Publikation vor, die sich in den Archiven der beiden befindet. Hieraus erstellen sie kollektiv 20 groĂformatige Collagen. Dazu haben die internationalen Collaborateure ihnen nochmals spezielles Material zur VerfĂŒgung gestellt.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke, Nr. 013 aus der Reihe 100for10.
Rob Lowe, also known as Supermundane, is an artist, graphic designer, letterer, illustrator and printmaker with 20 years experience in the creative industry. His signature mesmeric drawings have been published and exhibited worldwide. He has been responsible for designing some of the most groundbreaking independent magazines of the last decade including the alternative childrenâs magazine Anorak and the award-winning food quarterly Fire & Knives. His practice is defined by a distinctive use of colour, line, simplicity and humour which can be seen through all his different disciplines from typeface design to his personal works.
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Schwarz-WeiĂ-Drucke, Nr. 007 aus der Reihe 100for10
A certain rigour â Lars RosenbohmÂŽs drawings are made in a prompt and spontaneous manner. Fragments of texts or notions taken from, for example, songs, newspapers and conversations alternate with more or less recognizable motives. Rosenbohm hints at and calls forth memories. He is interested in the doubts and the failures of life, pursues the question of meaning, to which his images can be regarded an attempted response.
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wordpharmacy - Nouns - Contents: 431
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18x40,5 cm, ISBN/ISSN 978-3-943196054
Kartonbox 10,5x11,8x7,5 cm (HxLxB, auseinandergefaltet 18x40,5 cm, mit Beipackzettel A4 gefaltet auf 7x7,7 cm
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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 by the body, and in turn it does not only affect our conceptions of things, but it also comes to designate our very corporal movability in the world. Consequently, words are not only something we consume, they are refractory entities that in turn define and consume us. Wordpharmacy can be seen as a poetical gesture endeavouring to let words work their magic from within the body itself. The Wordpharmacy is written and produced by the danish poet Morten SĂžndergaard. The Wordpharmacy has be shown in several cities like Paris and London and Berlin and Bangor and TromsĂž and Voss. The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian RamsĂž and is now available in six languages.
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Nonought: a reflection on Robert Barry
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2 S., 21,1x29,8 cm, keine weiteren Angaben vorhanden
Blatt, gefaltet
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Zur Ausstellung 30.03.-18.05.2019. Abgebildet die Arbeit It can be presented von 1971
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[2] S., 29,7x14 cm, Auflage: 90, 10 Teile. keine weiteren Angaben vorhanden
zweifach gefalteter Bogen
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Indirections is a series of image-text pamphlets that focus on the manoeuvring involved when ideas are presented to the public eye with the aim of persuasion. Whether we look at Soviet propaganda or at minor deceits in the local newspaper: things are bent, spun and twisted.
The series presents found image-and-caption combinations from books, leaflets and newspapers. Each item in the series is a folded sheet containing a single found image with its caption. The caption is on the front, the image is hidden inside. By uncoupling them, the two elements are each given their own stage â as a result a new space opens up between them. In that space a small tragicomedy is played out. It appears that at times images can be a bit stubborn and reveal slightly different truths from the ones implied by the words coupled to them. ...
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To Be Determined - According to the Situation
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184 S., 24x16,5 cm, ISBN/ISSN 978 88 6749 351 7
Broschur mit Klappen; Einband mit aufgeprĂ€gtem Foto, Papier Einband mit textilĂ€hnlicher Struktur, Vorsatz/Nachsatz bedruckt mit Foto schwarzweiĂ, innen verschiedene Papiersorten fĂŒr Fotos, Texte und Zeichnungen. Druck: Tipografia Valdostana
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Erscheint zur Ausstellung im S.M.A.K., Gent, Belgien,11.03-04.06.2017.
"Welcome to the world of Dirk Zoete. Because thatâs what his work is: a conceived universe. The way 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 we can fall off. Zoeteâs drawings are clumsy, intermittent, naive, adventurous, simple. Itâs like a childâs imagination, depicting in a heap what you otherwise cannot fit on a piece of paper." Philippe Van Cauteren. Published in occasion of his first major solo exhibition in a Belgian museum, To be determined. According to the situation, held at S.M.A.K. in Gent in 2017, this catalogue explores Dirk Zoeteâs peculiar practice. Enriched by essays and texts by Philippe Van Cauteren, Stephan Berg, Koen Peeters and Ann Hoste, the book is a journey through the artistâs processâwho, starting from a drawing, generates models, sculptures, architectural constructions, photos, films. An all-encompassing approach that makes the Belgianâs work outstand as a natural successor of the 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, and the hybrid nature of the exhibition set-up, a mix of a museum show and an artistâs studio, both essential characteristics of Zoeteâs art."
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12,4x23,5 cm, 2 Stück. keine weiteren Angaben vorhanden
Einladungskarte
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Zur Ausstellung 17.01.-22.02.2020 und zum Abendalk am 06.02.2020 mit Bernhart Schwenk
The frescoes of the Villa di Livia, the wife of Emperor Augustus, which can be seen in the Museo Palazzo Massimo in Rome, form the basic motif for the video PASSING THE GARDEN. These approximately two thousand years old frescoes show an illusionistic garden space, a "hortus conclusus" with representations of plants, trees and birds.
Photographs, videos and drawings of the frescoes are intertwined with photographs and videos of intact and destroyed nature. What seems natural at first glance turns out to be artificially generated. Slowly, the images change their state, moving between reality and fiction.
Experimental, meditative music accompanies the transformation process.
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42x59,4 cm, keine weiteren Angaben vorhanden
Bogen 2x gefaltet
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Flyer fĂŒr die KĂŒnstlerbox BAU ART 1
Eleven authors part of the editorial staff of the BAU association have decided to create unique works inside the same cardboard boxes size UniA4 (cm. 21 x 29,7) that were used for the BAU magazine and also inside larger UniA3 boxes (cm. 29,7 x 42), giving shape to tridimensional creations that can be hung on walls, exhibited as sculptures or manipulated as containers of surprises and inventions.
Catalogue of this âside effectâ of the assembling magazine BAU is the BAU ART 1 box, in edition of 30 copies, with signed and numbered works of the eleven authors. Graphic project by Carlo Battisti.
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Arts of the Working Class No. 10 - Old Cracks in New Mirrors
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64 S., 35,2x25,8 cm, keine weiteren Angaben vorhanden
Lose ineinander gelegte BlÀtter, Druck auf Zeitungspapier.
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Ausgabe Februar 2020. âArts of the Working Classâ ist eine StraĂenzeitung fĂŒr Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthĂ€lt BeitrĂ€ge von KĂŒnstlern und Denkern aus verschiedenen Feldern und in verschiedenen Sprachen. Sie richtet sich an die Arbeiterklasse, also an alle, und es geht um alles, das allen gehört. Jeder, der sie verkauft, verdient mit. Jeder KĂŒnstler, dessen Arbeit beworben wird, gestaltet mit.
Century-old lore holds fast to the idea that a mirror is not only a reflection but a window from the facade of appearance into one's soul. For the superstitious, breaking a mirror tempts malignant forces, soul-splintering demons and seven years of bad luck. But what of the cracks at the edges of ancient mirrors or the 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 is the time you spend looking in the mirror? For the survival of our 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.
Text von der Webseite.
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Arts of the Working Class No. 02 - May the bridges I burn light the way
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32 S., 35,2x25,8 cm, 2 Stück. keine weiteren Angaben vorhanden
Zeitungsdruck, BlĂ€tter lose ineinander gelegt, handschriftliche GrĂŒĂe beigelegt
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The second issue of this street newspaper attempts to glimpse what social cohesion can be; seen through contemporary art practices coming together in different texts and interventions by our contributors. Dialectical cohesion presents itself in the archives of arts in the 21st century as an accumulation of reactionary movements. The impressionists against academism, surrealists against social standards, post-modernism against modernism, content-based interpretation against formalist interpolation.
âMay the bridges I burn light the wayâ looks at both ends of the revolutionary act: the will to reach utopias and the urge to provoke dystopia. Artists always situate themselves in history by breaking with what they believed this profession to be before becoming artists. As a title, it implies a certain pessimism; anticipating the worst outcomes of a given situation. However, it also reveals the unfortunate desire to (always) be right.
âMay the bridges I burn light the wayâ was the title of the summer camp we organized with EXILE gallery for the collateral events of the European Biennial in Palermo, the Manifesta 12. Many of this issueâs contributors intervened in Palermo following the curatorial idea of working together with the community at the BallarĂČ market and the community kitchen Cre.Zi Plus. Utopia here is not a promise but a joint venture. The group of people was deliberately brought together by invitation, but the summer camp was left to the unpredictable nature of the market vendorsâ routines.
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032c Fanzine - QuarantÀne!
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[40] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserdruck, gefaltete EinzelblÀtter, mit Gummiband zusammengehalten. PDF-Download von der Webseite
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âWe want you to GO INSIDE â your house, and your self. Everything is about interiors now: the interior of your home, your mind, your archive, your hard drive. Mine it all for insight and purpose.
Once thatâs done, show off what you find â just because youâre alone doesnât mean you canât share from within. There is no such thing as âtoo much informationâ now; COVID-19 took out âTMI.â In fact, there is no more âenoughâ â 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 go out, but leave nothing âbehind the scenesâ â there is no âbehind,â and no âin front ofâ either. There is only ânow,â and it is Big and 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 â east and west, north and south, us and them, out and in â melt into each other and coat the old world like lava, like an act of god. In the New Interior isolation is a commons, the self that inhabits it is a collective. Historical moments stack vertically and occur simultaneously, around the globe. Welcome to the novel sanctum sanctorum, the single-occupant House of We.
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The Great Infinity Pool Vol. 3
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152 S., 27,9x20,5 cm, ISBN/ISSN 978-3-942144551
Broschur
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Dritte Ausgabe des Magazinbuches der Klasse Prof. Ricarda Roggan u. a. anlĂ€sslich der gleichnamigen Ausstellung im Folkwang Museum Essen vom 02.06.â02.07.2017. In Kooperation mit der mit der Folkwang UniversitĂ€t Essen, Klasse Prof. Christopher Muller.
This is The Great Infinity Pool. Step in and relax. Fragen Sie nach einer Cardboard-Brille. You can trust our guide. GenieĂen Sie die Aussicht! Entspannen Sie sich! This is The Great Infinity Pool. Möchten Sie ein GetrĂ€nk? Lean back and clear your head. Das ist die RealitĂ€t. Put on a cardboard device. Enjoy the view. This is The Great Infinity Pool. Es ist so einfach wie fliegen. No cardboard devices available? Werfen Sie doch einen Blick in dem Katalog! Calm down and dive in. Deep blue infinity. This is The Great Infinity Pool. Tauchen Sie ein. Turn your head to change your point of view. Trust our friendly guide. Sie sind hier sicher. Endlich.
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commonpress 13 - can the artist help survive
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[20] S., 21x14,8 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Evidences As To Man's Place In Nature
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[144] S., 21,3x14,2 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Fadenheftung, offener RĂŒcken. Farblaserdruck. Teils perforierte Seiten zum Heraustrennen.
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Angelehnt an das Buch "Man's Place in Nature" von Thomas Henry Huxley beschĂ€ftigen sich die zwei KĂŒnstler mit der vom Mensch geschaffenen Landschaft. Das Buch besteht aus 64 Fragmenten, auf denen Bildausschnitte zu sehen sind, die zu 8 Postern zusammengesetzt werden können.
The man creates dysfunctional and entropic spaces during its landscape construction.
Their own story has displaced them from the cause-effect line, dooming them to an eternal defeated present.
Carlos AlbalĂĄ & Ignasi LĂłpez go through these places and represent them in a sort of emotional topography, creating emotional links with only exits for itself landscape which produces monuments with a maximum degree of iconicity.
Evidences as to Man's Place in Nature is published as a book in which are included, fragmented, 8 photographs that forms this project and can be detached and mounted as wall photographs.
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commonpress 13 - can the artist help survive - Klebemontage
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[20] S., 21x14,8 cm, Auflage: Unikat, signiert, keine weiteren Angaben vorhanden
aufgeklebte Originalarbeiten auf A4-Papiere lose in handbeschrifteten Umschlag
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Klebemontage der an Klaus Groh zugesendeten Arbeiten fĂŒr den Druck der BroschĂŒre, 33 internationale Mail Art-KĂŒnstler
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96 S., 24,1x17 cm, ISBN/ISSN 978-3-0004332576
Drahtheftung, Klappeinband. Poster eingelegt
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Erste Ausgabe des Dodo Magazins. Das Heft hat - wie eine Kassette - zwei Seiten A und B und muss zum Lesen ab dem Centerfold umgedreht werden.
Dodo is the adventure, science and fantasy magazine you have been waiting for. This magazine is for anyone that has ever wanted a treehouse. Dodo is a time machine, a theme park, a trip to the moon, a horror story, a prehistoric site, an unsolved mystery, even a Zeppelin voyage. Itâs a magazine that will make you feel as if you were reading it under your sheets with a flashlight. With every passing page, youâll leave behind everything around you as you enter your own world, a place where nothing bad can happen, where everything has yet to be discovered; a place where you had already been before but had forgotten.
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[16] S., 19x12 cm, keine weiteren Angaben vorhanden
Broschur, das letzte Blatt ist auf 19 x 4 cm beschnitten
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His mustache looked like it would tickle. Thatâs probably the only reason why I didnât want to kiss him.
He was a weirdo, but not weird enough, if you know what I mean. He certainly had a flair for details. It wasnât that. I mean, itâs not like he was wearing a mullet, no. Nor like the kind of guy to gift me a Chinatown Gucci bag. He hated scented soaps and heâd drag me out of any decent party if he found scenty sticks near the toilet. That kind of thing drove him nuts. Itâs not like he had anything against grapefruit.
Early on in our friendship, he gave me a box of Gioconda pencils from Koh-I-Noor. He knew how to get me hooked. But that damn mustache. It was so thick, so neatly trimmed. He paid too much attention to the kind of things I didnât want to pay attention to. The cappuccino foam in it, however, was a kind of turn-on.
This is no doubt why you are holding this book in your hands. His mustache, right? Admit it. Itâs the bowl of bonbons by the 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 at the back. A misbound book? A defect or just vulnerable?
Selbsthilfe ist auch keine Lösung (even self-help is not a solution) and Protestvorbild Frankreich (protest ârole modelâ in France?) is the only text you can make out other than mine. Youâre meant to struggle to read it, or maybe Erik (who has no mustache) was being intentionally casual about the way he cut out these pictures. Itâs an awareness of being sloppy that is so aware, itâs no longer sloppy. A man standing with his fist held high. Heâs standing in the window frame of an apartment at least one story up from the ground. He is forty and mad and he enjoys his Bud. His form of protest is a form of solidarity from the sofa. A window protest: comfy. So fucking clever. Then thereâs the picture abutting it of a woman holding out her bra. We are meant to take it. Sheâs offering it to us. Go ahead. She wants you to.
And then thereâs the spooning bodies with their tube socks in a wad next to⊠a bed. A solar bed. You got it? This book is brown sugar. Stinky Swiss cheese. Bad, bad, good, good.
April von Stauffenberg
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Blatt 023 - Stadtzeitung fĂŒr MĂŒnchen
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28 S., 29,5x21 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Ausgabe vom 17.05.1974â30.05.1974, Berufsverbote: Holzer muss gehen!, Ein Besuch in Entenhausen, 14 Tage Veranstaltungen in MĂŒnchen
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BARBARA HEROLD FEAT. KIM TWIDDLE - PARCOUR
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29,7x21 cm, 4 Teile. keine weiteren Angaben vorhanden
Infoblatt, Aufkleber und Hygienemaske fĂŒr VR-Brille
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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 in our future-driven present. Our next guests will be Munich based artists Barbara Herold feat. Kim Twiddle LIVE with the synaesthetic challenge PARCOUR â 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 in the threshold space of the real and the digital and develops interactive AR and VR worlds that can be physically experienced in the overlapping of the virtual and the real. In collaboration with e-composer Kim Twiddle, Barbara Herold developed the colour-form-music composer PARCOUR, a VR experiment on âNeues Sehen" (according to W. Benjamin). Through optical abstraction, stereoscopic overlays and interactive sound modulation, retro video game landscapes become an aesthetic sensual and new consciousness experience.
PARCOUR will be premiered at Rosa Stern Space. The VR will 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 â PARCOUR on tour (tba)...
Barbara Herold, VG Bild-Kunst, Bonn, 2022
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Arts of the Working Class No. 21 - Around the world in 80 pages - Forced displacement issue - Tourism issue
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80 S., 35,2x25,8 cm, keine weiteren Angaben vorhanden
Lose ineinander gelegte BlÀtter, Druck auf Zeitungspapier.
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AusgabeMai 2022. âArts of the Working Classâ ist eine StraĂenzeitung fĂŒr Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthĂ€lt BeitrĂ€ge von KĂŒnstlern und Denkern aus verschiedenen Feldern und in verschiedenen Sprachen. Sie richtet sich an die Arbeiterklasse, also an alle, und es geht um alles, das allen gehört. Jeder, der sie verkauft, verdient mit. Jeder KĂŒnstler, dessen Arbeit beworben wird, gestaltet mit.
Anniversary launch Issue 21. Arts of the Working Class is glad to invite you on June 8 to the launch of its fourth anniversary issue AROUND THE WORLD IN 80 PAGES. Organized in collaboration with Callieâs 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 of its contributors. The title of both the event and our latest issue take Jules Verneâs proto sci-fi book as a starting point for our shared research. Verne, the poet and writer whose narratives took us on a journey into imaginary and inconceivable worlds, left us with an invaluable lessonâ we perceive the world in its 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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*foundationClass / THE BOOK
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240 S., 25x20 cm, ISBN/ISSN 9783938515839
Broschur
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Die *foundationClass ist sowohl ein Studienprogramm an der weiĂensee kunsthochschule berlin als auch ein KĂŒnstler_innenkollektiv. Die Mehrheit ihrer Mitglieder ist nach Deutschland migriert und von Rassismus betroffen. In seiner kĂŒnstlerischen Praxis setzt sich das Kollektiv fĂŒr inklusive Bildungsformen ein und dekonstruiert die Ausschlussmechanismen WeiĂer Kunstinstitutionen.
Text von der Webseite www.ngbk.de
*foundationClass â the book hinterfragt kritisch die normativen Ein- und Ausschlussmechanismen von Kunsthochschulen. Diese komplexen Verhandlungen finden sowohl innerhalb der *foundationClass, aber auch in der Verwaltung, in Fachgebietssitzungen und in der Mensa statt und laufen weder widerspruchslos noch konfliktfrei ab. Die hier versammelten multiperspektivischen und mehrsprachlichen BeitrĂ€ge beziehen sich auf konkrete Erfahrungen innerhalb der Institutionen und zeigen auf, wie essenziell ein kontinuierliches Beharren auf Auseinandersetzung fĂŒr das Gelingen eines machtkritischen Programms ist. Angesprochen sind potenzielle Kompliz*innen, die auch davon ĂŒberzeugt sind, dass selbstreflektierte Macht- und Herrschaftskritik fundamentaler Teil der kĂŒnstlerischen Lehre, jeglicher kulturellen Produktion und Ausgangspunkt fĂŒr das Schaffen weiterer Allianzen und Formen der Solidarisierung sein muss.
Text von der Webseite www.lesejury.de
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136 S., 28,6x20,3 cm, keine weiteren Angaben vorhanden
Fadenheftung, Hardcover
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Dayanita Singh ist eine BuchkĂŒnstlerin, die die Vorstellungskraft dessen, was ein Buch sein kann, ausdehnt und die Grenzen zwischen Verlagswesen und Kunst ĂŒberschreitet. Book Building zeichnet die Reise von Singhs BĂŒchern nach, vom ersten, Zakir Hussain (1986), bis zu ihrem neuesten, Zakir Hussain Maquette (2019), und zeigt das Spektrum ihres Buchbauprozesses, von der Idee bis zum materiellen Objekt, und wie sie diese erfinderisch in der Kunstwelt und darĂŒber hinaus in Umlauf bringt.
Dayanita Singh is a book artist who stretches the imagination of what a book can be, transcending the spaces between publishing and art. Book Building traces the journeys of Singhâs books, from the first, Zakir Hussain (1986), to her latest, Zakir Hussain Maquette (2019), showing the spectrum of her book-building process, from idea to material object and how she inventively circulates them in the art world and beyond.
Text von Webseite
Ăbersetzt mit Deepl
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Dear Diary, everything has happened so fast and furiously that I can hardly believe I'm really on my way round the world
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21,5x15,2 cm, Auflage: 600, signiert, ISBN/ISSN 978-3-033-09724-7
Hardcover, Postkarte mit GruĂ liegt bei
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Save our NHS! - The strikes can win!
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29,7x21 cm, keine weiteren Angaben vorhanden
Beidseitig bedrucktes Papier.
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Aufruf der Socialist Party in GroĂbritannien der Partei beizutreten.
Auf der Vorderseite finden sich die Forderungen der Socialist Party: Eine inflationsausgleichende Gehaltserhöhung fĂŒr alle Mitarbeitenden des Gesundheits- und Pflegesektors, eine Umkehrung aller Privatisierungen, eine umfassende Finanzierung des NHS, eine Nationalisierung des privaten Gesundheitssektors, Abschaffung der StudiengebĂŒhren, ein Aufbau einer neuen Arbeiter:innenpartei, ein sozialistisches Gesundheitssystem und eine sozialistische Planwirtschaft.
Auf der RĂŒckseite ist eine Kampfschrift zu lesen, welche den Tories die maĂgebliche Beteiligung an der fortschreitenden Aushöhlung des öffentlichen Sektors in GroĂbritannien vorwirft, zu einem 24 stĂŒndigen Generalstreik aufruft und die Socialist Party als notwendige Massenpartei fĂŒr die britische Arbeiter:innenschaft vorschlĂ€gt.
Der Flyer wurde im Rahmen der Proteste gegen die AusteritÀtspolitik der britischen Regierung im Bereich des Gesundheitssektors am 11.03.2023 in Charing Cross Road, London verteilt.
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323 S., 36,4x26x3,5 cm, keine weiteren Angaben vorhanden
Ota-Bindung mit aufklappbarem Schutzumschlag
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Katalog zur gleichnamigen Ausstellung in der Fondadtion Cartier pour l'Art Contemporain, Paris, 30.03.-10.06.2018.
In Freeing Architecture, Ishigami elaborates upon his most recent research into function, form, scale and the environment in architecture, thereby revealing his vision for the future of the field. Through over 40 models, as well as numerous films and drawings, the exhibition presents twenty projects from their genesis to the complex process of their realization. Far from being tools prior to construction, the models assembled in the exhibition were made specifically for the occasion. As viewers contemplate these hand-crafted works, assembled in the architectâs studio over the course of one year, one can see the many steps and the painstaking work that led to the development of their final form. All different in terms of their material, size and level of detail, they offer a glimpse of the slow maturation process, necessary for the creation of Ishigamiâs architectural works. Works infused by a poetics that is achieved as much through experimentation, as it is by theory, knowledge, and technology.
Text von der Webseite
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134 S., 17,9x10,5 cm, keine weiteren Angaben vorhanden
Klebebindung
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Guide zur Ausstellung,18.05-09.07.2011. "La Gran Aventura" war eine Gruppenausstellung mit 14 KĂŒnstler*innen, die nach dem Konzept der "Choose Your Own Adventure"-BĂŒchern aufgebaut ist.
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CAN ART CHANGE THE WORLD?
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298 S., 29,5x25,3 cm, ISBN/ISSN 9780714869490
Hardcover, 1. Auflage (Erweiterte 2. Auflage erschien 2019)
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Die Monographie berichtet auf den ersten 30 Seiten mit einem Comic wie JR als Jugendlicher in Les Bousquet, einem Stadtteil von Paris, mit Freunden ĂŒberall Zeichen hinsprĂŒht und von seinen prĂ€genden Erlebnissen in dieser Zeit, bis er schlieĂlich eine Kamera findet ... Auf den weiteren Seiten werden die Projekte von Beginn der 2000er bis 2015 vorgestellt.
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Can you tell me how what you are doing now is to do something philosophical?
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ISBN/ISSN 091506640X
Buchseiten von Hand unterschiedlich rechteckig ausgeschnitten
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Art/Life Volume 02, Number 09
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[92] S., 28,3x22 cm, Auflage: 125, numeriert, signiert, keine weiteren Angaben vorhanden
EinzelblÀtter in Klemmschiene. Originalarbeiten, verschiedene Papiere und Techniken, BlÀtter signiert, gestempelt bemalt und beklebt
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Originating as a conceptual exchange among artists, Art/Life Magazine, was one of the longest continually published artistsâ periodicals of the 20th century, presenting a diverse array of art during its 25-year history. Art/Life founder Joe Cardella had asked artists to submit and mail original artworks from all over the world to be compiled into limited edition magazines. As a way to increase accessibility to contemporary art practice, Art/Life documented the lives of the artists, their thoughts, emotions, and creative processes through the transition from industrial to digital art practice. The magazineâs legacy can be seen at MoMa, the Guggenheim, Getty, and LACMA, portraying a global consciousness and collaboration between distanced networks of contemporary artists.
Text von der Webseite
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Can Drowning Be Fun? A Nonsense Book
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22,3x19 cm, Auflage: 1.000, ISBN/ISSN 1878635018
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After Modern History. Bicyles
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14,7x10,2 cm, keine weiteren Angaben vorhanden
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AFTER MODERN HISTORY is a report on world events that re-edits the news of the day by linking together images according to a totally idiosyncratic perspective of pattern recognitions and typologies. AFTER MODERN HISTORY lifts photos from daily newspapers and re-organizes disparate, often atomized subjects into newly imagined affinities. For most people caught on the hard end of luck, the newspaper can be a lonely place. But in this second draft of history, bad news is no longer so isolated. There is no dateline
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After Modern History. Weeping
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14,7x10,2 cm, keine weiteren Angaben vorhanden
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AFTER MODERN HISTORY is a report on world events that re-edits the news of the day by linking together images according to a totally idiosyncratic perspective of pattern recognitions and typologies. AFTER MODERN HISTORY lifts photos from daily newspapers and re-organizes disparate, often atomized subjects into newly imagined affinities. For most people caught on the hard end of luck, the newspaper can be a lonely place. But in this second draft of history, bad news is no longer so isolated. There is no dateline
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As Far as the Eye Can See - 1960-2007
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412 S., 25,8x27,6 cm, ISBN/ISSN 9780300126952
Hardcoverausgabe
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Erschienen zur Ausstellung im Whitney Museum of American Art, New York, 15.11.2007-10.02.2008
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Anonymous Press No. 15766 - Various Small Dicks
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12 S., 20,3x13,4 cm, keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-WeiĂ-Laserdrucke, Umschlag aus farbigem Papier
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Das Konzept:
1. Anonymous Press (Α,âΠ,) is a self-sufficient publishing platform.
2. Every publication by Α,âΠ, is a byproduct of an individual and a database, i.e. Google Image Search.
3. Human author defines the topic, the content and the form is generated from the most relevant images found online.
4. Each publication is added to a public library.
5. Every item in the library can be printed on-demand and is available to everyone for a small fee covering shipping and production costs.
6. Publications are sorted in a chronological order.
7. ΑâΠ does not own, nor is responsible for the content generated by its users.
Text von der Webseite
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[36] S., 17,6x12,6 cm, Auflage: 250, keine weiteren Angaben vorhanden
Drahtheftung
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With abstract painting, decisions that lead to a completed work can seem arbitrary or, worst of all, inconsequential. With this project, we've attempted to open up the decision making process, shedding light on both our collaborative approach and the individual choices that lead to the completion of a painting. Two people, two colors, one painting. A painting in 31 marks.
Text von der Webseite
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Only if I can act with equal fierceness will I survive.
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73,5x58,3 cm, keine weiteren Angaben vorhanden
mehrfach gefaltetes, beidseitig bedrucktes Blatt
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Zusammenstellung von diversen UnterstĂŒtzern gegen die Verurteilung von Michael Abdul Malik, dem in Trinida die Todesstrafe gedroht hat
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[8] S., 26,8x20 cm, keine weiteren Angaben vorhanden
Drahtheftung. Im Set mit acht Heften von Ryan Foerster.
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From November 25 to December 26, 2014, it was possible to see a sculpture by the New York artist Ryan Foerster hung on a drink vendor's stand on a street in Saigon. In an extreme economy, the cost of this project, US$ 20, is equal to the salary offered to the street vandor to hang the artwork for a one-month period. The event happened without any publicity, leaving the artwork for public view without advertisement and stirring the curiosity of pasersby.
This experience, an idea of the gallerist José Martos, can be recreated in different contexts, always with the aim of asking questions about the status of the artwork and its autonomy, the exhibition and its form.
Frédérik Sanchez (Auszug aus dem Vorwort)
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The Green Of This Notebook
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[52] S., 26,2x21,1 cm, Auflage: 500, numeriert, ISBN/ISSN 978-1-590052464
Hardcover mit Leineneinband und transparentem Schutzumschlag, bedruckt. Seiten jeweils linksseitig beklebt
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Copied pages from Jean-Paul Sartreâs philosophical main work "Being and Nothingness", are glued into John Divolaâs new book, references are highlighted by a marker, their content is respectively visualized by a photography by Divola. The pictures do not seem to add something, they simply show a visual translation of the things described in words â ONE translation. If one only reads, the pink cake can take shapes in diverse forms. Now it has the form, which is visible in the photograph.
Alle Fotografien wurden zwischen 1995 und 1999 angefertigt.
Text von der Webseite.
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256 S., 29,8x24,6 cm, ISBN/ISSN 9780061995118
Hardcover mit Schutzumschlag.
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Organized so as to encourage creativity, serendipitous discovery, and inspiration, Layout Look Book 2 is an essential guide to layout design for both amateur and professional designers. The book includes techniques that can be used to enhance any layout, as well as insights into the factors that helped make each layout an effective piece. The styles covered in the volume range from traditional to cutting edge, and will enable any designer to become a more creative thinker and produce fantastic work. Layout Look Book 2 showcases outstanding work by more than fifty of the world's best design studios and professionals working in print design today.
Text von der Webseite.
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246 S., 21x14,8 cm, Auflage: Print on Demand, ISBN/ISSN 8637171198864
Broschur
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What Discussions do Artist Publisher Want to Have?
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1 S., 29,7x21 cm, 2 Stück. keine weiteren Angaben vorhanden
Laserausdruck nach PDF
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Where can artist publishers, zine makers, librarians, artist book archivists, print activists, and others in this self-organized community hang out when there isnât a fair, a fest, an event, or gathering to bring us together? Temporary Services, 2019
Temporary Services have created a new online discussion forum for artist book publishing called Artist Publisher. Please tear off a tab, visit the site, spread the word, and join them in multiple discussions around artist book making, zine publishing, printing, distribution, archiving and more.
Text vom Flyer
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OR #047 - Art can be Dangerous
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[16] S., 14x10,5 cm, signiert, keine weiteren Angaben vorhanden
Drahtheftung, mehrfach gestempelt, obere Blattkante nicht beschnitten, ein Blatt gestempelt und gelocht eingelegt
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How to shoplift books - Steal the book while the sun rises over the horizon.
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[84] S., 15,5x10,5 cm, Auflage: 1.000, ISBN/ISSN 978-3-945900208
Broschur
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2. Auflage. This artistsâ book by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative, and romantic.
This publication originated in 2012 as a conversation in The Classroom at Printed Matter's NY Art Book Fair.
Text aus dem Buch und von der Webseite.
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The Chronicles of San Francisco
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164 S., 23,5x28,5 cm, ISBN/ISSN 9781452176697
Hardcover 20-seitiges Leporello in Einschubtasche im Innendeckel vorne
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Im Rahmen der in MĂŒnchen am 25.8.2022 stattgefundenen partizipativen Performance - Transport des ĂŒberdimensionalen Transparents der Fotografie des jungen ukrainischen MĂ€dchen Valeriia von der Hypo Kulturstiftung bis zum Odeonsplatz in MĂŒnchen, an der Hubert Kretschmer und weitere rund 100 Personen als TrĂ€ger teilnahmen - erworbene BĂŒcher; vor Ort abends bei der Vernissage. (2. Eintrag im Archiv: das Buch "Can art change the world?") JR-Ausstellung in der Kunsthalle MĂŒnchen vom 25.8.2022-15.8.2023.
Ăber das Buch: 2018 stand ein Truck des KĂŒnstlers in San Francisco. Mehr als 1.000 BĂŒrgerinnen und BĂŒrger lieĂen sich darin fotografieren und erzĂ€hlten ihre Geschichten. JR montierte ihre PortrĂ€ts zu einem riesigen Standbild. Es wurde im San Francisco Museum of Modern Art installiert. und ist das jĂŒngste seiner bahnbrechenden und zutiefst beeindruckenden Kunstprojekte. Das Buch enthĂ€lt alle Personenfotografien und einige der Geschichten.
Im September 2022 steht nun der Truck als Fotostudio auch an verschiedenen Locations in MĂŒnchen, um seine Bewohner, die sich mit ihrer Geschichte zeigen wollen, zu fotografieren.
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On the Mystic, Magick, Talismanic, Alchemical Practice of Zine Making
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[14] S., 21,5x14 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Heft des KĂŒnstlers Brian Cotnoir, der auch der GrĂŒnder des Verlages Khepro Press ist. Er beschreibt sein Heft selbst so:
On the Mystic, Magick, Talismanic, Alchemical Practice of Zine Making is a description of alchemical practice through the making of zines. Alchemy is the art and science of bringing something to its final perfection or completion. And, being perfected, can in turn perfect. It is about making change in the world for the betterment of the world and the soul. You know, like Marx said, âthe philosophers have only interpreted the world, in various ways; the point, however, is to change it.â
Text im Heft.
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[20] S., 14,8x10,5 cm, Auflage: Unikat, 3 Teile. keine weiteren Angaben vorhanden
Fadenheftung, Tuschmalerei, Collagen aus Zeitungsausschnitten, in brauner Versandtasche,m beiliegend USPS Customs Declaration
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Schwarze TuscheflĂ€chen in Form von möglichen LĂ€ndern mit einem kritisch-poetischem Text zur Macht. Vorlage fĂŒr das so-VIELE.de Heft Nr. 70. Ăbersandt im Januar 2024.
During times of tumult specific events are pinpoints of trouble, of agony. But later these can become signs of universal anguish. How dare we interpret individual suffering as generalities? The Reach of Power emerged from this question. The text is taken from an old volume on the history of the French Revolution, cut into fragments of words and phrases. The maps are invented places, fictitious possibilities.
In Zeiten des Aufruhrs sind bestimmte Ereignisse Brennpunkte des Ărgers, der Agonie. Aber spĂ€ter können sie zu Zeichen der allgemeinen Angst werden. Wie können wir es wagen, individuelles Leid als Allgemeinheit zu interpretieren? Die Reichweite der Macht ist aus dieser Frage entstanden. Der Text ist einem alten Band ĂŒber die Geschichte der Französischen Revolution entnommen und in Wort- und Satzfragmente zerlegt. Die Karten sind erfundene Orte, fiktive Möglichkeiten.
Text von Romaine Perin
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