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[12-16] S., 20,6x13,5 cm, Auflage: 100, signiert, 12 Teile. keine weiteren Angaben vorhanden
11 Hefte, Schwarz-Weiß-Laserkopien, Drahtheftung, Aufkleber
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About the series:
The For Everard zine series chronicles the 1977 fire at New York's Everard Baths, combining archival research with imagined narratives to re-focus attention to obscured histories. The series explores the media coverage of the subsequent investigation of the fire, and the lives of the nine men who perished. The zines bring together photographic images with primary news sources, as well as personal anecdotes collected from eyewitness testimonials.
About the individual zines:
For Everard, Vol. 1, 2013, ed. 100 (nr. 65)
This zine chronicles the May 25, 1977 fire at New York's Everard Baths and the media coverage of the subsequent investigation.
For Everard, Vol. 2 (Bloodbrothers), 2013, ed. 100 (Nr. 81)
In the second volume of his series chronicling the 1977 fire at New York’s Everard Baths, Anthony Malone focuses on Bellevue Hospital’s blood drive for the victims of the great bathhouse tragedy. Malone draws parallels between the 1977 restrictions placed on gay men for donating blood to their “brothers” and current FDA guidelines that indefinitely defer donations from men who have had sex with men since 1977. This black and white photocopied zine (ed 100) juxtaposes archival images, news clippings, and just a touch of fantasy.
For Everard, Vol. 3 (Remembering Jimmy), 2015, ed. 100 (Nr. 94)
Volume 3 of the series, For Everard is dedicated to the memory of Jimmy Stuard, who died in the tragic fire at the Everard Baths in 1977. Stuard was a rising star in the disco music scene. He spun records first at Boston’s 1270 Club, and later at New York’s 12 West, where he inspired an entire generation of musical artists and DJs. In this particular volume, Anthony Malone assembles images and archival texts that serve as a tribute to the great Jimmy Stuard.
For Everard, Vol. 4 (A Lovely Show), 2016, ed. 100 (Nr. 62)
For Everard, Vol. 4 (A Lovely Show) is a tribute to Kenneth Hill, one of the nine men who died in the devastating fire at the Everard Baths in 1977. Kenn played a vital role in the East Village/Lower East side countercultural movement in the late ‘60s and 1970s. He was a hippie, a bar tender at Phebe’s (a watering hole and salon for the experimental theater community in the 1970s), one of the founders of the Old Reliable Theatre Tavern, House Manager at La Mama Experimental Theatre Club, and a photographer. This zine celebrates Kenneth Hill by collaging archival documents with personal artifacts and pictures of Kenn from meaningful moments in his life.
For Everard, Vol. 5 (A Dearly Loved Man), 2017, ed. 100 (Nr. 95)
For Everard, Vol. 5 (A Dearly Loved Man) assembles images and stories from the life of Ira Landau, a gifted and dedicated teacher who died in the tragic fire at the Everard Baths in 1977. Ira left behind a devoted family (his mother, brother, niece, and lover) and is still greatly missed by his loved ones. This zine is a tribute to the life and accomplishments of a remarkable man who served in the Peace Corps and committed himself to educating young minds both abroad (in the Middle East) and at home in the US. It contains family photos and personal images generously contributed by Ira’s niece.
For Everard, Vol. 6 (Yosef’s Song), 2017, ed. 100 (Nr. 94)
Volume 6 of the series For Everard celebrates the life of a remarkable musical prodigy, Yosef Synovec. This zine tells the story of a young man with great aspirations who emigrated to the United States from Czechoslovakia to study classical violin. In 1976, Holly Woodlawn overheard Synovec vocalizing as he was painting the bathroom of his East Village apartment, and determined on the spot that she had discovered an emerging star. As a singer, Synovec used his extreme vocal range to imitate the voice and persona of Peruvian diva Yma Sumac. He performed Sumac’s exotic musical numbers at several New York City cabarets and show venues. Sadly, on May 25, 1977, Yosef perished in the tragic fire at the Everard Baths.
For Everard, Vol. 7 (Tony from the Bronx), 2017, ed. 100 (Nr. 86)
This zine brings together images and stories from the life of Tony Calarco, one of the nine men who died in the fire at the Everard Baths in 1977. Tony was only 26 when he died. He lived with his parents and siblings in a modest house in the Bronx. He had recently graduated from college and was working as a social worker in New York city at the time of his death. Tony had aspirations to become a lawyer and was scheduled to begin law school in September of 1977. This zine celebrates Tony Calarco’s memory through photos of Tony, artifacts from his high school and college years, and recent photographs of his home and final resting place.
For Everard, Vol. 8 (Looking for Amado), 2017, ed. 100 (Nr.84)
Amado Alamo, a young man only 17 years old, lost his life in the fire at the Everard Baths in 1977. In Volume 8 of For Everard, Anthony Malone documents his search for the identity of the youngest victim of the Everard fire. The zine is an abstracted portrait of Alamo that assembles the few extant fragments of his story culled from newspaper articles and documentary sources glued together with the artist’s imagination.
For Everard, Vol. 9 (Last Call), 2017, ed. 100 (Nr.72)
Life was difficult for Hillman Wesley Adams. He was born in Jacksonville FL in 1938. His mother died just a few months after his birth, and by the age of nine, he found himself in an orphanage with his older brother. Fast forward 30 years: Hillman moved to NYC, struggled to make ends meet while working on and off as a bartender, and he met his lover, Ralph, with whom he shared a modest apartment in New Jersey. On May 25, 1977, Hillman died in the fire at the Everard Baths. Vol. 9 of For Everard is an assemblage of newspaper articles and vintage photos chronicling the life and untimely death of Hillman Wesley Adams.
For Everard, Vol. 10 (In Memoriam: Patrick Nott), 2018, ed. 100 (Nr. 64)
Volume 10 of For Everard memorializes the life of Patrick Nott, one of the nine men who died in the fire at the Everard Baths. Nott, a native of Wales with a passion for theater, literature, and music, pursued a successful career in hairdressing. He fell in love with his pen pal (a young woman from Brooklyn) and after their marriage, they moved to New York City, where Nott worked at the Vidal Sassoon Salon. This zine weaves together elements from his story (shared with the artist by Patrick Nott’s wife), with photographs, newspaper clippings, and artifacts. It acts as a humble tribute, an “In Memoriam” for this greatly loved man.
For Everard, Vol. 11 (Thunderbird), 2019, ed. 100 (Nr. 79)
Brian Duffy was an aspiring artist. In 1966 he was accepted to Pratt Institute of Art and although he declined admission to the school, he seized the opportunity to move to NYC and start a new life for himself. In the city, he worked hard at various retail jobs and tried to break into the theater, but everything changed when he met the love of his life, Bradley. The couple moved to a “quieter life” in Boston. They worked in restaurants in the Back Bay area and created a community for themselves amongst their chosen family of friends. Volume 11 of For Everard celebrates the brief life of Brian Duffy, a young man who died in the fire at the Everard Baths in 1977. This zine compiles photographs and stories shared with Malone by Brian’s sister and dear friend.
The pseudonym "Anthony Malone" comes from a novel by Andrew Holleran (Dancer from the Dance). In this novel, Malone is the protagonist and at the end he disappears. Some of his friends believe that he may have committed suicide, others feel that he may have run away from New York, while some say that they saw him at the Everard Baths on the night of the fire. I imagine that Malone survived the fire and he is now making books and zines telling the story of the tragedy.
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14,8x10,6 cm, keine weiteren Angaben vorhanden
Drahtheftung, Programmheft
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Zur Veranstaltung 08.09.-09.10.2022 in München
VARIOUS OTHERS is the international format of the Munich art scene. Its most ambitious players—galleries, artist-run spaces, and institutions—invite you to get to know the city’s most important art venues in all their diversity. In collaboration with international partners, VARIOUS OTHERS offers artists, collectors, curators, gallery owners, and art enthusiasts from all over the world contemporary art of the highest quality and relevance.
With its splendid kick-off during the second weekend of September, VARIOUS OTHERS heralds the start of the fall art season and is a fixed event in the international art calendar. With its up-to-date, varied, and high-quality program of exhibitions and events, VARIOUS OTHERS promotes the visibility of Munich as a vibrant art city.
Through our partnership concept—galleries and artist-run spaces invite partners to jointly realize exhibitions—we strengthen international exchange and collaboration and share those values with our guests and partners. During four rich weeks, we invite our guests and friends to experience great sites of contemporary art in Munich and get to know the artists who work here—and thus discover new things. ...
Text von der Webseite
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Legible – Visible - Between the Film Frame and the Page
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92 S., 24x18 cm, ISBN/ISSN 9788494423437
Broschur
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Katalog erschienen zur Ausstellung in Arts Santa Mònica, Barcelona, 06.04.-28.05.2017
Legible-Visible. Between the Film Frame and the Page explores the relationship between print publications and audio-visual documents, two of the most important media underpinning the social and cultural landscape of our time which also define the evolution of contemporary art in the 20th and 21st centuries.
The emergence of relatively inexpensive home video technologies in the 1970s brought with it an alternative model for the creation and diffusion of artist publications, and a prolific period of exploration, reflected in the work of Baldessari, Gilbert & George, Boltanski, Carrión, Rucha and Rosler, among others. The popularization of digital media at the beginning of the 21st century sparked a revolution in the systems of production of both audio-visuals and books, exemplified by a new generation of artists, such as McGeorge, Kentridge, Cine Quieto or Van Leijsen.
Mela Dávila proposes a theoretical and historical framework for works that the market long dismissed as secondary on account of their serial nature. This characteristic, together with the particular space of experience they generate, and the linearity and temporality common to both media, have opened up a range of new narrative (or anti-narrative) possibilities which have enabled artists to redefine contemporary art.
Starting from a detailed study of 24 double works, Maite Muñoz looks at how different artists have taken advantage of the permeability between publications and audio-visuals, in which ideas and strategies of narration and editing intrinsic to both mutually infect and enrich one another through the play of opposition, complementarity and dialectics.
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68 S., 14,8x10,6 cm, keine weiteren Angaben vorhanden
Programmheft
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Zur Veranstaltung 12.09.-13.10.2019 in München
VARIOUS OTHERS initiates cooperative and international art projects in galleries, off spaces and museums in Munich. While serving as a content-driven forum for contemporary art that takes place each year in September, our mission is to intensify exchange and dialogue between the art scene in Munich and international partners, guests and media.
VARIOUS OTHERS is an event hosted by the association VFAMK e.V. We thank all of the supporting members of the association who make this project possible as well as the active members for their unflagging efforts and dedication.
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You're my type - Programmbuch 2018
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20,5x13,5 cm, keine weiteren Angaben vorhanden
4 Bände in Schuber. Schuber geprägt in Gold und Schwarz, Rückseite mit Umkehr der Farben. einzelne Cover mit Reliefprägung, geometrische Formen, Farbschnitt schwarz. Einzelne Bände in Schweizer Broschur (Umschlag nur auf Rückseite angeklebt, Rücken mit Gewebestreifen eingefasst). Bd. 1 130 S., letzte Seite mit Kalender als Fold-Out. Bd. 2 160 S., Bd. 3 96 S., Bd. 4 Blindband, (Notizbuch), 72 S.
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The Typographic Society Munich is the largest organisation in Europe for typographers and people who are interested in typography and design. Since being founded in 1874 the designers’ club establishes a foundation for sophisticated and interdisciplinary thinking and dialogues among content and form, text and photo, tradition and innovation, design and technology. The tgm represents quality and education for the branch of communication and offers a huge accompanying training program. As Chairwoman of the club I curated several lectures in the last years, inviting design and typography celebrities.Throughout the years designers like Stefan Sagmeister, Mirko Borsche, Eike König, Mario Lombardo, Sascha Lobe, Fons Hickmann, Amir Kassaei or Kurt Weidemann to name a view, followed these invitations and appreciated the warm welcome of our community.
To show the wide range of offerings we traditionally create a yearbook. More over I tried to give the content based complexity of our proposal a clear and neat arrangement. Therefore the new release is a compilation of four different books, which should invite the reader to inform themselves, to browse, to experience and to participate. The first one exposes all the topics, facts and dates for the further education programs. Part two presents all the people and their stories who are involved in the club, who are on stage and behind the scenes. The third book is a journey into the past and also the future of tgm’s conferences, excursions and other specials. And finally there is room for the reader’s own ideas, experiences and criticism as a foundation for a future dialogue with tgm.
Every offer under the roof of tgm is a result of solidarity. It is a result of people and companies who are united by the common interest in typographic quality. This project has only been possible with the support of Kösel Druck GmbH & Co Kg, Geese Paper, mycolorserver and the collaboration with Boah Kim.
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Scenes from Zagreb: Artists' Publications of the New Art Practice
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40 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farbkopien nach PDF, lose ineinander gelegt
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The New Art Practice was a term created for a generation of artists in the former Yugoslavia active in the late 1960s and throughout the 1970s. These artists shifted their practice to spaces outside the traditional studio, onto city streets, into artist-run spaces, and in multimedia performances and experimental publications. Focusing on artists working in the city of Zagreb, this exhibition documents aspects of this shift and highlights the ability of artists' publications to record these often ephemeral gestures and ideas. While artists such as Goran Trbuljak, Braco Dimitrijević, Sanja Iveković, Mladen Stilinović, and Vlado Martek, among others, worked in a variety of mediums, they shared a common impulse to produce publications. These artists questioned and played with ideas about the place of an artist within this particular political and socioeconomic context. Their work often involved public participation and blurred traditional notions of authorship through collective activities, chance operations, and the appropriation of language and imagery from the state and commercial media. The materials in this installation resonate with other contemporaneous scenes in Eastern and Central Europe and with broader international trends, while also providing an insight into very local networks of experimental artists and writers in Zagreb. All materials are drawn from the collection of the Museum of Modern Art Library.
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The Boy's and Girls Inside Mount Fiji
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[84] S., 24,8x19,8 cm, keine weiteren Angaben vorhanden
Broschur, Farblaserdruck
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Andrea Stultiens (1974, NL) received a Bfa and Mfa in photography at HKU University of the Arts and AKV St Joost in Breda respectively, and a Ma in photographic studies from Leiden University. Currently she divides her time between the Netherlands and Uganda.
Stultiens' artistic practice deal with photography in relation to understandings of the presentations of histories. Since 2007 her work originates mostly on the African continent and always develops in collaborations with others.
Since 2002 Stultiens has been teaching at Academy Minerva in Groningen (NL), where she was involved in setting up, and and recently started leading, a research group that looks at the use of photography in cross-disciplinary and cross-cultural artistic practices (PRICCAPractice). Stultiens won several awards, among others the Steenbergen Stipendium 1998, Bouw in Beeld Prijs 2009, GiDi Photo Art Award 2012. She exhibits and publishes internationally, with a focus on Uganda and the Netherlands.
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Selected works from 1990's
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[32] S., 19x13 cm, Auflage: 500, keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-Weiss Offsetdruck
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The William Crawford Estate is owned and represented by Ampersand Gallery. William Crawford's drawings were discovered in an abandoned house in Oakland, California. His work brings to mind characteristics of prison drawings, an impression confirmed by the fact that several were made on the backs of prison roster sheets dated 1997. These printouts, however, were cut down the middle, so the exact prison from which they originate is unknown. But given their origin in the Bay Area and the fact that several drawings include San Francisco landmarks, it's possible that Crawford made the work in a California state prison. Other than this information drawn from the archive itself, nothing is known about Crawford's life. Indeed, we only know his name because he signed just a few of the drawings, either as Bill, William or WM Crawford. The archive appears to have consisted of several books, with individual drawings in sequences of 30 or more adding up to tell complex visual stories. Several include written captions or fragments of conversation between male and female characters. These sequences, however, have been broken up over the years and reach us now in a fragmentary and fascinating collection of hundreds of delicate pencil drawings. The work conveys the intense sense of sexual longing of a man with an urge to tell dynamic stories. The drawings, which resemble the eroticism of Eric Stanton, the exaggerated male anatomy of Tom of Finland or the ample breasts of a John Currin, show scantily dressed women, drug use, cuckolding and orgies. The details of his interiors, the hairdos and style of dress suggest that Crawford might have come of age in the late 70s or early 80s. A cast of recurring figures populate the drawings, notably one man with a short afro and a moustache who often figures at the center of events, presumably the artist William Crawford himself. Remarkably, given the number of drawings, there is little to no repetition in the work. Crawford’s inventive eye for sexual positions, facial expressions and gestures of hand and body was vast and masterful. Simple geometric details and architectural subtleties define the unusual settings where the action unfolds. We see rooms shown from unusual angles, features that are hinted at, erased or altogether omitted and articles of clothing that are drawn with obsessive precision. This singular and original drawing style compels us to immerse ourselves in the world William Crawford created, more dream than documentation, more fantasy than perversion. Crawford's drawings have been widely exhibited, notably at Galerie Susanne Zander (Cologne and Berlin), Zieher, Smith and Horton (New York), Freddy (Baltimore) and upcoming solo exhibitions at FARAGO (Los Angeles) and Richardson (New York). His work is also featured in the latest issue of Richardson Magazine and was included in "System and Vision" at David Zwirner, an exhibition organized in collaboration with Delmes & Zander. Reviewing it, The New Yorker wrote, "William Crawford's orgiastic illustrations on the backs of prison rosters haven an erotic intensity that rivals anything by Hans Bellmer or Pierre Klossowski."
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140 S., 25x21,4 cm, ISBN/ISSN 978-1-907840104
Gelochte Seiten mit Musterbeutelklammern zusammen gehalten, in Klappumschlag, mit 18 roten Punkten beklebt. Innen teils andere Papiere
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The Piracy Project is an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction. Through research and an international call for submissions, the Project has gathered a collection of more than 150 modified, appropriated and copied books from all over the world. The collection, which is catalogued online, is the starting point for talks and work groups around the concept of originality, the notion of authorship and politics of copyright. The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying, re-editing, translating, paraphrasing, imitating, re-organising, manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way it is handled. The Piracy Project is an collaboration between AND Publishing and Andrea Francke. The Piracy Project The Piracy Project is an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction. Through research and an international call for submissions, the Project has gathered a collection of more than 150 modified, appropriated and copied books from all over the world. The collection, which is catalogued online, is the starting point for talks and work groups around the concept of originality, the notion of authorship and politics of copyright. The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying, re-editing, translating, paraphrasing, imitating, re-organising, manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way it is handled. The Piracy Project is an collaboration between AND Publishing and Andrea Francke.
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[32] S., 27x21,2 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Lieferverzeichnis des Backworks Buchladen 1976. Documents and Relics of Experimental Art 1952-1970. Table of contents: Fluxus and related objects and documents, Reuben Gallery, other performances and events (Musik, Dance, Happenings).
Co-owners Moore and Hendricks established Backworks in SoHo in 1976, based on their mutual curatorial interest in the objects and events of the downtown art and performance scenes, particularly by artists associated with the Rueben Gallery, Judson Memorial Church, Happenings and Fluxus, with which they were both connected as collaborators and curators. Moore and Hendricks, each of who has written extensively about figures such as George Maciunas, Yoko Ono, Allan Kaprow and Ben Vautier, among others, have been instrumental in the development of major collections, including the Gilbert and Lila Silverman Fluxus Collection at MoMA, and the Barbara and Peter Moore Fluxus Collection at Harvard. Backworks closed in 1983.
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MONO.KULTUR #39 Terre Thaemlitz - The Arrogance of Optimism
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48 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, auf verschiedenem Papier gedruckt, von rechts nach links zu lesen
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Politics and the dance floor make for uneasy bedfellows, and it is this uneasiness that drives most of the work of Terre Thaemlitz, confronting head-on issues that are usually off limits in electronic music. Thaemlitz is a producer and DJ, also known under their monikers of DJ Sprinkles, Social Material, and K-S.H.E, among others. But they are also a writer, educator and activist of sorts, with very fluid notions of gender, switching continuously between male and female drag. Born in 1968, Terre Thaemlitz left the rigidly conservative and violently homophobic environment of their home state, Missouri, in the mid-1980s for New York. They became involved in the queer and transgender scenes both socially and musically at a time when house music was not a genre but simply the wide open sound of a specific social and political space. As New York’s underground queer music scenes dissolved under gentrification, Thaemlitz eventually relocated to Tokyo at the beginning of the ’00s. In a challenging interview with mono.kultur, Terre Thaemlitz talked about the politics of sexuality, his disillusion with the music industry, and why roller disco was so amazing. Visually, the issue is a dark affair, steeped in a dirty, gritty black. Printed on no less than six different paper stocks and juxtaposing several grids and graphic systems, it creates its own visual logic – only to disturb our most fundamental habits of reading and navigating a magazine by opening backwards, from right to left.
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MONO.KULTUR #40 Edmund de Waal - W is for White
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44 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, auf verschiedenem Papier gedruckt
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Edmund de Waal is a potter. His pots, plates, and vessels are the result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained. Edmund de Waal is an artist. He arranges his objects in complex choreographies that are as mysterious as they are mesmerizing. Displayed in galleries and institutions worldwide, his considered installations play with architectural concerns, integrating ideas of space, light and obscurity. Edmund de Waal is a writer. Whether he sculpts with words or with clay, what Edmund de Waal works with are concepts, ideas, and desires. In a body of work that is at odds with our times and yet oddly successful, his writings and objects overlap and integrate each other in an attempt to understand and transcend our complex relationship with objects and our surroundings. In an interview with mono.kultur structured like an A-Z of notes and ideas, Edmund de Waal talked about his rules of attachment, the impossibility of repetition, and why ‘doubt’ is the most beautiful word. Visually, the issue takes inspiration from that most perfect of materials: porcelain. Printed entirely in double-sided splendour, the two finishings of the paper – shiny gloss and smooth matt – evoke the texture of ceramics before and after glazing.
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Paper - Material, Medium and Magic
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240 S., 27x21 cm, ISBN/ISSN 9783791383064
Fadenheftung, offener Rücken, Hardcover, verschiedene Papiere
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Wide-ranging and multi-faceted this intriguing and beautifully produced book will change the way you relate to paper in an increasingly “paperless” society.
While sheets of paper are disappearing from our homes and offices, the medium is experiencing a renaissance in the worlds of art, design, and architecture. Suddenly, paper is everywhere— but not only in the old familiar places or forms. This fascinating book looks at every aspect of paper: its history, composition, production, application, and trade. Beginning with the anatomy of paper and its earliest forms, this book looks at paper as a symbol of political and economic importance and as a carrier of ideas, from literature to art, design, and music. It looks at the different surfaces, opacities, weights and volumes of paper and how it is used for printing, typography, graphics, and maps as well as a vehicle for origami, architecture, and fashion. Sumptuously illustrated with photographs and drawings, this book includes a variety of papers for readers to examine and feel, highlighting the sensual aspects of this seemingly ordinary product. Engaging, entertaining, and informative, this book contains a wealth of useful and surprising information on every printed, colored, and textured page.
Text von der Webseite
Mit Literaturverzeichnis und Liste der Museum, die sich mit Papier/Buch befassen
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332 S., 25,7x29,5x3 cm, ISBN/ISSN 0500284091
Broschur, Klappcover, auf verschiedenen Papieren gedruckt
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This volume by and about the sculptor and pioneer land artist Richard Long explores his work from the 1990s to the present day. Long's ability to make works of physical and intellectual beauty is unrivalled, and this new journey takes the reader around the world: to the Sahara Desert and down the Rio Grande, from coast to coast in Ireland and Spain, to Tierra del Fuego and Mongolia, and to the forests of Honshu in Japan. Some of the artist's sculptures were made during his walks through the world's landscapes, while others bring the material of nature - stones, boulders, driftwood, clay and mud - into a more public or sheltered environment: museums, galleries, houses, gardens. These works feed the senses, whereas the texts and photographs recording the artist's walks feed the imagination.
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Artists' Magazines - An Alternative Space for Art
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368 S., 24,8x19 cm, ISBN/ISSN 9780262528412
Broschur
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Originalausgabe von 2011.
During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists’ Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.
Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists’ postage stamps, and collectible chapbooks, Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions, and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists’ Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.
In den 1960er und 1970er Jahren wurden Zeitschriften zu einem wichtigen neuen Ort der künstlerischen Praxis und fungierten als alternativer Ausstellungsraum für die entmaterialisierten Praktiken der Konzeptkunst. Künstler schufen Werke speziell für diese massenproduzierten, von Hand herausgegebenen Seiten und nutzten die Vergänglichkeit und Materialität der Zeitschriften, um die Konventionen sowohl des künstlerischen Mediums als auch der Galerie in Frage zu stellen. In Artists' Magazines befasst sich Gwen Allen mit den wichtigsten dieser Zeitschriften in ihrer Blütezeit (1960er bis 1980er Jahre) und stellt ein umfassendes, bebildertes Verzeichnis von Hunderten weiterer Zeitschriften zusammen.
Zu den von Allen untersuchten Magazinen gehören Aspen (1965-1971), ein multimediales Magazin in einer Box - die Ausgaben enthielten Super-8-Filme, Flexi-Disc-Schallplatten, kritische Schriften, Briefmarken von Künstlern und Sammelbücher, Avalanche (1970-1976), das durch seine Interviews und von Künstlern gestalteten Beiträge den gegenkulturellen Charakter der aufstrebenden Kunstszene von SoHo zum Ausdruck brachte, und Real Life (1979-1994), das von Thomas Lawson und Susan Morgan als Forum für die Generation Pictures herausgegeben wurde. Diese und die anderen von Allen untersuchten Magazine unterschieden sich in Form und Inhalt von den Mainstream-Medien: Sie stellten ihre hausgemachte Do-it-yourself-Qualität der Glätte eines Artforums gegenüber und schufen Arbeiten, die sich der formalistischen Orthodoxie der Zeit widersetzten. Artists' Magazines, mit zahlreichen Farbabbildungen von Titelseiten und Inhalten, bietet einen unverzichtbaren Leitfaden für ein wenig erforschtes Medium.
Übersetzt mit www.DeepL.com/Translator, Text von der Webseite
Erwähnt werden neben vorwiegend amerikanischen Magazinen auch europäische Magazine
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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 artist‘s world, receiving li ttle personal snippets of the life in and around his or her art, but also (and perhaps even more importantly) — 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 shift ing to feelings of uncertainty and instability. She approaches these issues by trying to newly create, to turn around overpowering views and conditions that are today so influenced by our consumer society and tries to get nearer to traits that are rooted in human nature.
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[124] S., 18x13,5 cm, ISBN/ISSN 9782954197401
Broschur, Buchrücken aufklappbar, gefaltetes Plakat in eingeklebter Papierhülle, Posterformat 85,4x64cm, in Schutzhülle mit Aufkleber
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A journal written at the third person that seeks to depict Antoine d’Agata’s quest – the inexorable course from void to void.A literary and photographic experiment where words, sometimes descriptive, sometimes poetic, intersect with images in a narrative continuity. An example of the photographer’s existential choice and form of resistance which leads toward the subject’s disappearance and the ego’s negation within the neutral spectrum of the image while insisting on an intimate involvement with its matter and a perfect superposition of art and life. The pictures have been treated and reduced to the simple black and white contrast, following the main axis of this editorial project: shaplessness and the sense of fading-out. This flattening to a drawing effect releases the image as a shadow, a border between a recognizable sign and a blurry, ambiguous one, so that the photograph is both “trace” and “other”. The book, whose main language is English, also foresees a separate and folded poster, including texts in French on one side and, for the first time, in Italian on the other printed on a background colour image. The two languages allow to include texts in their original version, but allude as well to the artist’s double origins. In line with the book, the poster also reflects d’Agata’s search direction towards the interlacing of word and image and it finally refers to the idea of a topographic description of passions. Member of the Magnum agency, Antoine d’Agata (1961) is one of the most influential photographers of his generation. He lives in both Paris and Marseilles and he works around the world. He is represented by the gallery Les Filles du Calvaire, Paris.
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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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‘Curated by Weekly’ 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 “curated” 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 project’s 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.
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photo text text photo - The Synthesis of Photography and Text in Contemporary Art
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144 S., 23,5x22 cm, ISBN/ISSN 3908162483
Grauer Leineneinband mit Schutzumschlag.
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Katalog zur Ausstellung im Museion, Museum für Moderne Kunst Bozen, 13.09.-17.11.1996, Frankfurter Kunstverein, 21.01.-03.03.1997."Purely visual perception and viewing of pictures is impossible. We always encounter pictorial images - as in this book description itself - in contexts. It is to this complex of interrelationships between text and photography and the aesthetic potential it holds that the book photo text text photo is dedicated. Based upon a representative selection of important examples of this work across media boundaries from recent photographic history since 1967, the theme of the fertile tension between words and images is explored in images (more than 100 works by 32 different artists) and words (texts by Andreas Hapkemeyer and Peter Weiermair). This revealing look at the art of combining text and photography begins with the milestone works of Conceptual Artists such Joseph Kosuth, Robert Barry, Douglas Huebler, On Kawara, John Baldessari and Hamish Fulton. Alongside other early examples from Italy - Maurizio Nannucci, Giulio Paolini, and Vincenzo Agnetti - the book also features representatives of utopian and critical approaches to social issues, including Josef Beuys and Klaus Staeck. The 1970s and 1980s are represented by the artists Ketty La Rocca, Jochen Gerz, Karen Knorr and Urs Luthi. More recent and current positions are evident in the works of Louise Lawler, Jenny Holzer, Barbara Kruger, Ken Lum, Heiner Blum, Laura Padgett and Marie-Jo Lafontaine. The publication photo text photo provides a long-awaited inventory of the most recent developments in the aesthetic exploration of the relationships between text and images in contemporary art."
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BAU 2 - Contenitore di Cultura Contemporanea
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31,5x22,5 cm, Auflage: 150, numeriert, signiert, keine weiteren Angaben vorhanden
Box aus braunem Stülpdeckel Karton, Siebdruck, eingelegt 16-seitiges redaktionelles Schwarz-Weiss Heft, 55 Arbeiten von 65 Künstlern. Diverse Techniken auf Papier, dünnem Karton, Folie, Metall, plus 6 Multimedia Discs. Cover und Layout: Carlo Battisti. Zollinhaltserklärung beigelegt
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BAU was founded in 2004 in Viareggio, on the coast of Tuscany, by a group of artists and individuals interested in the many-sided aspects of the culture of our times. Thanks to a widespread and constantly expanding network of contacts, every year the project takes the shape of an expressly designed UniA4 sized box: BAU container of contemporary culture. This non-profit box is produced in a limited edition of 150 copies (120 for issue 1 and 200 for issues 9-10) and contains original works, signed and numbered, from a large number of international contributors.
The BAU container fits in the vast tradition of assembling publications and artists‘ magazines that developed since the early sixties. It intends to experiment with new languages, technologies and materials, operating in a peculiar dimension of group work that is open also to contributions from non-artists: outsiders, travellers, collectors of curiosities, creative gastronomers, anomalous scientists.
In a relational and non competitive perspective that is responsive to the relationships between art and science, politics and environment, BAU acts as a meeting point in order to stimulate dialogues, interactions and exchanges among the most diverse disciplines: graphics, collage, photography and the visual arts in general, but also poetical and narrative researches, acoustic and performative experiences, documents pertaining the fields of fashion and design, etc. The operative network expresses itself also through the planning of exhibitions, meetings, festivals and events, organized in institutional spaces (libraries, galleries, museums) and in atypic locations.
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Arts of the Working Class No. 34 - Family Values
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56 S., 35,2x25,8 cm, keine weiteren Angaben vorhanden
Lose ineinander gelegte Blätter, Druck auf Zeitungspapier, Einlage einer Doppelseite in der Mitte der Zeitung: Berlin Global, The Berlin Exhibition at the Humboldt Forum
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„Arts of the Working Class“ ist eine Straßenzeitung für Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthält Beiträge von Künstlern 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 Künstler, dessen Arbeit beworben wird, gestaltet mit.
Is our family like a tree, firmly rooted, or like a fan, unfolding in many directions? The notion of family has long been framed as a stable, secure entity. Yet today, family values are shaped by forces that generate profound insecurity— economic, ecological, and social. Drawing from Astra Taylor's insights in The Age of Insecurity, this issue exam- ines how systems designed to create security, like money and property, paradoxically deepen our anxiety and uncertainty.
As we approach the end of a year marked by wars and destabilization, we rethink the family nucleus as more than just a biological or historical unit. We explore it through artists like Ayumi Paul, Danh Vo, and Leiko Ikemura, who offer alternative visions of interconnectedness. Taylor’s argument that capitalism is an “insecurity-producing machine” applies here, as the traditional family model is manipulated by power structures to uphold inequality, creating both division and a false sense of safety.
Inspired by Japanese graphics from the Edo period (1603–1868), safeguarded at the Langen Foundation— celebrating its 20th anniversary as a family-run art collection—we explore how contemporary artists reinterpret the era’s sustainable practices of togetherness, where human and ecological bonds coexisted in both peace and crisis. Through artists like Michikazu Matsune and Ayami Awazuhara, we see how family ties, like other social structures, are fluid and shaped by their surroundings. Yet, as Taylor notes, insecurity invites solidarity. Even the privileged are not immune to financial or environmental precarity, as Joshua Citarella and Catherine Liu discussed in their conversation on the rise of the new managerial class.
As curator Sohrab Mohebbi reminds us, “Art is where we practice freedom,” and that freedom opens new possibilities for collective strength. In this light, artists like Paulina Nolte, Malte Bartsch, and Katrin Mayer explore how expanding our concept of families—and by extension, cities and societies—can offer a path toward resilience. We hope you enjoy this edition, carefully curated to introduce Arts of the Working Class in Japan first as an e-paper and now in print on the streets of Berlin and elsewhere.
Ist unsere Familie wie ein Baum, fest verwurzelt, oder wie ein Fächer, der sich in viele Richtungen entfaltet? Der Begriff der Familie wurde lange Zeit als stabile, sichere Einheit verstanden. Doch heute sind die Werte der Familie von Kräften geprägt, die zu tiefgreifender Unsicherheit führen - wirtschaftlich, ökologisch und sozial. Auf der Grundlage von Astra Taylors Erkenntnissen in The Age of Insecurity (Das Zeitalter der Unsicherheit) wird in dieser Ausgabe untersucht, wie Systeme, die Sicherheit schaffen sollen, wie Geld und Eigentum, paradoxerweise unsere Angst und Unsicherheit vertiefen.
Da wir uns dem Ende eines von Kriegen und Destabilisierung geprägten Jahres nähern, überdenken wir die Kernfamilie als mehr als nur eine biologische oder historische Einheit. Wir erforschen sie mit Hilfe von Künstlern wie Ayumi Paul, Danh Vo und Leiko Ikemura, die alternative Visionen der Zusammengehörigkeit anbieten. Taylors Argument, dass der Kapitalismus eine „Unsicherheit produzierende Maschine“ ist, trifft hier zu, da das traditionelle Familienmodell von den Machtstrukturen manipuliert wird, um Ungleichheit aufrechtzuerhalten und sowohl Spaltung als auch ein falsches Gefühl von Sicherheit zu schaffen.
Inspiriert von japanischen Grafiken aus der Edo-Periode (1603-1868), die in der Langen Foundation - die ihr 20-jähriges Bestehen als familiengeführte Kunstsammlung feiert - aufbewahrt werden, erforschen wir, wie zeitgenössische Künstler die nachhaltigen Praktiken des Miteinanders dieser Epoche, in der menschliche und ökologische Bindungen sowohl in Frieden als auch in Krisen koexistierten, neu interpretieren. Anhand von Künstlern wie Michikazu Matsune und Ayami Awazuhara sehen wir, dass Familienbande wie andere soziale Strukturen fließend sind und von ihrer Umgebung geprägt werden. Doch, wie Taylor anmerkt, lädt Unsicherheit zur Solidarität ein. Selbst die Privilegierten sind nicht immun gegen finanzielle oder umweltbedingte Prekarität, wie Joshua Citarella und Catherine Liu in ihrem Gespräch über den Aufstieg der neuen Managerklasse erörterten.
Der Kurator Sohrab Mohebbi erinnert uns daran, dass „Kunst der Ort ist, an dem wir Freiheit praktizieren“, und dass diese Freiheit neue Möglichkeiten für kollektive Stärke eröffnet. Vor diesem Hintergrund untersuchen Künstler wie Paulina Nolte, Malte Bartsch und Katrin Mayer, wie die Erweiterung unseres Konzepts von Familien - und damit auch von Städten und Gesellschaften - einen Weg zur Resilienz bieten kann. Wir wünschen Ihnen viel Spaß mit dieser Ausgabe, die sorgfältig kuratiert wurde, um Arts of the Working Class in Japan zunächst als E-Paper und nun in gedruckter Form auf den Straßen von Berlin und anderswo vorzustellen.
Von der Website, übersetzt mit DeepL
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Libri d’arte, passione di una vita
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keine weiteren Angaben vorhanden
Artikel über Reinhard Grüner,
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Reinhard Grüner is a collector from Monaco. His passion is art books, which he collects – and sometimes exhibits – since the 1960s.
His website, www.buchkunst.info is a real “online museum”, where international artist books are catalogued and photographed. Amongst the artists there are Marc Chagall, Anselm Kiefer, Henri Matisse, Pablo Picasso and Andy Warhol. Books, but also works of art made of images and text, created by the artist often in collaboration with a writer and a publisher. For the high artistic quality – original graphics, unique designs, paintings and collages – these works are different from the usual picture books. Their manifestations are multiple: books with graphic effects, objects-book, artist’s books, sometimes printed in offset or illustrated by works of artists.
At the centre of Grüner’s attention there are Eastern German and Eastern European books (mainly Russia, Hungary, Lithuania). many of these works were created in response to specific social, political and cultural issues, with unimaginable insights into the culture of modernity.
Reinhard first came in contact with the art in book form with the English Edition, printed privately, of “A Dissertation Upon Roast Pig”, printed in 1975 by Shoestring Press on paper of the legendary Chiswick Press: from here begins a life of a book maniac among thousands of books. As Grüner states in an essay, the acquisition of artist books is more than a simple purchase: the artist, the life as a collector and thoughts are tied together, they influence each other, and a network of contacts with other collectors begins. With nearly all the books in his collection Grüner forms a symbiotic relationship: each of them describes, explains, and gets to the heart of some chapters of his life.
Download the pdf file with the essay on the collection of Reinhard Grüner (in English)
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ruine 05 - The Phone is the Keyhole - The Penpot, the Heart.
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[8] S., 17x29,7 cm, 2 Teile. keine weiteren Angaben vorhanden
2 handgefaltete Bögen, 65 x 118 cm, A4-Blatt mit eingeprägtem Signet als Umschlag, Spanngummi, Vorderseite Fotos Schreibtisch/Computer, Rückseite Collage aus Texten, Zeichnungen
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Herausgegeben von Ruine München, die AutorInnen gehören dem Komitee der Transmission Gallery Glasgow 2018 an.
Erschienen in der Publikations- und Ausstellungsreihe Ruine München, in Verbindung mit Galerie-Austausch various others. 14.09.18: ZINE Release, Königsplatz, München
On the occasion of Various Others we are glad to announce that Transmission Gallery Glasgow will do the next issue of Ruine München. Transmission Gallery has existed since 1983 and it is managed and programmed by a voluntary committee of six people, each of whom joins successively and may serve for a maximum of two years. For Ruine München the current commitee (Thulani Rachia, Adam Benmakhlouf, Myriam Mouflih, Alberta Whittle, Alaya Ang and Katherine Ka Yi Liu) developed a mapping of their space trying to include all their current changes, reflections and workflows using the principles of painterly abstraction as a means of institutional reflection and critique.
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Being with Others - Zusammensein
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14,8x10,5 cm, keine weiteren Angaben vorhanden
Ein Seite, dickeres Papier, beidseitig bedruckt, Schwarz-weiß
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Einladungskarte für die Ausstellung "Being with Others – Zusammensein" von 09.12.2022-28.01.2023. Für die Ausstellung hat einBuch.haus zwölf zeitgenössische Künstler*innen und Verleger*innen eingeladen, die das Buch als zentrales Medium ihrer künstlerischen Praxis nutzen. Der Titel verweist auf die Vorstellung einer Vernetzung der Künstler*innenbuch-Community und der Verbreitung ihrer Arbeiten, indem der Ausstellungsraum als Plattform für Präsentation und Austausch zur Verfügung gestellt wird. Er verweist auch auf die medienspezifische Mobilität und Zugänglichkeit von Büchern in der Rezeption ihrer Leser*innen.
[...]
Ein Buch ist eine Verbindung.
Ein Buch ist eine Begegnung.
Ein Buch ist ein bewohnter Raum.
Ein Buch ist das, woran man sich stößt, wenn man zurücktritt, um eine Skulptur zu betrachten.
Ein Buch ist ein Raum mit Zeit.
Ein Buch ist ein Buch.
Ein Buch ist ein zeitbasiertes Medium.
Ein Buch ist eine perfekte Symbiose zwischen Form und Inhalt.
Ein Buch ist eine Skulptur.
Ein Buch ist ein Portal.
Ein Buch ist ein Behälter für möglichen Inhalt.
Ein Buch ist intim.
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We Rise by Lifting Others
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21x14,8 cm, keine weiteren Angaben vorhanden
Karte, rückseitig handschriftlicher Gruß von Barbara Donaubauer
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Zur Ausstellung 04.05.-10.09.2023
Marinella Senatore (*1977) ist eine zentrale Figur der italienischen Gegenwartskunst. Mit ihren Projekten schafft sie Orte, an denen Menschen gemeinsam etwas entwickeln und ihre Kreativität entfalten können. Nach der Tradition der griechischen Agora, des römischen Forums oder des örtlichen Hauptplatzes stellt die Künstlerin Rahmenbedingungen her, um diese Begegnungen zu initiieren und zu begleiten. Ihre Kunst schafft Öffentlichkeit. Sie kanalisiert zwischenmenschliche Energie, um eine Gemeinschaft zu stiften, die das Kunstprojekt zur identitätsbildenden Grundlage macht. Zusammen werden Filme gedreht, Radiobeiträge verfasst und Tanzaufführungen vorbereitet. Wenn die Künstlerin über ihre Arbeit spricht, zählt sie allerdings nicht die entstandenen Werke auf, sondern die Mitwirkenden: Inzwischen sind es mehr als sieben Millionen Menschen.
Neben den prozessual angelegten Projekten, die als partizipative Installation oder Aktion im öffentlichen Raum konzipiert sind, umfasst ihr Werk zum Teil kollaborativ entstandene Zeichnungen, Collagen, Fotografien, Textilien, Fotografien, Soundkompositionen, Filme, Malereien, kleine Skulpturen und in jüngerer Zeit Lichtinstallationen, sogenannte „Luminarie“. Die einzelnen Arbeiten stehen im Zusammenhang mit den großen partizipativen Projekten. Literarische, philosophische und politische Parolen, die Mitwirkende bei den Treffen einbringen, ergänzen sich, während sie ihr Bedeutungspotenzial durch einen neuen Kontext erweitern: We Rise by Lifting Others ist zu einer Absichtserklärung geworden.
Das Museum VILLA STUCK veranstaltet in Kooperation mit dem Museum der Moderne Salzburg und der Sammlung Generali Foundation die bisher größte Ausstellung der Künstlerin als ein Projekt in zwei Kapiteln, die an beiden Städten zur gleichen Zeit zu sehen sind. Beide Präsentationen ergänzen sich und bieten einen Überblick über die gesamte Bandbreite von Senatores Werk. Fragen nach der Spannung zwischen Individuum und Kollektiv, nach Sehnsüchten und Zugehörigkeit, nach gesellschaftspolitischer Exklusion und alternativen Organisationsformen werden ebenso erörtert wie das transformative Potenzial der Kunst. ...
Im Museum VILLA STUCK steht ab Anfang Mai 2023 den Mitwirkenden der Parade ein Raum zur Nutzung innerhalb der Ausstellung „We Rise by Lifting Others“ von Marinella Senatore offen, hier können regelmäßig Workshops und Proben stattfinden. Am 23. Juli wird „The School of Narrative Dance“ mit allen Beteiligten eine Straßenparade gestalten, die sich vom Museum über die Prinzregentenstraße bis zum Odeonsplatz erstreckt. ...
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Paper News #11 - August, September, Oktober 2018
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4 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Ein Blatt, gefaltet
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The independent publisher's quarterly by Drucken Heften Laden. Drucken Heften Laden discusses and analyses the conditions and possibilities for independent publishing in the context of art and city (politics). Drucken Heften Laden derives from an eponymous exhibition, workshop and series of events at neue Gesellschaft für bildende Kunst (nGbK) in Berlin which took place in January 2015. Since then a small group of Berlin-based producers and publishers gathers regularly: “We share experiences and resources, and build a discourse around production methods and values as well as the distribution of books and booklets.Publishing is always set in distinct time and space. Today’s diversity of media fosters hybrid formats between the analogue and the digital. We are interested to negotiate and sharpen our idea of what „independent“ and „self“ publishing means today.Drucken Heften Laden filters and disseminates information, and creates a public platform for exchange and discussion, accessible to everyone interested in such practice.”
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MONO.KULTUR #37 James Nachtwey - Shades of Time
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52 S., 20x15 cm, ISBN/ISSN 18617085
Zwei Hefte, Drahtheftung, ineinander gelegt
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Inspired by the press images from the Vietnam War that told a very different story to the official government statements, James Nachtwey found his calling that he would pursue with determination and compassion that are admirable: to document the effects of war, terror and disease. In the hope of raising awareness and inspiring intervention and change, his photographs are neither easy to look at nor easy to forget. Having witnessed and reported on the defining conflicts and tragedies of the past three decades – from the revolutions of South America and Eastern Europe to the famines in Africa, from 9/11 to the wars in Iraq and Afghanistan – Nachtwey’s photographs focus on the costs of war: the suffering of civilians, the damage and the scars. There is no doubt that Nachtwey’s images are a challenge – to the powers that be by proposing an unflinching look at the reality on the ground, at the effects of politics on human lives, but also to us as their audience, by questioning our implication and, quite simply, by opening our eyes to the world. In a rare and frank interview with mono.kultur, James Nachtwey talked about his struggles with photography, the different realities of war, and why images have the power to create change. Graphically, the issue is at its most reduced, giving ample space to let the words and images unfold: coming in two separate booklets, it presents a personal and uncommented selection of James Nachtwey’s work in one, and a highly intriguing and challenging conversation in the other.
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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 isn’t 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.
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Artist Music Journals Vol. 1 No. 09 - Seripop
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[24] S., 26,5x26,5 cm, Auflage: 1.000, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Heft in Pappschuber mit Aufkleber
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Edition 09 in the ongoing Artist Music Journals series features the work of the Montreal based artists and musicians Chloe Lum and Yannick Desranleau, known as Seripop. Known for their original illustration and design work, as well as their longstanding tenure as founders and members of the musical outfit Aids Wolf, Seripop have a broad following around the globe. For their AMJ, Seripop compiled years of original gig poster work, the first collection of its kind for the studio, which has made thousands of prints over the years.
About Seripop: Yannick Desranleau and Chloe Lum are visual artists and musicians who started collaborating in 2002 under the nom de guerre Seripop. Based in Montreal, Seripop has earned international attention for its stylistically distinct, silkscreened street posters. In 2005, Lum and Desranleau began experimenting with sculptural print installations which merge notions of city politics and visual perception. The duo has been speaking and exhibiting their work at various art institutions including Baltic Centre for Contemporary Art in Gateshead, England, Peacock Visual Arts in Aberdeen, Scotland, and the University of North Texas, Denton, USA. In addition to Seripop, Lum and Desranleau play in AIDS Wolf, a noise-rock band and Hamborghinni, a drums and electronics project.
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Outsiders - American Photography and Film 1950-1980s
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194 S., ISBN/ISSN 9780847849550
Hardcover, fadengeheftet
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Outsiders, a special exhibition of unforgettable images opening at the AGO March 2016, highlights photographers and filmmakers working in the United States from the late 1950s to the mid-1980s in a time of intense political and cultural turmoil. It's no accident that artists at the time turned to photography and film - mass media then largely "outside" the realm of mainstream art and its focus on painting and sculpture- to express a broader range of human experience. Photographs by some of the greatest artists of the period depict musicians, cross-dressers, biker gangs, protests, press conferences, and even animals, bringing to light the complex social realities and the yearning for greater collective and individual equality. As part of the exhibition, the AGO will be presenting films by artists Kenneth Anger, Marie Menken, Robert Frank, Shirley Clarke, and others.
Text von der Website.
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[8] S., 27,8x21,5 cm, keine weiteren Angaben vorhanden
Vier lose Blätter, einseitig bedruckt
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Lieferverzeichnis des Backworks Buchladen Januar 1977. Co-owners Moore and Hendricks established Backworks in SoHo in 1976, based on their mutual curatorial interest in the objects and events of the downtown art and performance scenes, particularly by artists associated with the Rueben Gallery, Judson Memorial Church, Happenings and Fluxus, with which they were both connected as collaborators and curators. Moore and Hendricks, each of who has written extensively about figures such as George Maciunas, Yoko Ono, Allan Kaprow and Ben Vautier, among others, have been instrumental in the development of major collections, including the Gilbert and Lila Silverman Fluxus Collection at MoMA, and the Barbara and Peter Moore Fluxus Collection at Harvard. Backworks closed in 1983.
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[2] S., 9,8x21 cm, Auflage: 2.000, 2 Stück. keine weiteren Angaben vorhanden
Postkarte
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Messe für independent Künstlerpublikationen 12.-13.11.2021 im Haus der Kunst, München, mit radio 80000, das Internetradio. Südgalerie 1. Stock, Eintritt frei
Zum zweiten Mal seit dem Auftakt im Jahr 2019 zeigen über 50 Künstler*innen, Gestalter*innen und alternative Verleger*innen ihre Produktionen im Haus der Kunst. Damit erhält die in München sehr lebendige und aktive Künstlerbuchszene die Fläche für einen gemeinsamen Auftritt. Neben dem Schwerpunkt München sind diesmal auch Produzent*innen aus Österreich (Auslöser sowie Darja Shatalova und Kristian Ujhelji), der Schweiz (_957 Independent Art Magazine sowie GRRRR) und den Niederlanden (The Artist and the Others sowie Dutch Independent Art Book Publishers und Lula Valletta & HOK) vertreten. Tobi Huschka aus Köln stellt Bücher vom Kunsthaus Kat18 vor, einer inklusiven Kunstwerkstatt. Die Münchner piratInnenpresse, ein Verlag von Kindern und Jugendlichen, stellt Taschenbücher und Faltkarten her. Ihr üblicher Versammlungsort ist „die Kajüte unterm Dach der Seidl-Villa in Schwabing“. Iwalewabooks hat die jüngsten Entwicklungen in der zeitgenössischen Kultur Afrikas im Fokus.
Die Teilnehmenden sehen sich in der Tradition der 1960er-Jahre, als sich im Umfeld der postavantgardistischen Kunstszene neue Kommunikations- und Distributionsnetze bildeten. Ihre Produkte wie Künstlerbücher, Magazine oder Zines sind autonome Kunstwerke. Mit ihrer Ethik der Zugänglichkeit, die in Preisgestaltung und der Direktheit von Vertriebswegen zum Ausdruck kommt, bilden sie ein Gegengewicht zu den gängigen Spielregeln des Kunstmarkts.
Die Publikationen können direkt vor Ort gekauft werden.
Super BOOKS ist eine Kooperation mit AAP Archiv Künstlerpublikationen, Akademie der Bildenden Künste München und fructa space.
Kuratiert von Sabine Brantl mit Hubert Kretschmer, Martin Schmidl sowie Quirin Brunnmeier und Malte Wandel.
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Sutere Soven Musicfestival
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[2] S., 21x14,8 cm, keine weiteren Angaben vorhanden
Postkarte
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17.-19.08.2018.
Suture means sewing. This is the idea we will be following on each and every level of our festival. Suture Soven Music Festival emerged out of the wish and the need to bring musicians and their audience together in a way that enhances deep listening and watching musical appearances that provide the potential for creating something new in a cheerful and caring atmosphere. We will watch and hear the beautifully radical positions and ideas of international musicians. In terms of musical style, we are situated at the intersection of jazz, free improvised music, classical modernism and new music.
The first Suture Soven Music Festival will take place in an old farm house in the countryside. the concerts will be held in the barn and in the attic of an old stable. By locating the genre defying music in the beautiful countryside of Lower Saxony (Wendland) we invite local people from the area as well as from the cities to make the connection between different worlds and points of views for three days in Suture Soven. We are striving to shape the surrounding area of the festival and make it as sustainable as possible, while working with local farmers and craftsmen. We offer a space and time that taps on an urge to create a sensual narrative. The music we listen to, the words we hear and speak, the food and drink we are provided with, in a setting that will be home to us for three summer days offer us the possibility of making sense.
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When the Saints - il lato spirituale di FUN
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10,8x7,3 cm, keine weiteren Angaben vorhanden
weisse Faltschachtel, golden bedruckt, darin ein einfarbig violett gedrucktes 16 seitiges Booklet (drahtgeheftet) und 36 beidseitig farbig bedruckte Karten 10,5x7
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a colour box set with 36 alternative saints of the FUNtastic Nations by international authors (Giacon, Ruijters, Zattera, Chiarotto, Staffa, King, Echaurren, Biancuzzi, etc.) plus 16 pp booklet.
F.U.N. (Funtastic United Nations) is an independent and supranational organization that intends to stimulate a cooperation amongst all kinds of imaginary countries and worlds, coordinating meetings, publications, exhibitions and events. We offer our skills and resources to create a bridge between creative and funtastic geographical entities, representing numberless and mutable virtual countries, multiethnical and transgender, where the passports, postage stamps and banknotes are real but not the wars.
F.U.N.’s vocation to interact in an horizontal “networking” attitude with local and distant, real and imaginary situations, to create unexpected interferences between art and daily life, is a strategy aimed at preserving the biodiversity of cultures and encouraging an eco-friendly, free and open participation to the creative experience. F.U.N. is the logic evolution of over twenty years of networking activities in the fields of mail art, of independent music (The Great Complotto, Le Forbici di Manitù), of collective multimedia projects (Trax), of multiple names (Lieutenant Murnau, Mind Invaders, Luther Blissett), of imaginary worlds and characters (Stickerman-Stickerland) and of counter-cultural documentation (various fanzines, AAA Editions).
Text von der Webseite
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Art-Language volume 4 Number 3 - Ways of Seeing
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126 S., 20,7x14,8 cm, keine weiteren Angaben vorhanden
Broschur
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Art & Language, Volume 4, Number 3 is an attempt to produce a guide to Ways of Seeing by John Berger et al.
Art-Language, Volume 4, Number 3 is an attempt to produce a guide to 'Ways of Seeing' by John Berger et al. It might be argued that 'Ways of Seeing' has already been dispensed with, that it is obvious to anyone worth talking to that it is a bad book, etc. But it is a paradigm of sorts. It pricks the liberal conscience from the Left and enlightens the inert mass from above. It is widely recommended to art students and to others studying the arts. It suffers from an almost incredible number and variety of defects. Some of them were pointed out long ago, others are made explicit here for the first time. An adequate criticism of 'Ways of Seeing' will be in part the criticism of a paradigm. It will be clear to many readers that this is more than just a criticism stuck to the text. It is a detailed examination of a broad range of attempts at mystification and the conditions of their occurrence.
authors statement
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15x10,5 cm, keine weiteren Angaben vorhanden
Softcover, Broschur
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Publikation zur New York Art Book Fair 2017. Printed Matter presents the twelfth annual NY Art Book Fair, from September 22 to 24, 2017, at MoMA PS1, Long Island City, Queens. Free and open to the public, the NY Art Book Fair is the world’s premier event for artists’ books, catalogs, monographs, periodicals, and zines. The 2017 NY Art Book Fair will feature over 370 booksellers, antiquarians, artists, institutions and independent publishers from twenty-eight countries. This year’s NY Art Book Fair will include an ever-growing variety of exhibitors - from zinesters in (XE)ROX & PAPER + SCISSORS and the Small Press Dome representing publishing at its most innovative and affordable, to rare and antiquarian dealers offering out-of-print books and ephemera from art and artist book history, plus the NYABF-classic Friendly Fire, focused on the intersections of art and activism. NYABF17 will host an array of programming and special events, including: The Classroom, a curated engagement of informal conversations, workshops, readings, and other artist-led interventions, for the eighth year running, as well as The Contemporary Artists’ Book Conference (CABC), in its tenth year, featuring two full days of conversation on emerging practices and issues within art-book culture.
Text von der Website.
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An Abecedary of a Certain Time in Digital Media
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[32] S., 14,8x10,5 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Heft mit einem "fotografischen Alphabet" bestehend Schwarz-Weiß Bildern, die bei der Buchstabensuche als erstes Ergebnis bei Google Bildern erschienen sind.
"Nowadays the alphabet, like other cultural paradigms and communication evolutions, hosts a new series of menaings. The digital era, despite it being liked by some and not by others, has arrived and not only that, but is there to stay. The following document tries to be an object of reflection, and the same time, a file for the posterity, as this precise digital era raises doubts about the sustainability of our culture over time that is to come, and the intangibility of it. With this document we capture the past in order to project it into the future. Based on a series of temporary parameters (pictures uploaded in the last 24 hours) and a format (black and white photography, medium size) we extract the following pictures to create the photographic alphabet of Google Images. This confirms the initial concept; the documentation which is exhibited here never again belonged to the momentary alphabet on the 3th of December in the present year, so we manage to capture the present (already the past as you read these precise words) and we leave it physically alive in the future, making the common belief of printing as old fashioned and didgital as actual lose its sense, finding the way to make contemporary, in other words, tangible or visible today, something which doesn't exist on the web anymore."
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Artist's Book Yearbook 2020-2021
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236 S., 29,6x21 cm, ISBN/ISSN 978-1-906501181
Broschur, Softcover, design by Tom Sowden
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The ABYB is a biennial reference publication focusing on international activity in the field of book arts. It serves as a resource for artists, academics, students, collectors, librarians, dealers, publishers and researchers, in fact anyone interested in artists’ books!
The 2020-2021 issue will have essays, articles, and lots of useful information on: Artist’s Book Publishers & Presses; Bookshops for artists’ books; Artist’s Book Dealers; Artist’s Book Galleries & Centres; Collections, Libraries & Archives; Artist’s Book Fairs and Events; Book Arts Courses and Workshops; Design, Print & Bind; Print Studios; Journals and Magazines; New Reference Publications; Organisations, People, Projects and Societies. Artists list up to 3 of their recent book works.
Text von der Webseite
S. 49, Text und Fotos von Jürgen Wegner, A visit to Archive Artist Publications and its exhibition in the Haus der Kunst, München, Germany
S. 111, Collections, Libraries & Archives
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Krytyka Polityczna Athens
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272 S., 23,5x16,5 cm, signiert, ISBN/ISSN 16440919
Broschur, mit Widmung, gefaltetes Blatt eingelegt, Cover manuel bearbeitet, mit Glitzer
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Dear Reader,
In your hands is the Athenian issue of Krytyka Polityzcna. The Warsaw-based journal unites polymorphous freedom struggles in geographic Europe. This book is an anarchist, anti-capitalist, anti-fascist artwork. A hypothesis, and yet one that continues to be written actively on the ground. It clashes migration and education of the status quo, the effect and the cause of current violence.
The publication documents an initiative, Universitas*, and accompanies the forthcoming Symposion, The School of Everything.
This book contains the contributions of people who have recently moved to Athens from the Middle East, of Athenians who have lived here a long time, as well as of those who are based in Berlin but frequently visit Athens. brought together, they form a de-elitized and de-colonized remix of knowledge.
The chapters in this book are intertwined and in each part the reader will find contributions relevant to the whole. The authors are all united by their portrayal in anti-phrenological drawings.
In Athens, despite the invention of the State, streams of interlapping cultural influences never stopped pulsating. Such an experience of fluid identity demonstrates that citizenship is an outdated concept of class separation and nationalism. The devastating contradiction: human rights are only valid in the economically privileged zones. The failure to collaborate with the revolution in Syria dispels the last illusions of an occidental civilization and unveils the truth: we all live in the absolute financial dictatorship.
This publication includes several essays and statements on education. These are written by thinkers, philosophers, “activists”, and artists who are affiliated with the Avtonomi Akadimia, a disobedient grassroots university in Athens which claims education as a form of art. These texts, poems, manifestos and sketches of educational models are published in lieu of the abstracts for an upcoming Symposion entitled: “The School of Everything”.
We build an educational system which consists of indignant initiatives for sharing knowledge, and of proposals by thinkers who see education as key. We shift from learning to sharing. We decriminalize sharing because we would like to enjoy the pleasure of giving. We liberate ourselves from the strictures of “Homo Sapiens”, a construct imposed upon life.
We will transform the educational system of Europe.
The clash of migration and education will release a Promethean fire.
Text von der Webseite
In collaboration with aneducation and the Public Programs of documenta 14
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Tinnitus Tales - le Forbici di Manitù and Friends (SD010)
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27x28,5 cm, keine weiteren Angaben vorhanden
Plattenhülle, gestanzt mit 3 einklappbaren Teilen, beiliegend gestanzte Pappschlaufe mit handbeschrifteter DVD, Infoblatt zur Edition
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What do Martin Luther and Pete Townshend, Ozzie Osbourne and Oscar Wilde, Ludwig Van Beethoven and Star Trek’s Dr. Spock have in common? They all painfully suffered from tinnitus, a permanent hiss heard in one or both ears. The condition affects a large percentage of the world population (5-10%) and represents a real “occupational illness” 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 Manitù (i.e. Manitù Rossi and Vittore Baroni, the second long suffering from tinnitus) with the collaboration of over fifty guest musicians, bands and international visual artists, breaks the veil of silence with a series of songs that address the topic blending humor and empathy. The songs are inspired by well-known cases of people suffering from tinnitus, such as Andy Partridge 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 Manitù or to contribute original compositions on the subject (included in the CD 1 Songs).
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352 S., 21x15 cm, ISBN/ISSN 9782915859416
Broschur mit Banderole, eingelegt ein Informationsblatt
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Originalausgabe erschienen bei Artists Press, Bern, 1980.
This book is the third and final version of the first artist’s book published in 1960 by herman de vries, who is currently the author of more than one hundred publications.
The story of this book dates back to 1960. Closely associated with the Zero Group, but also drawn to the buddhist concept of emptiness, herman de vries had just produced a series of white monochromes when he self-published a twenty-page booklet in Arnhem. It had no title, its cover was blank and its pages were unprinted. It contained nothing but a short final poem celebrating, in four languages, the superabundance of white: “wit is overdaad”. In 1962, this manifesto appeared in another version, now entitled wit: two hundred blank pages, four white collages by the artist and an introduction, itself completely blank, by the poet J. C. van Schagen, published in arnhem in only five copies by M. J. Israel. It was followed in 1967 by a second “revised” edition, wit weiss: two hundred and fifty blank pages, pocket-sized, in five hundred copies, published by Hansjörg Mayer in Stuttgart. The only printed elements were the artist’s name, the title and the publisher’s name on the cover, the word “introduction” and the name of its author on the very first page and a colophon on the final page. In 1980 the Artists Press in Berne published the “third revised edition”, in a larger format and with more pages. The original title wit was translated into english and japanese and into sanskrit with a word that means “white” in the sense of bright, pure, immaculate. The title itself does not appear on the book, which remains completely blank. It is printed with the paratext on a broad strip of paper in the form of a detachable publicity strip. The inside flap contains a brief statement initially dating back to the 1962 edition, stating that this book incorporates all aspects of reality. Of the five thousand copies advertised, only a hundred were published. It is this last edition, the most radical, which is republished here, the only addition being the french translation of the statement.
On 1 april 2012, herman de vries wrote of his book, insisting on the importance of the final comma:
white is white
0 = 0
no name
no idea
not even emptiness,
Text von der Webseite
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monochrom #26-34 - Ye Olde Self-Referentiality
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500 S., 29,7x21 cm, ISBN/ISSN 978-3-950237269
Softcover. 1900 gr
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WTF is monochrom print? monochrom is a magazine object appearing in telephone book format, which is published by the art/tech group of the same name. monochrom came into being in the mid-1990s as a fanzine for cyberculture, science, theory, cultural studies and the archaeology of pop culture in everyday life. Its collage format is reminiscent both of the early DIY fanzines of the punk and new wave underground and of the artist books of figures such as Dieter Roth, Martin Kippenberger and others. With a great deal of forced discontinuity, a cohesive potpourri of digital and analog subversion is pressed between the covers of monochrom. Each issue is an unnostalgic amalgam of 125 years of Western counterculture cocked, aimed and ready to fire at the present. It is a Sears catalog of subjective and objective irreconcilability -- the Godzilla version of the conventional coffee table book.
Text von der Webseite
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Odos Eleftherias - Freedom Street
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59x42 cm, keine weiteren Angaben vorhanden
Plakat
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In the context of a continuous and persistent spiritual quest in the field of Greek art and its history, the artist Christos Bokoros appears —through simple themes and earthy, warm materials— to win an important battle. He has silently found a subtle and significant way of stripping bare certain symbols—his own ‘signs’: a way of isolating those symbols from anything unnecessary and superfluous, and of drawing the community’s attention to them by revealing them to be purified, resurrectional and full of fire.
Through the presentation of a series of paintings entitled ‘ODOS ELEFTHERIAS’, Bokoros ventures a direct discourse of these ‘signs’ with buildings and streets that are adjacent to, or end up at, Lefkosia’s Green Line. Many of these buildings have suffered damages and decay. One could say that in their own way they constitute a second crevice near the Green Line that divides the state. It is in these fissures that the artist sets up - plants - his ‘ODOS ELEFTHERIAS’, in the hope of giving the city’s centre new fruits and joyous vibrations—in a silent and honest alliance with all the indigenous revitalizing forces
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[24] S., 21x14,7 cm, Auflage: 30, numeriert, signiert, keine weiteren Angaben vorhanden
Drahtheftung, zwei verschiedene Papiere, in Pergaminhülle
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'say cheese', 'please laugh', 'show your smile' - this is what people usually say, when they take a private picture of their friends or family. These pictures normally remain in the private sphere of the photographer and are only shown to a selected audience. For this conceptual and experimental photo-series such private images have been forcefully appropriated: individual prints have been taken randomly from drug stores and photo developers, the pictures where selected and then set in relation to others. The negatives of these images were not taken. Unlike the concept of the objet trouvé, where found objects and materials are the basis for creative work, the images used in this project are objets appropriés, they have been actively taken rather than found. They are documents of other peoples memories, memento mori of their existence, beautiful in their own right. By blurring and distorting them, the concept of remembering and forgetting, documentation and memory is questioned.
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Something To Put Something On
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[48,] S., 21x25 cm, Auflage: 1.800, ISBN/ISSN 978 3 944630 02 1
Ungebundenes Exemplar, Druckbögen lose ineinander gelegt,
mit Druckkontrollstreifen als Bauchbinde zusammengehalten
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What is a table? Lawrence Weiner asks the question that has held his interest since his earliest days of art making. Neither story book, nor autobiography, nor reference book, SOMETHING TO PUT SOMETHING ON is a questioning book, endowed with its maker’s celebrated wordly wit and aimed at engaging young readers, among others, in an inquiry that has spanned a lifetime. Weiner wields his red, blue, and orange letterforms and graphic figures to take up the question of a human being’s relationship to objects and teases the reader into looking at a table in an entirely new light.
Text von der Website
Something to Put Something On by Lawrence Weiner (folded and gathered signatures of the book before binding). © 2017 Lawrence Weiner and Little Steidl Verlag, all rights reserved. Reproduced with permission of the publisher. Folded and gathered signatures of the edition courtesy of the publisher. The book was printed by Nina Holland on Zerkall Werkdruck Velin 170g with red, blue, orange and black inks.
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the book on books on artists books
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230 S., 24x17 cm, ISBN/ISSN 9780956173843
erschienen zur Ausstellung at the Bloomberg Space London, eingelegt eine Karte mit handschriftlichem Text
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The Bloomberg website says of the project:
For Comma 38, artist and publisher Arnaud Desjardin will exhibit new, old, rare, and popular books while running an active printing press in Bloomberg Space. His COMMA commission, part of an ongoing project titled The Book on Books on Artists' Books, is intended to create an active and participatory review of current and historical practice. This exhibition is about both the display of books on artists' books and the production of a book about the books displayed. He intends to print a first edition, a book of books, a critical anthology and source book, alongside which a large range of books on artists' books will be displayed in a series of vitrines.
Artists' books have normally been sold and distributed through small networks of bookshops and galleries that often produce lists of available titles in printed form. The advent of the Internet has meant that information online has changed the nature of this documentary evidence. Desjardin's unique and extraordinary combination of display and production makes an exhibition that actively engages in both the making and disseminating in real time. The books themselves become both vehicles for information and documents that testify for artistic activity in its own right
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The Place of Independent Publications in the Arts Ecosystem
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29,7x21 cm, Auflage: Unikat, keine weiteren Angaben vorhanden
Inkjetausdruck
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Im Rahmen von various others 2023, Präsentation des Umbigo Magazins aus Lissabon und Gespräch, am 07.09.2023 ab 15 Uhr im AAP Archive Artist Publications mit Hubert Kretschmer vom AAP, Jonas Beuchert von der Edition Taube und Elsa Garcia, António Néu und José Pardal Pina vom Umbigo Magazin.
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Waste Is Information - Infrastructure Legibility and Governance
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270 S., 23,5x15,8 cm, ISBN/ISSN 9780262036733
Hardcover mit Schutzumschlag
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The relationship between infrastructure governance and the ways we read and represent waste systems, examined through three waste tracking and participatory sensing projects.
Waste is material information. Landfills are detailed records of everyday consumption and behavior. much of what we know about the distant past we know from discarded objects unearthed by archaeologists and interpreted by historians. And yet the systems and infrastructures that process our waste often remain opaque. In this book, Dietmar Offenhuber examines waste from the perspective of information, considering emerging practices and technologies for making waste systems legible and how the resulting datasets and visualizations shape infrastructure governance. He does so by looking at three waste tracking and participatory sensing projects in Seattle, São Paulo, and Boston.
Text von der Webseite
Mit einem Beitrag über Paper Police von Jürgen O. Olbrich, Kassel.
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Fotografija NR. 1 (35) 2018
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[116] S., 27,5x23 cm, ISBN/ISSN 16487273
Broschur
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We are heading into a future where our choices will be shaped – if not outright determined – by algorithms and artificial intelligence. This coming state has been labelled “the new dark age” (James Bridle, 2018).
It remains to be seen what this brings to photography, and vice versa.
One thing, however, seems clear: photography, which has already changed significantly in the 21st century, is affected by – and in some important ways is part of – this development. This issue of “Fotografija” explores how programmes, apps and AI-related technologies shape and change the discourse of photography, challenging traditional boundaries of the medium.
Various programmes and services – Google, Photoshop, Flickr, Snapchat, visual recognition, etc. – provide new tools to conceive image-making and think photographically. Technological interfaces not only deliver instruments for making work but can become the very logic for creating photographic series.
The presented artists offer perspectives to raise questions and discuss these technological shifts. From dealing with traumatic events (Indrė Šerpytytė) and inaccessible sites (James Bridle) through technological mediation to playing with our expectations of an all-pervasive Photoshop manipulation (Erin E’Keefe). From exploring so-called smart surveillance systems (Esther Hovers) and censoring politically sensitive sites (Mishka Henner) to everyday glitches (Mantas Grigaitis). From playing with the copyrights of such collective websites as Flickr (Penelope Umbrico) to exploring the shared language of being in some of the most photographed places on earth (Thomas Albdorf). And from using Photoshop to create images (Aaron Hegert) to an image that is barely photographic (Zachary Dean Norman). The four essays (Kate Palmer Albers, Roksana Filipowska and Marijana Rayl, Ilaria Speri, Alise Tifentale) map out the works in broader social, historical and art contexts.
In short, the works deal with our technologized world. They talk about being in the middle of changes that few have envisioned. Being so immersed, one can feel it (almost) hurts.
Text von Paul Paper.
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Unfinished Memories: 30 Years of Exit Art
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442 S., 23,3x28,3 cm, ISBN/ISSN 9783958291973
Hardcover mit Prägedruck, Broschur
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Unfinished Memories: 30 Years of Exit Art is an intimate portrait of an institution that from 1982 to 2012 challenged social, political, aesthetic and curatorial norms. Committed to experimenting at the intersection of disciplines, publications and design, the gallery Exit Art remained steadfast in its mission to provide new possibilities and opportunities for artists, curators and viewers through its expansive historical shows, exhibitions of emerging and under-recognized artists, experimental theatre and performance works, as well as national and international film and video programs.
Conceived by Exit Art’s founders, Jeanette Ingberman and Papo Colo, this volume is a resource on more than 200 exhibitions, events, festivals and programs featuring more than 2,500 artists, presented within the larger context of the art world. More than seventy eyewitness accounts and idiosyncratic recollections from artists, curators, critics and friends create a vivid sense of the exhibitions, performances, screenings, discussions, ideas and people that were part of Exit Art during its three-decade run.
Text von der Webseite
Die Exit Art Gallery bestand in New York.
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How to Start A Revolution – The Musical
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[300] S., 28,5x21,3 cm, Auflage: 100, numeriert, signiert, keine weiteren Angaben vorhanden
Hardcover mit Schnürsenkel verschlossen, Digitaldruck, 11 eingelegte Risodrucke, gedruckt bei Extrapool/Nijmegen, mit handschriftlicher Widmung
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So what was it like before everything went hell-bent batshit crazy? Enter Prof. Dr. of Pseudology, Anna McCarthy, with her HOW TO START A REVOLUTION book and its endless footnotes and twists and turns. She explains to us the chronology of politics and personal occurrences through this haze of a microcosm.
HOW TO START A REVOLUTION is a multi-layered work that deals with clichés of rebelliousness. It is embedded in socio-political events from 2007 to 2015 and their mediated and subjective reception. It deals with rebellion in limbo, in which change seems ominent, mirroring the current political atmosphere. Geographically anchored in Munich and Bavaria, it reaches beyond the local peculiarities and relocates them into the context of historical global events. A microcosm of reoccuring people and places stand in as exemplary figures for global events in a humorous, absurd, and critical manner. Examples are documentaries such as 'Bored Rebel in Oberpfaffenhofen' or ridiculously provocative political actions in public spaces, numerous "in-flux" archives, a pathetic musical, which was first performed in 2013 at Haus der Kunst, and even a permanent installation in Tito’s ex-Bunker in the hills of Bosnia and Herzegovina.
The project has been exhibited internationally, including at Nottingham Gallery for Contemporary Art, Chisenhale Gallery London, Schloss Ringenberg, Galleribox Akureyri Iceland, Goethe University Frankfurt, D-0 Ark Underground, Konjic, and at Transmission Gallery in Glasgow, amongst other locations. ...
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INbook OUTbook IFbook - An Artist Book Platform
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208 S., 24x16,5 cm, Auflage: 1.000, ISBN/ISSN 9788890345951
Abbildungen Schwarz-weiß und farbig. z.T. grünes Papier
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this book is a book project published by Viaindustriae that involves contemporary artists in thematic exhibitions and side vents. There are studies and researches by operators, curators, publishers, and specific artist's interventions in the pages. The discussion panels opened within a series of workshops are included in the publication that treats the archiving criteria in the artist's book practice. The operation focuses on three sections: INbook (filing and actions), OUTbook (multiplication and digression), IFbook (artist's book and infinite hypothesis). There are texts by Emanuele de Donno, Giorgio Maffei, and specific pages projects by Celine Comporelli, Imvermomuto, Dubbin/Davidson, Amedeo Marteghni, M+M, Daniela Comani, Banu Cennetoglu, Markus Miessen, Daniel Eatcock, Helen Sommer, Edamimomda/Cramer, and Documentation Celine Duval.
from the publisher
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 039 aus der Reihe 100for10.
Alessandro Apai is a young freelance illustrator and graphic artist from Italy and current based in Barcelona. His works are inspired by perfectly normal everyday interactions and social experiences. His aim is to use the drawing’s practice like a vehicle to documents and interpret his daily observation of the world and to could translate whatever concept in images. He had work on commissioned projects for clients like the Guardian, Zeit Magazin, it’s Nice That and many others. He also use to work on personal projects like the weekly series “Relaxed Sunday with Family” started in 2014, that you can follow each Sunday.
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[44] S., 25,3x17,8 cm, keine weiteren Angaben vorhanden
Drahtheftung, in losem Pappumschlag, zwei verschiedene Papiere, in transparenter Kunststoffhülle mit Aufklebern
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Begleitheft zur Ausstellung "Gasworks Yaoi" vom 26.11.2010 - 23.01.2011 im Gasworks in London.
"Gasworks Yaoi" is the first solo exhibition by Spanish artist Francesc Ruiz in London. The show is the culmination of Ruiz's research in the local area, conducted during his residency at Gasworks. Inspired by the longstanding gay establishments in Vauxhall, the artist has created a semi-fictional narrative that overemphasises the clichés around sexuality and lifestyle in the area.
For "Gasworks Yaoi", Ruiz will transform the front of the gallery into a bookshop specialising in yaoi comic books. Originating in Japan, this genre (translated as 'boys love') depicts male homoerotic narratives. However, unlike male-oriented gay erotica, yaoi comic books are both produced and consumed by women.
The yaoi comics, featured in Ruiz's bookshop at Gasworks are allegedly produced by female amateur illustrators who portray the encounters of a group of men whose nightlives revolve around Vauxhall's sprawling gay club and bar scene. By adopting the yaoi comic format and resorting to female authorship, Ruiz distances himself from the stories and characters he depicts, allowing for the imagination to run wild, indulging in stereotypes and idealised situations. Through the comics' humour and distortion of reality Ruiz gives himself license to explore a specific subculture and the way it sits within the wider fabric of the neighbourhood.
Turned into a specialised comic bookshop for women, Gasworks' space becomes an environment where sexuality, local context and its social dynamics are fictionalised and packaged into a product for consumption.
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all our pretty yesterdays
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
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Schwarz-Weiß-Drucke, Nr. 041 aus der Reihe 100for10.
Thomas Lail is an artist and musician who exhibits in the United States and internationally. He is represented in New York by Masters Projects. Lail performs and records with soundBarn and Location Ensemble. He has published numerous reviews and essays including two catalogue essays on the work of Robert Longo and publishes poetry and experimental writing through soundBarn Press. Thomas Lail is Associate Professor of Fine Arts at Hudson Valley Community College, SUNY in Troy, NY. He lives and works in Kinderhook and Brooklyn, NY with artist Tara Fracalossi and their son, Coltrane.
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Artists' Books - Creative Production and Marketing
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68 S., 29,8x21,2 cm, 2 Teile. ISBN/ISSN 9780954702571
Klemmbindung mit schwarzem Papierstreifen, Softcover, Exlibris von Jürgen Peter Wegner eingeklebt. Brief von Jürgen Wegner beigelegt
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A guide for the book artist – as the producer, publisher and distributor of their own artwork, to discuss some of the practical issues arising from this. A series of case studies explores artists’ experiences of making and marketing their books in the UK, France, Germany, EIRE, Spain, Denmark, Japan, Argentina, Australia and the USA. We selected a range of artists with 2 - 30+ years experience in artists’ books, zines and multiples and asked them to share their working practice, experience of book fairs, interaction with purchasers, discuss problems and offer advice. We also asked private and institutional collectors to tell us about the ways in which they would prefer to interact with artists selling their books and any issues arising from their own collecting.
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Unpublished - Best unseen photography - Issue no. 01
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40 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Lose Blätter ineinander gelegt, Farbkopien nach PDF
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A simple and straightforward layout, an awesome format, no advertising, 500 hand numbered copies and a free and selected distribution. Unpublished is a democratic and exchange place where photography meets the public, without any filter. Unpublished gathers the best unpublished images of young photographers from all over the world, selected not only for their aesthetic value, but through a careful analysis of the cultural context, the artistic and human paths.
A large project that ends each edition of Unpublished with a group exhibition in which it will be possible to buy at affordable prices the original and signed prints of the published works, donated and assessed by the authors themselves. No art dealers, no galleries and outside the market logic. Unpublished is a "call for freedom", a pure and direct line that connects the artist and his work with the outside world. And vice versa.
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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, Rückseite mit Prägedruck
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Future Fantasteek! brings together a trichotomy of investigation. art-zines and independent publishing. artist as social commentator and drawing as a means of immediate visual communication. The series explores obdurate boundaries between journalism and authorial illustration using satire to reflect notions of ‘Britishness’. The series can be read as a sequence, from just prior to the ‘credit crunch’ through to the ‘age of austerity’. The series is independently published as a limited edition art-zine, with two issues per year. The approach is experimental, incremental and reflective focussing on both the microcosm and macrocosm of living in the UK. Visual humour is developed throughout as a vehicle for change, combining techniques such as pastiché, parody and socratic irony. Typography and images are juxtaposed to create new narrative possibilities. Language is explored using different ‘voices’ such as anecdotal, colloquial or profane. This text is then translated into drawn commentaries on etiquette, politics and advertising. The ‘anxiety of the individual’ is a running theme throughout the series with many reoccurring protagonists and antagonists soliloquizing their notions of ‘Das Unheimliche’. The series also explores changing technologies with regard to notions of ‘the book’ with online versions of Future Fantasteek! available via a blog and online PDF reader (issuu and .swf).
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The Trip - Andy Warhol's Plastic Fantastic Cross-Country Adventure
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324 S., 24x14 cm, ISBN/ISSN 978-1-476703510
Hardcover, fadengeheftet, mit Schutzumschlag
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From the author of Strapless and Guest of Honor, a book about a little-known road trip Andy Warhol took from New York to LA in 1963, and how that journey—and the numerous artists and celebrities he encountered—profoundly influenced his life and art.
In 1963, up-and-coming artist Andy Warhol took a road trip across America. What began as a madcap, drug-fueled romp became a journey that took Warhol on a kaleidoscopic adventure from New York City, across the vast American heartland, all the way to Hollywood and back.
With locations ranging from a Texas panhandle truck stop to a Beverly Hills mansion, from the beaches of Santa Monica to a Photomat booth in Albuquerque, The Trip captures Warhol’s interactions with Dennis Hopper, Peter Fonda, Marcel Duchamp, Elizabeth Taylor, Elvis Presley, and Frank Sinatra. Along the way he also met rednecks, beach bums, underground filmmakers, artists, poets, socialites, and newly minted hippies, and they each left an indelible mark on his psyche.
In The Trip, Andy Warhol’s speeding Ford Falcon is our time machine, transporting us from the last vestiges of the sleepy Eisenhower epoch to the true beginning of the explosive, exciting ’60s. Through in-depth, original research, Deborah Davis sheds new light on one of the most enduring figures in the art world and captures a fascinating moment in 1960s America—with Warhol at its center.
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2 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Schwarz-Weiß 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.
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Mr. Fluxus - A Collective Portrait of George Maciunas, 1931–1978
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352 S., 24,5x17,7 cm, ISBN/ISSN 9780500974612
Hardcover, fadengeheftet, mit Schutzumschlag, mit Illustrationen
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George Maciunas was the founding member and leader of the most radical and experimental art movement of th 1960s: "Fluxus". Associated with artists such as Joseph Bueys and Yoko Ono, Fluxus rejected traditional systems of high art and practised a form of "anti-art" encompassing everything from photography and pavement art to poetry and drama. This biography of one of the key figures in the history of 20th-century art recounts in text and archive photographs the life story of this contradictory and unorthodox man. Emmett Williams provides anecdotes and impressions from former Fluxus colleagues and other friends (and enemies), to produce a portrait of this crusader, whose mission was to change the world - beginning with the world of art. Although tempered with wit and wisdom, his iconoclasm won him few friends amongst the art establishment during his lifetime, but Fluxus prevailed as an acknowledged force behind the upheavals in the art of the 20th century.
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Epistolario - Ayuda Humanitaria
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[252] S., 21x15 cm, Auflage: 300, ISBN/ISSN 9788439387671
Fadenheftung, Schutzumschlag. Gefalteter DIN A5 Karton zwischen den Seiten angeheftet.
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I had been in Cuba for almost a year studying in the Behavior Art School. One night, when my parents and I were having dinner at a tourist restaurant during one of their visits, I observed that most of the tables were occupied by couples made up of middle-aged tourists and Cuban girls. At the time (2008) the only option Cubans had to leave the country legally was to make a tourist man or woman fall in love with them and marry him or her. Love had become a kind of passport to freedom—or to the illusion of freedom, and winning someone’s heart and seducing them allowed Cubans to dream with a new life, a better—or different—life, regardless of it being real or unreal. That very day I decided to marry a Cuban man in order to understand and draw attention to what was happening in the country, that exchange of interests, that market of dreams, sex and company. My plan was to follow the same pattern. I would marry a Cuban man; I would give him the means to obtain the coveted papers and permits to leave the country in exchange of being able to use him in a work of art. I would use love to fool Cuban and Spanish bureaucracy. This is how the project Humanitarian Help was born. With that in mind, I organised a kind of public open call in which I offered to marry the Cuban man who wrote me “the most beautiful love letter in the world”, offering also to pay for the wedding expenses, his ticket to Spain and all the formalities to obtain Spanish nationality. This offer was aimed at those Cuban men who were interested in emigrating. A jury made up of three Cuban prostitutes would pick the winning letter and, therefore, my future husband. Mirroring the interested conditions that are usually applied in humanitarian aid, I required in the terms that the selected man be at my disposal for any request for the duration of the marriage. Once he acquired the Spanish citizenship, we divorced in accordance with the agreed terms and conditions. In the event that the work is sold, the profits will be shared out in equal parts.
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BARBARA HEROLD FEAT. KIM TWIDDLE - PARCOUR
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29,7x21 cm, 4 Teile. keine weiteren Angaben vorhanden
Infoblatt, Aufkleber und Hygienemaske für 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 – 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 „Neues 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 – PARCOUR on tour (tba)...
Barbara Herold, VG Bild-Kunst, Bonn, 2022
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in gefalteter Papphülle mit Beiblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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music by Daniel Lopatin aka Dania Shapes.
Soundsystem Pastoral was recorded by Daniel Lopatin aka Dania Shapes during the winter of 2004 using synthesizers, a first generation digital sequencer, and a freeware sound editor. It was remixed in 2006 for the release on naivsuper.
Celebrating the potential of amateurishness, decadence and romance in the realm of digital audio arts, Lopatin looks to marry the aesthetic sensibilities of experimental electronics with his allegiance to the classic 'beauty' in music. 'Glitch' is less a process for Lopatin -- rather it is an aesthetic impression which Lopatin emulates by hand. Pairing the residual effects of romantic, heart string melodies with steroidal, detailed, maximalist noise, Dania Shapes' audible bricolage is a tribute to both the beautiful and the broken all at once.
Working with simple tools such as handheld tape recorders, retro synthesizers, and a personal computer, Lopatin creates conceptual systems and processes to create a solo music that's beautiful and inventive, with interesting textures and unexpected sonic interventions. The music has a lush, ambient quality, but an edge as well. Throughout the CD, one finds a subtle use of repetition. The pieces are formally well-conceived and never contrived. The music is clearly indebted to heroes of electronica such as Christian Fennesz, William Basinski, and Brian Eno. and it has links to classic experimentalists such as David Tudor and David Behrman. Yet Lopatin maintains a more song-based musical position that results in an accessible product that will attract fans of ambient, post-rock, and experimental music
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Artist Music Journals Vol. 1 No. 12 - Eye
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[24] S., 26,5x26,5 cm, Auflage: 1.000, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Heft in Pappschuber mit Aufkleber
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This is the twelfth and final edition of Soundscreen Design's Artist Music Journals series, featuring the work of Eye, known primarily as the vocalist for the Japanese band Boredoms and also for his prolific visual art portfolio. He used this project as an opportunity to design for dozens of imaginary bands, including original album art and vinyl details.
Eye lives and works in Japan, and is known primarily as the vocalist of the Boredoms (Voredoms), but has also worked with artists such as Nam June Paik and John Zorn, and has recently started performing solo as DJ Pika Pika Pika. In addition to his musical activities, Eye is an accomplished visual artist - his work includes collaborations with Shinro Otake (as Puzzle Punks), and he has designed many record covers, including the jacket of the Beck album Midnight Vultures
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Ulises Carrion - Dear reader. Don't read.
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272 S., 26,9x19 cm, keine weiteren Angaben vorhanden
Broschur
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Ausstellung vom 16.03.-10.10.2016 im Sabatini Building Floor 3.
A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.
Texts by Guy Schraenen, Felipe Ehrenberg and João Fernandes, among others, illustrate all aspects of his artistic and intellectual work. From his early career as a young, successful writer in Mexico to his numerous activities in Amsterdam where he cofounded the independent artists' run space In-Out Center and founded the legendary bookshop-gallery Other Books and So (1975–79), the first of its kind dedicated to artists’ publications.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
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Schwarz-Weiß-Drucke
Dave the Chimp has been riding skateboards since the mid 1980’s, painting on found wood and making fanzines since the mid 1990’s, and working in the streets since 1998. He still does all these things, as well as exhibiting his art in galleries and museums world wide, working as an illustrator for a variety of clients, directing pop videos, compiling books, and curating exhibitions. Dave has exhibited alongside the leading names in the urban art scene, including Banksy, Blu, Miss Van, Swoon, Os Gemeos, Shepard Fairey, Space Invader, and Zevs. He was the first UK artist to have his own artist model shoe created by Vans, and a book of his work (Part Of Rebellion 2 – Dave the Chimp) was published by Publikat in 2009. In 2011 he built his first concrete skateable sculpture “Papa und Ich” outside of the Bethanien, Berlin, and the wooden “friendship bowl” in the Awanganda Gallery, Wroclaw, Poland. He has since built the “Papa und Ich Speilplatz” skatepark in Milan, and the “Troll Bridge Ramp” at La Condition Publique, Roubaix, France. He is currently focused on change, encouraging exploration, protest culture and positive vibrations, with his “Human Bean” characters as the medium through which to go on this adventure.
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[490] S., 32x24 cm, Auflage: 700, ISBN/ISSN 978-2-940524464
Broschur
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This book aims to collect and present a comprehensive overview of the work of Ruth Wolf-Rehfeldt. It is the result of a long and intense immersion into her archive, and intends to establish the importance of this unique artist – who did not have much recognition in the past – not only to the present day, but also to the precise political context and time to which she and her work belong.
The book presents her typewritings series, all produced between the early 1970s (some of the earliest works are dated 1972) and 1989.
Mail Art was her way to be in contact with the world outside the GDR, otherwise impossible to reach. After the fall of the Berlin Wall and the Reunification, the artist stopped producing any art: She felt her involvement was no longer “needed”.
At the beginning of 2015 we started to archive Ruth Wolf- Rehfeldt’s work, discovering little by little an enormous and fascinating body of work, composed by more classic poetry, simple typewriting texts, visual poetry, concrete poetry, and abstraction.
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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 aufgeprägtem Foto, Papier Einband mit textilähnlicher Struktur, Vorsatz/Nachsatz bedruckt mit Foto schwarzweiß, innen verschiedene Papiersorten für 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 that’s 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. Zoete’s drawings are clumsy, intermittent, naive, adventurous, simple. It’s like a child’s imagination, depicting in a heap what you otherwise cannot fit on a piece of paper." Philippe Van Cauteren. Published in occasion 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 Zoete’s 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 artist’s process—who, starting from a drawing, generates models, sculptures, architectural constructions, photos, films. An all-encompassing approach that makes the Belgian’s work outstand as a natural successor 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 artist’s studio, both essential characteristics of Zoete’s art."
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52 S., 21x14,8 cm, Auflage: 100, numeriert, ISBN/ISSN 9788493848064
Fadenheftung
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I was born in Batumi, in the Republic of Georgia, and grew up on the beach. During the 90s my country went through tough moments, the separation from the Soviet Union, a civil war and a lot of darkness in the streets. All that sadness, darkness and Black sea perspectives shaped me. Photography helps me view the world from different perspectives, it makes me see things in a different way, it changed my idea of sadness and my idea of love among others. Photography helps me communicate with people, objects, streets and nature and find positive things in those connections.
Von der Verlagsseite
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Call for Papers - International Symposium: The Territories of Artists’ Periodicals
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3 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Schwarz-Weiß-Laserdruck nach Email, zu einem dreitägigen Symposium an der Universität Wisconsin, Lawton Gallery, vom 2.-4.6.2014
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This symposium seeks to provide a venue for dialogue between researchers, artists, publishers, librarians and others interested in artists’ periodicals in order to bring into focus the many issues and themes that constitute the terrain of these publications. We have chosen the 1950s as the starting date for this symposium as we believe this decade is the crucial moment in which artists’ periodicals develop as a distinct and identifiable medium.
Das Symposium hat folgende Themenschwerpunkte:
- Looking back and looking ahead: Histories
- Temporality/Periodicity of the artists’ periodicals
- Artists’ periodicals: Collective or Individual Practices?
- The Economics of artists’ periodicals
- Artists’ periodicals as Alternatives
- Artists’ periodicals and other Territories
- Exhibiting and Preserving artists’ periodicals
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282 S., 27x22,5 cm, ISBN/ISSN 3865211259
Hardcover, fadengeheftet, mit Schutzumschlag
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Fazal Sheikh made his first trip to the holy Indian city of Vrindavan in 2003. Each year thousands of women make their way there to join the community of widows who spend their days in the temples, worshipping their god Krishna, and preparing for death. Over the next three years, Fazal Sheikh became accepted by the widows, who agreed to sit for their portraits and talked to him about their lives. Their stories revealed how powerless some of the women had been under the strictures of traditional Hindu law. They were victims of enforced marriage, physical violence, sexual abuse and neglect. Some had been evicted from the family home once their children were married. Others had left of their own accord. As Fazal Sheikh discovered, what the women find in Vrindavan is not just religious solace, but in the sisterhood of other widows they find companionship and support. In his portraits their faces are suffused with calm – in some cases they already seem to have reached a half-life, somewhere between this world and the next – and their religious faith, in many ways the source of their past troubles, finally brings them peace. This project was published as Moksha
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Without Copyrights - Piracy, Publishing, and the Public Domain
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384 S., 23,5x15,6 cm, ISBN/ISSN 9780199927876
Hardcover mit Schutzumschlag
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Provides a thorough historical survey of the impact of U.S. copyright law on transatlantic modernist authors. Documents the growth and development across time of the American public domain, as shaped by the historically protectionist and formalistic U.S. copyright law. Gives fresh insights drawn from unpublished materials-letters by Joyce, John Quinn, Ezra Pound, Sylvia Beach, John M. Price, and others -and makes extensive use of hitherto unknown legal archives.
This book tells the story of how the notoriously protectionist American copyright law impacted transatlantic modernism by encouraging the piracy of works published abroad. From its inception in 1790, U.S. copyright law withheld protection from foreign authors, creating an aggressive public domain that claimed works just as soon as they were published abroad. When Congress finally extended protection to foreign works, legal technicalities caused many authors to continue to lose their copyrights.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Jens Schwarz was born 1968 in Berlin and studied history of arts in Paris and photography in Munich. He works in the field of portraiture and reportage on german and international assignments. In his personal projects he focuses on sociopolitical issues that often deal with questions of both personal and collective social identity. 2014 his first monograph ›Beirut Eight Thirteen‹ has been published documenting a photographic long-term project on social instability in Beirut. His projects received several grants throughout his career and his work has been nominated, among others, for the German Henri-Nansen-Prize.
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[240] S., 23,5x16,5 cm, keine weiteren Angaben vorhanden
Broschur, Softcover
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Achte Ausgabe des 20seconds Magazin, ein Magazin für experimentelle Musik und Kunst, dieses Mal erschienen unter dem Titel "The Tide".
Issue 8, “The Tide,” looks into the cyclical nature of social and political movements. In order to do so we take inspiration from our often seemingly lunar obtuseness and incapacity to deal with the errors our planet’s inhabitants continue to make. There is little to say that has not been said, or eroded, after years of Russia waging war on Ukraine, Israel committing genocide on the Palestinian people, and now bombing Lebanon, funded by the US, Germany, and many others; fascism soaring in the polls and warming the seats of leaders in so many countries we’re beginning to lose count. Still, we rely on our notions of publishing, of speaking and writing resistance, even as governments continue to abuse the activists doing so on the streets. For the artists in 20 Seconds Issue 8, the tide is something to be challenged, of which to be conscious, a malleable energy to be harnessed, in the form of pain, or even trauma.
Ausgabe 8, „Die Flut“, befasst sich mit der zyklischen Natur sozialer und politischer Bewegungen. Dabei lassen wir uns von unserer oft mondähnlich anmutenden Stumpfheit und Unfähigkeit inspirieren, mit den Fehlern umzugehen, die die Bewohner unseres Planeten weiterhin begehen. Es gibt wenig zu sagen, was nicht schon gesagt wurde, oder was nicht schon erodiert ist, nachdem Russland seit Jahren einen Krieg gegen die Ukraine führt, Israel einen Völkermord am palästinensischen Volk begeht und jetzt den Libanon bombardiert, finanziert von den USA, Deutschland und vielen anderen; der Faschismus steigt in den Umfragen und wärmt die Sitze der Führer in so vielen Ländern, dass wir anfangen zu zählen.
Dennoch verlassen wir uns auf unsere Vorstellungen vom Publizieren, vom Sprechen und Schreiben des Widerstands, auch wenn die Regierungen die Aktivisten, die dies auf der Straße tun, weiterhin misshandeln. Für die Künstler in 20 Seconds Issue 8 ist die Flut etwas, das es herauszufordern gilt, dessen man sich bewusst sein muss, eine formbare Energie, die man sich zunutze machen kann, in Form von Schmerz oder sogar Trauma.
Text von der Webseite, übersetzt mit DeepL
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Possible Content for 18 Pages - Volume III - Lorem Ipsum Dolor Sit Amet
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[200] S., 29,7x21 cm, Auflage: 500, ISBN/ISSN 978-3-957633453
Fadenheftung, mit zahlreichen Abbildungen, drei Bände in Banderole, Anschreiben liegt bei,
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“Lorem Ipsum Dolor Sit Amet” is the third in a series of exhibitions and publication based on a wide-reaching research about writing with the title “Possible Content for 18 Pages”. The original typewritten manuscript of Vilém Flusser’s essay “The Gesture of Writing” provides the thematic and formal-aesthetic foundation for reflecting the act of writing at the intersection of linguistic, visual, physical and spatial communication.
“To write,” says the philosopher about the basic requirements that should lead to a complete piece of writing, we need “a blank surface, for instance a white leaf of paper, an instrument which contains a matter that contrasts with the whiteness of the paper, the letters of the alphabet, the convention which gives a meaning to the letters, ‘orthography’ = correct writing, the rules which order that language, what is called ‘grammar’, an idea to be expressed in a language, and a motive to express that idea”.
Understanding the act of writing as a culturally embedded gesture, “Lorem Ipsum Dolor Sit Amet” covers artistic, literary, as well as curatorial and editorial fields of action and combines them. The book is published on the occasion of the eponymous performance by Lois Bartel at the Akademie der Künste in Berlin (June 11, 2016) and contains a curatorial-editorial statement by Franz Thalmair. Furthermore, the artist Michalis Pichler and the professor for media theory and aesthetics Oliver Ruf situate the publication in an actual context of literature and criticism. The participating visual artists expand the topic of the research with artistic contributions especially made for „Lorem Ipsum Dolor Sit Amet“.
Text von der Webseite
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Wasting Time on the Internet
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256 S., 18,1x12,4 cm, ISBN/ISSN 9780062416476
Broschur
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Kenneth Goldsmith wants you to rethink the internet. Many people feel guilty after spending hours watching cat videos or clicking link after link after link. But Goldsmith sees that “wasted” time differently. Unlike old media, the internet demands active engagement—and it’s actually making us more social, more creative, even more productive. When Goldsmith, a renowned conceptual artist and poet, introduced a class at the University of Pennsylvania called “Wasting Time on the Internet”, he nearly broke the internet. The New Yorker, the Atlantic, the Washington Post, Slate, Vice, Time, CNN, the Telegraph, and many more, ran articles expressing their shock, dismay, and, ultimately, their curiosity. Goldsmith’s ideas struck a nerve, because they are brilliantly subversive—and endlessly shareable. In Wasting Time on the Internet, Goldsmith expands upon his provocative insights, contending that our digital lives are remaking human experience. When we’re “wasting time,” we’re actually creating a culture of collaboration. We’re reading and writing more—and quite differently. And we’re turning concepts of authority and authenticity upside-down. The internet puts us in a state between deep focus and subconscious flow, a state that Goldsmith argues is ideal for creativity. Where that creativity takes us will be one of the stories of the twenty-first century. Wide-ranging, counterintuitive, engrossing, unpredictable—like the internet itself—Wasting Time on the Internet is the manifesto you didn’t know you needed.
Text von der Webseite
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Patrick Hartl (*1976) is a German contemporary artist with a passion for handwriting and lettering. As of age 15, he was painting Graffiti and learning the ropes of art within the urban sphere. His graphic studies revealed a love for calligraphy and stylised writing with deep roots in the gothic script of his native Germany. Patrick Hartl connects old craftsmanship with modern street style. On closer inspection, Hartl’s seemingly monochrome works turn out to be the result of a multitude of layers of paint and a colourful diversity. His favourite canvas is a ten-years-old wall, which has been bombed, cleaned, bombed again, crashed, washed, damaged, but which always tells a new and unique story. As a master of handcrafted designs and analogue works, and one of the foremost urban calligraphers, Patrick Hartl has been involved in making art for more than two decades. An avid collaborator, Hartl belongs to the “CALLIGRAFFITI AMBASSADORS” and, in addition to exhibiting in traditional galleries from New York to Buenos Aires to Tokyo, and he has painted murals across Europe and beyond.
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292 S., 23x17 cm, ISBN/ISSN 978-3-037645048
Broschur, Einband einfarbig rot bedruckt, Schutzumschlag vierfarbig, Vorsatz/Nachsatz blau, Abb. Schwar-Weiß, einzelne Farbseiten. Druck auf Munken Print White 1.5, DZA Druckerei zu Altenburg
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The starting point of this publication—and its eponymous exhibition held in Zurich in Spring 2017—is the conceptual encounter between English Pop art artist Richard Hamilton (1922–2011) and Swiss historian and critic of architecture Sigfried Giedion (1888–1968), famous for his landmark book "Space, Time, and Architecture," an influential history of modern architecture published in 1941.
In 1949 Richard Hamilton—then a member of the London-based Independent Group— realized the “Reaper” print series as a reaction to Giedion’s 1948 book “Mechanization Takes Command” in which he describes the mechanization of everyday life. Reproducing Hamilton’s complete “Reaper” series juxtaposed with selected examples of illustrations created by Giedion alongside many related illustrations, this publication brings together seven essays by renowned international scholars, all of whom question the relationships between visual arts, technology, science, and architecture. Among the many topics discussed are Hamilton’s early works and exhibition installation practice, postwar British biotechnology and architecture, “Hippie Modernism,” and the visual strategy of Giedion’s books.
Published on the occasion of the exhibition "Reaper. Richard Hamilton and Sigfried Giedion" at the Graphische Sammlung ETH Zürich (May 3–June 25 2017), a cooperation between Graphische Sammlung ETH Zürich, gta exhibitions, and gta archive.
Text von der Webseite
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what remains gallery - Edition 2 - Limits of Control - Two Underdogs in Disguise
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[44] S., 27,3x21,5 cm, Auflage: 75, 2 Stück. ISBN/ISSN 9783946803652
Drahtheftung, Zettel mit handschriftlicher Notiz beigelegt
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A perfomative art-piece to raise questions about the very concepts of preservation, ‘heritage’, immateriality and meaning.
Symbolic values build the conceptual frame for the research on the relationship between words and images in the digitized world, transhistorical authorship, coded connectivness, digital diversification and the residues of the significant other. What remains gallery will focus the limits of perception through the digitized perspective of non-linear history.
DIRECTORS´S NOTE
Dear Viewer, dear Reader,
the following issue of what remains gallery magazine focuses the artist´s role and his work through the lense of a public imagery and the needs of a visual culture. The series wants to sharpen the focus on different aspects of an exposure to art and its objects. The changing scenes and actions are taking place impromptu and exemplify the limits of control from an artists perspective, when a piece of art gets abandoned and the idea of originality gets fostered. The perspectives on the scenarios are fully invented and have nothing to do with any form of reality.
Der Inhalt bezieht sich auf diverse Kunstwerke aus den Jahren 2004 bis 2015.
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28 S., 14,8x14,8 cm, ISBN/ISSN 978-3-940548-22-1
Drahtheftung, in Transparenthülle
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Sketches and Experiments from the artwork:
ALARMA MAN | LOVE FOREVER.
The record was published by sinnbus records in 2010.
In the process of drawing and designing the cover a small book emerged and was meant to be published and shared with the world.
´LOVE´ is a selection of drawings on found footage photographs by the artist Stephane Leonard and those drawings processed and edited by the designer Martin Eichhorn.
The first half of the book is dedicated to all the drawings and the second half to various layout sketches and experiments for the artwork of the swedish band Alarma Man´s 2010 record LOVE FOREVER. The photographs display different stages within relationsships - from childhood to marriage to death. Leonard´s drawings and drawn words react and interact with the photos scratching off the obvious, exposing invisible emotional aspects of the scene
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192 S., 20x15 cm, ISBN/ISSN 978-1-564660923
softcover
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Charley is a contemporary art publication series edited by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick. A do-it-yourself magazine, Charley is an inclusive publication relying on assimilation, rather than on selection : Charley is a machine for redistribution, a mechanism for spreading and exploiting information, rumors, and communication. Like most information, it is partial, unstable, and untrustworthy. There are no hierarchies and no favorites in Charley : it flirts equally with celebrity and failure. Charley is a multiform creature, bound to transform with each issue. Charley is a pre-digested combine, with pages assembled from catalogues, brochures, press clips, postcards, and other visuals. But what is Charley really? Charley is a new publication on emerging artists. Prominent curators, writers, artists, and other arts professionals from around the world were asked to suggest up to 10 up-and-coming artists and/or submit materials on the artists for inclusion in Charley. 400 art makers from around the globe responded, and each of them is represented by one page of Charley
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Stickers. From the first international sticker awards
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[324] S., 13x21 cm, 3 Teile. ISBN/ISSN 9783899551518
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 – 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 reader’s enjoyment.
Text von der Webseite
Sticker aus Asien, Israel, Latein- und Süd-Amerika, Nordamerika, Europa
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The Soviet Photobook 1920-1941
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644 S., 29,4x27,4x6 cm, ISBN/ISSN 9783958290310
Hardcover, in bedrucktem Karton.
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The Soviet Union was unique in its formidable and dynamic use of the illustrated book as a means of propaganda. Through the book, the U.S.S.R. articulated its totalitarian ideologies and expressed its absolute power in an unprecedented way—through avant-garde writing and radical artistic design that was in full flower during the 1920s and ’30s. No other country, nation, government or political system promoted itself more by attracting and employing acclaimed members of the avant-garde. Among them were writers like Semion Kirsanov, Vladimir Mayakovsky, Ilya Selvinsky, Sergei Tretyakov and Kornely Zelinsky. artistic designers like Gustav Klutsis, Valentina Kulagina, El Lissitzky, Sergei Senkin, Varvara Stepanova, Solomon Telingater and Nikolai Troshin. and photographers including Dmitry Debabov, Vladimir Griuntal, Boris Ignatovich, Alexander Khlebnikov, Yeleazar Langman, Alexander Rodchenko, Georgy Petrusov—not to mention many of the best printers and book binders.
The Soviet Photobook 1920–1941 presents 160 of the most stunning and elaborately produced photobooks from this period and includes more than 400 additional reference illustrations. The book also provides short biographies of the photobook contributors, some of whom are presented here for the first time.
Text von der Webseite.
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A Bit of Matter and a Little Bit More. The Collection and the Archives of Herman and Nicole Daled 1966–1978
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456 S., 27x20,3 cm, ISBN/ISSN 978-3-865607638
Klappbroschur mit Banderole (gestanzte Formen und Texte)
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erschienen zur Ausstellung 30.04.-25.07.2010
Mit Essays von Benjamin H.D. Buchloh und Birgit Pelzer sowie einem Text von Herman und Nicole Daled.
The Brussels-based collectors Herman Daled and Nicole Daled refuse to perceive art as decoration and to, thereby, exploit it. They approach art in a fundamentally different way: Basis for their activities are their relationships and conversations with artists.
In keeping with the aim of Conceptual Art that places the intellectual content of a work above its realisation, they consider themselves not collectors but communicators and producers: They provide artists with the opportunity to also realise works outside of established market mechanisms. Their intense engagement with Conceptual Art, one of the most important movements in recent art history, goes far beyond usual collecting practices. This is not only apparent in the actual works, but also in the meticulously archived documents containing actions and works.
One of the most important influences for Herman and Nicole Daled was Marcel Broodthaers, more than 80 of his works are in their collection. Moreover, the collection holds several works by Daniel Buren, Dan Graham, On Kawara, Sol Lewitt, Niele Toroni, Lawrence Weiner, Cy Twombly and many more.
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MONO.KULTUR #46 Francis Kéré - Of Clay and Community
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48 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, gedruckt auf verschiedenem Papier, teilweise farbig
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In our most colourful issue yet, we step into the life and work of architect Francis Kéré, known in equal measure for his lighthearted and innovative architecture, his remarkable background, and his infectious sense of optimism. Kéré has completed numerous projects both in Africa and beyond, including schools, medical centres, cultural institutions, and temporary installations, such as the renowned annual Serpentine Pavilion in 2017. Frequently relying on local materials and infrastructure, his work is marked by a profound simplicity and refreshing lightness, meeting technical problems with surprising and seemingly effortless solutions. It reflects his attitude that architecture should, in its most primary function, seek to improve the lives of the people who inhabit it. With mono.kultur, Francis Kéré talked about his long trajectory from a remote village in Africa to Berlin, his steadfast belief in optimism, and what makes a tree a perfect piece of architecture. Designwise, we followed Kéré’s principle to work with what is at hand, sourcing papers from dead stock at our printers’, essentially using an assortment of leftovers. And colour, of course, with the issue based on the national colours of Burkina Faso, paying tribute to the idea of culture as a shared ground to build upon.
Text von der Website.
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146 S., 17,8x12,8 cm, ISBN/ISSN 9781604860917
Broschur
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Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. Signal 01 includes: The Future of Xicana Printmaking: Alec Dunn and Josh MacPhee interview the Taller Tupac Amaru (Favianna Rodriguez, Melanie Cervantes, and Jesus Barraza), The Adventures of Red Rat: Alec Dunn interviews Johannes van de Weert, Hard Travelin’: A photo essay with IMPEACH, Early 20th-Century Anarchist Imprints, Mexico 68: The Graphic Production of a Movement: Santiago Armengod interviews Felipe Hernandez Moreno, Adventure Playgrounds: A photo essay, Designing Anarchy: Dan Poyner interviews Rufus Segar.
Text von der Website.
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We are Cypriots - Wir sind Zyprer - 28 Cypriots Tell Their Stories: Reports and Photographs from a Devided Island
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416 S., 23x15,5 cm, Auflage: 300, 2 Stück. ISBN/ISSN 9783928804950
Klappbroschur, Fadenheftung, HP-Indigodruck auf Munken White 115 g. 1,5. 114 Farbabbildungen
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“We Are Cypriots” is a chronicle that takes us behind the scenes sharing personal histories that official histories often ignore.
Between 2015 and 2018, during the reunification talks and after they failed, the author Lisa Fuhr visited Cypriots from both communities and photographed them in their surroundings. These intimate photographs and accompanying in-depth conversations shed light on life in Cyprus today.
Travellers, Cypriots living abroad, foreigners who have chosen to settle there, and last but not least, the people of Cyprus itself just might discover in these pages something they did not expect.
This book, furthermore, is intended as a contribution to the current European-wide discussion on national identity, separatism, nationalism or unification, and reconciliation.
In his comprehensive preface, the Berlin journalist, Klaus Hillenbrand, traces the historical and contemporary, as well as the social and political developments that have so profoundly shaped this island and Cypriots today.
Photo Exhibition and Book Launch at Goethe-Institut Nicosia, Cyprus, in the buffer zone next to Ledra Palace. Opening Wednesday 15 May 2019. Duration of the exhibition until 11 June 2019
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KLANG! SUONI CONTEMPORANEI
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13,5x13,5 cm, Auflage: 1.000, 7 Teile. keine weiteren Angaben vorhanden
CD Box ohne CD, 3 Booklets, 1 gefaltetes Plakat, 1 Aufkleber in Kartonbox, 3 Seiten Pressematerial
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The catalogue from Pezzini Editore consisting of three illustrated booklets, a poster, a sticker, [a cd and a dvd] in original die-cut box designed by Gumdesign, documents the sound based Multimedia Festival curated by Vittore Baroni and BAU at the historical Villa Paolina in Viareggio on 7-8-9 August 2009. The exhibition included installations and audio art works from 20 international artists, plus the collective project Bzzzoing! with musical instruments created by over 60 authors. In the course of the three days, audiovisual works of over 40 authors have been projected and over 20 poets, artists and musicians performed at the villa. In the centenary of futurism, a singular and rich overview of the many interferences between sound and image, paying tribute in the logo to Luigi Russolo’s Noise Machines.
Text von der Webseite
Catalogue of Klang! exhibition/sound art festival held at Villa Paolina, Viareggio, Italy, august 7-9 2009, comprising sound installations, exhibition and performances of invented musical instruments, and performances by visual artists, sound poets and electronic musicians.
Cardboard box published in 500 copies freely distributed during the festival days, including 3 booklets, a sticker and a poster; 300 copies were later produced with additional cd + dvd documentation of the festival.
Text von discogs Webseite
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032c Fanzine - Quarantäne!
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[40] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserdruck, gefaltete Einzelblätter, mit Gummiband zusammengehalten. PDF-Download von der Webseite
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“We want you to GO INSIDE — your house, and your self. Everything is about interiors now: the interior of your home, your mind, your archive, your hard drive. Mine it all for insight and purpose.
Once that’s done, show off what you find – just because you’re alone doesn’t mean you can’t share from within. There is no such thing as “too much information” now; COVID-19 took out “TMI.” In fact, there is no more “enough” — enough data, enough circulation, enough fodder. Binge on it. Burn out on it. Document it. Post it. Build a website for it. Get turned on by it. Get freaked out by it. Open up your screens, talk about your dreams, slide into those DMs. Get dressed up to go absolutely nowhere. Never go out, but leave nothing “behind the scenes” – there is no “behind,” and no “in front of” either. There is only “now,” 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 — east and west, north and south, us and them, out and in — 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.
Text von der Webseite
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Oh So Pretty - Punk in Print 1976-80
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512 S., 28x21,5 cm, ISBN/ISSN 9780714872759
Broschur
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A compelling visual portrait of a time, place, and subculture that raised a middle finger to modern society from the collection of Toby Mott.
Oh So Pretty: Punk in Print 1976-80 is an unrivalled collection of visually striking ephemera from Britain’s punk subculture. It presents 500 artefacts - 'zines,' gig posters, flyers, and badges - from well-known and obscure musical acts, designers, venues, and related political groups. While punk was first and foremost a music phenomenon, it reflected a DIY spirit and instantly recognizable aesthetic that was as raw and strident and irrepressible as the music. As disposable as the items in this book once were, together they tell a story about music, history, class, and art, and document a seismic shift in society and visual culture.
Text von der Verlagswebseite
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322 S., 20,3x12,7 cm, ISBN/ISSN 9780692424285
Broschur
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Das Buch erschien im Rahmen der gleichnamigen Ausstellung "Streetopia" (2012) die in der Luggage Store Gallery in San Francisco eröffnet wurde und sich gegen ein geplantes Bauprojekt und damit gegen die Gentrifizierung der Stadt richtete.
After San Francisco’s new mayor announced imminent plans to “clean up” downtown with a new corporate “dot com corridor” and arts district - featuring the new headquarters of Twitter and Burning Man - curators Erick Lyle, Chris Johanson, and Kal Spelletich brought over one hundred artists and activists together with neighbourhood residents fearing displacement to consider Utopian aspirations and to plot alternate futures for the city. Opening in May 2012 at the Luggage Store Gallery, the resulting exhibition Streetopia was a massive anti-gentrification art fair that took place in venues throughout the city. For five weeks, Streetopia featured daily free talks, performances, and skillshares while operating a free community kitchen out of the gallery.
This book brings together all of the art and ephemera from the now-infamous show - featuring work by SWOON, Barry McGee, Emory Douglas, Monica Canilao, Rigo 23, Xara Thustra, Ryder Cooley, and many more. Using the format of an exhibition catalog as a jumping off point, the book also includes essays and interviews with key participants that consider the effectiveness of Streetopia’s projects while offering a deeper rumination on the continuing search for community - and for Utopia - in today’s increasingly homogeneous and gentrified neo-liberal cities in an era of unprecedented wealth disparity.
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
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recorded at the Electronic Church in 2007.
Saxophon recorded at the Electronic Church in 2007. No overdubs, no manipulations.
When we (naivsuper) met Antoine in november 2007 to record his saxophone drones we didn´t really know what to expect because Antoine´s drones are perfect in a live situation. We weren´t sure if we could capture the richness of his sound, his working with the accoustics of a room and the strange almost discomforting breathing noises he makes when circular breathing on a CD. We basically wanted to hear him moving in the room, we wanted to see with our ears.
For the recording we chose the Electronic Church in Berlin because we have seen him perform there earlier the same year and it was absolutely fantastic.
The day of the recording was an incredible cold day in Berlin and due to the fact that the Church has no heating we could see our breath and feel the unbelievable cold humidity of a groundfloor room that hasn´t been aired in some time crawling up our pants.
It took Antoine almost an hour to warm up the saxophone and to get a satisfying tone. When he was finally ready to record the first take he was already a little bit out of breath. After 5 minutes of circular breathing his nose and lung started to freeze. We then tried a few more times but after another hour we were all coughing and sneezing and the saxophone was frozen so that we decided to postpone this session.
When we listened to the material at home we discovered that there was almost everything we wanted. We recorded how Antoine is fighting the cold and the exhaustion. There is the room, the breathing and movement. There is sound - almost an evolution of sounds - they are born slowly, grow up and then slowly disappear or extinguish.
We highly recommend you to listen with headphones. A follow up to this great document is planned, too
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[68] S., 27,5x21 cm, 2 Teile. keine weiteren Angaben vorhanden
Broschur, Katalog mit eingelegter Einladungskarte A5 zur Ausstellung in der Galerie Boutwell Schabrowsky, Theresienstr.48, München, 15.06 -20.06.2021
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"The Apple Tree Submarine is a unique art project with which artist Oh-Seok Kwon wants to create an “Art Community”.
You – as an art lover – will be involved in it. How? Learn more at the opening and the following days of the project week.
Apple Tree Submarine reflects the artist’s life stages, feelings and aspirations. In a series of drawings, he captures these milestones. The drawings are to be understood as Oh-Seok Kwon’s diary. Like the submarine, the artist looks at the world from a distance. He asks himself questions about being human, being rushed in the modern world, the excesses of striving “higher and higher – more and more” and the current insecurity. Thus, the flying submarine is like the artist’s eyes with which he permeates the world. As the title suggests, Oh-Seok Kwon has taken an apple tree on his journey through Munich and further around the world. Why? That would be too long a story at this point."
Text von der Webseite
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Auflage: 365, keine weiteren Angaben vorhanden
Klebebindung, Aufhänger aus weißer Kordel, mittig gefaltet, vermutlich farbiger Digitaldruck
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Für die Ausstellung Being with Others – Zusammensein hat einBuch.haus zwölf zeitgenössische Künstler*innen und Verleger*innen eingeladen, die das Buch als zentrales Medium ihrer künstlerischen Praxis nutzen. Der Titel verweist auf die Vorstellung einer Vernetzung der Künstlerbuch-Community und der Verbreitung ihrer Arbeiten, indem der Ausstellungsraum als Plattform für Präsentation und Austausch zur Verfügung gestellt wird. Er verweist auch auf die medienspezifische Mobilität und Zugänglichkeit von Büchern in der Rezeption ihrer Leser*innen.
Die in der Ausstellung vertretenen Künstler*innen verbindet die Beteiligung an der Publikation Calendar 2023, in der jede*r eine Arbeit für den zugewiesenen Monat beisteuerte. Das Projekt ist eine Hommage an den „Kalender-als-Ausstellung“ March 1969 von Seth Siegelaub. Die beiden Ausstellungsformate – vor Ort im einBuch.haus und potentiell weltweit als Kalender – zeigen die unterschiedlichen Möglichkeiten, Künstler*innen, ihre Kunstwerke und das Publikum zusammenzubringen.
Ein Buch ist eine Verbindung.
Ein Buch ist eine Begegnung.
Ein Buch ist ein bewohnter Raum.
Ein Buch ist das, woran man sich stößt, wenn man zurücktritt, um eine Skulptur zu betrachten.
Ein Buch ist ein Raum mit Zeit.
Ein Buch ist ein Buch.
Ein Buch ist ein zeitbasiertes Medium.
Ein Buch ist eine perfekte Symbiose zwischen Form und Inhalt.
Ein Buch ist eine Skulptur.
Ein Buch ist ein Portal.
Ein Buch ist ein Behälter für möglichen Inhalt.
Ein Buch ist intim.
Text von Website
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We Rise by Lifting Others
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21x14,8 cm, keine weiteren Angaben vorhanden
Karte
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Zur Ausstellung 22.04-08.10.2023.
Marinella Senatore (1977 Cava de’ Tirreni, IT – Rom, IT) ist eine zentrale Figur der italienischen Gegenwartskunst. Mithilfe verschiedener Medien entwickelt sie künstlerische Strategien, die das Potenzial haben, gesellschaftliche Veränderungsprozesse in Gang zu setzen. Ihr Fokus gilt dabei der Frage, wie der sozialen Spaltung und Polarisierung unserer Zeit künstlerisch begegnet werden kann und wie Formen von Gemeinschaft entstehen können, in denen Emanzipation und Empowerment tragende Säulen sind.
Die Sammlung Generali Foundation am Museum der Moderne Salzburg und das Museum Villa Stuck in München konzipieren die bisher größte Ausstellung der Künstlerin als ein Projekt in zwei Kapiteln, die zeitgleich zu sehen sind. Sie ergänzen einander und bieten einen Überblick über das gesamte Spektrum von Senatores Werk, das Lichtskulpturen, textile Arbeiten, Zeichnungen, Collagen, Fotografien und Filme umfasst. Den Höhepunkt in Salzburg bildet eine Parade, die im Rahmen von Senatores School of Narrative Dance mit der lokalen Bevölkerung entwickelt wird und ein lyrisches Fest der Gemeinschaftlichkeit mit Tanz, Musik, Gesang sowie anderen Performances feiert.
Text von der Webseite
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Open Call - The School of Narrative Dance
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21x14,8 cm, 10 Teile. keine weiteren Angaben vorhanden
Flyer zu The School of Narrative Dance
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Call in 10 verschiedenen Sprachen zur Parade in München am 23.07.2023 im Rahmen der Ausstellung in der Villa Stuck, We Rise by Lifting Others.
Im Museum VILLA STUCK steht ab Anfang Mai 2023 den Mitwirkenden der Parade ein Raum zur Nutzung innerhalb der Ausstellung „We Rise by Lifting Others“ von Marinella Senatore offen, hier können regelmäßig Workshops und Proben stattfinden. Am 23. Juli wird „The School of Narrative Dance“ mit allen Beteiligten eine Straßenparade gestalten, die sich vom Museum über die Prinzregentenstraße bis zum Odeonsplatz erstreckt. Die Parade soll bewusst zentrale Stadtachsen besetzen, die von den Nazis für ihre propagandistischen Märsche genutzt wurden. Bei Marinella Senatore treten die Stimmen und die Körper mit ihrem Wissen, ihren Erinnerungen, Erfahrungen und ihren Geschichten in den öffentlichen Raum. Auf diese Weise entsteht eine Prozession in München, die den Spuren der Nazi-Geschichte und den post-nazistischen Einschreibungen in die Stadt folgt – eine antifaschistische Parade im 21. Jahrhundert.
Vor allem im Juli wird es im Vorfeld der Parade ein intensives Workshopsprogramm geben. Das Museum bleibt davor und danach für andere Aktivitäten zur Nutzung offen. Das Ziel ist, möglichst viele Bürger*innen zu erreichen, sodass die Schule des narrativen Tanzes in München vielfältige Geschichten hervorbringen kann.
Text von der Webseite
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[64] S., 30,5x22,5 cm, Auflage: 200, 2 Stück. ISBN/ISSN 9780996282222
Softcover, Drahtheftung,
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Kelli Sims' It's Michael is a collection of drawings and watercolors created by the artist over a span of one week in March 2015. The book offers a glimpse into the artist's unique process of digesting reality. A certain urgency and rawness is evident in depicting a disorienting range of Sims' subject matters. In her works on paper, a pen or a brush cast a net extracting brief moments of clarity from the sea of daily observations, free association, dreams, and the internet. It is the first time Kelli Sims' work is displayed in a form of a book, adding to her diverse practice ranging from video, performance to painting and sculpture.
Kelli Sims (b. 1984, Monroe, Louisiana) received her MFA from the Glasgow School of Art in 2014 after studying at the University of Louisiana and the School of the Museum of Fine Arts in Boston. Recent exhibitions include Prehistoric Loom, Yada Shimin Gallery, Nagoya, Japan, Prehistoric Loom, No Toilet, Soeul, South Korea, Dear Green, ZK/U, Center for Art and Urbanistics, Berlin. How Many Shades Would an Artist Pack for Holidays?, Neoterismoi Toumazou and Aλ,áς, Nicosia, Cyprus.
Supported by the Glasgow School of Art as part of the Glasgow Master Series 2014.
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Drawing Room Confessions #1
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82 S., 17x11 cm, Auflage: 700, 2 Stück. ISBN/ISSN 9788896501276
Aufkleber auf dem Titel
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Drawing Room Confessions is a new printed journal named after a parlour game played by Marcel Proust, the Surrealists and others. It is made of words and exchanges, with no images.Six different sections (The Egoist, The Blind Man, Two to Tango, Ekphrasis, Time Line and La Madeleine) comprise the Rules of the Game, which are the same in each issue. What changes are the players, or interviewers, who open each round of conversation with the featured artist and who come from a wide range of fields.
THE CAST
CHARLES: Charles Avery
THE EGOIST: Robin Mackay
THE BLIND MAN: Evelyn Fishburn
TANGO: Angus Cameron
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32 S., 21x14,8 cm, Auflage: 300, keine weiteren Angaben vorhanden
Drahtheftung, kleinerformatiges Impressum auf andersfarbigem Papier vor eigentlichen Umschlag Drahtheftung,
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This booklet—with a graphic design that resembles a school notebook from the 50s—was created to accompany an exhibition at Larada by Adrien Missika, a young Parisian artist based in Geneva. In 2004, Missika set out on an original “grand tour” that skipped all the monuments and glorious ruins of Europe and took him instead through the peripheral neighborhoods of various Old World capitals, from Milan to Moscow. The result was Einfühlung (2008): a series of low-resolution, cell-phone photos of impressive Collectivist architecture, a legacy of the Modernist social utopias. Images of this work and others, including Grand Prix (2008), a video in which dromology meets archeology, and Daily Archeology (2010), serve as photographic references for the critical text by Patrick Gosatti.
Text von der Webseite
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76 S., 22x15,5 cm, ISBN/ISSN 9789491843754
Fadengeheftet, Softcover, Text auf Englisch
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This fiction, a collaboration between Kasper Andreasen and Louis Lüthi, takes as its starting point the painter Alexander Cozens’s publication A New Method of Assisting the Invention in Drawing Original Compositions of Landscape (1785). Set one morning in an empty gallery and told from the point of view of a young man who installs exhibitions for a living, The Preparator combines text and image in a series of compact, associative tableaus, each revolving around a landscape—or rather, the memory of a landscape: a title page, an eighteenth-century ink drawing, the network of cracks in a ceiling, a walk along the Rhine, a satellite photograph, Thomas Bernhard holding forth in a private garden, and others.
Text von der Website.
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Olafur Eliasson: In Real Life
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[8] S., 14,8x10,5 cm, 2 Stück. keine weiteren Angaben vorhanden
Leporello
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Infoblatt zur Ausstellung in der Tate Modern, London, 11.07.2019-05.01.2020.
In Eliasson’s captivating installations you become aware of your senses, people around you and the world beyond.
Some artworks introduce natural phenomena such as rainbows to the gallery space. Others use reflections and shadows to play with the way we perceive and interact with the world. Many works result from the artist’s research into complex geometry, motion patterns, and his interest in colour theory. All but one of the works have never been seen in the UK before. ...
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254 S., 29x23 cm, ISBN/ISSN 9780989911726
Klappbroschur, verbautes Fach mit eingelegtem Heft, diverse eingelegte, teils gefaltete Blätter auf verschiedenen Papieren, eingebundenes Plakat, gestanzte menschliche Figuren, eingeklebte Audio-CD in Schutzhülle,
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Esopus 23 includes stunning artists’ projects by Marilyn Minter (a brand-new series of work—including a removable insert—incorporating metallic and translucent specialty papers.), Mickalene Thomas (a mesmerizing collection of collaged images created for the issue including die-cuts, embossing, and specialty varnishes—and another detachable insert). Karo Akpokiere (a beautiful series of drawings, perforated for easy removal by readers, by the Lagos- and Berlin-based artist dealing with the challenges related to moving between two distinctly different cultures). Jody Wood (an in-depth look at the artist’s most recent iteration of her “Beauty in Transition” project, in which she provides hair-care and therapeutic services to homeless-shelter residents and their caregivers). Chuck Kelton (the master printer for photographers such as Mary Ellen Mark and Danny Lyon creates his own series of dramatic photogram “landscapes,” including a stand-alone, frameable print). and Stefan Kürten (an exquisite series of drawings incorporating complex folds related to mirrored elements within the images themselves).
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The New Yorkers Guide to Military Recruitment in the 5 Boroughs
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62 S., 14x10,8 cm, Auflage: 7.500, keine weiteren Angaben vorhanden
Broschur
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The New Yorkers' Guide to Military Recruitment is a free 64-page, pocket-sized book including everything a New Yorker needs to know about military recruitment and resources for counter-recruitment in NYC. The guide is copyleft and is available for download as a PDF as well as a printed 4x5" book. In spring and summer 2006, 7,500 copies will be distributed free-of-charge to students and others in danger of being recruited, their families, and concerned citizens in the New York metropolitan area.(Text von www.crguide.babyclaw.com)
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29,7x21 cm, ISBN/ISSN 9963622003
Drahtheftung, Cover mit Prägung
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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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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
My name is KID, I’m 28 and I’m based in Lisbon, Portugal.I’m a Rock’n’roll musician, and studied Architecture for 4 years. Around 3 years ago, I became a photographer. Since that, I mainly shoot with film – 35mm, medium format, polaroid and instant film, and others. Photography is one of the most amazing and beautiful ways to express yourself, as diary or editorial. I really like to be able to tell some story with a photo, or to create some emotions with it. With photography, we are able to keep a moment forever.
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59x42 cm, keine weiteren Angaben vorhanden
Plakat,
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The Office gallery presents new works by the Austrian artist Bernhard Hosa in his exhibition Hyperkinesia, starting on June 30, 2016.
Hosa's photo collages, objects and installations are reduced, almost minimalist in appearance and usually based on concrete themes. His starting point is the tension between the individual and a normative society. Based on an engagement with the biological view of the inside and of the outside, on man as an object of scientific study and on the measurement of the human body, he develops his own formal language on the interface between conceptual art and an aesthetic approach. Hosa deconstructs his reflections with artistic strategies such as reproduction, variation or sequence, and practices such as dissection and the creation of new compositions. The resulting series of collages or objects and stringent arrangements of the space adopt the character of the contents of his research.
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Andy Warhol - the complete commissioned magazine work 1948 - 1987
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407 S., 39x27,5x5 cm, ISBN/ISSN 978-3-791349923
Hardcover, Fadenheftung, in Schuber
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This gorgeously illustrated deluxe volume shows the full range of Warhol’s work for magazines—which will surprise even his most ardent fans—and includes cover art, editorial illustration, and ad work.
Beginning with the cover of a 1948 issue of Carnegie Tech’s student magazine, Cano, and ending with a 1987 issue of Jet Society International, this stunning book explores, for the very first time, the full story of Warhol’s collaborations with some of the most influential publications of the 20th century, including Harper’s Bazaar, Vogue, Time, TV Guide, Vanity Fair, and Playboy. Generously illustrated with images of the magazine layouts, this landmark publication collects more than 400 issues, revealing the artist’s full range of styles while also charting his artistic development over the decades. From charming drawings of shoes, hats, flowers, and cats to iconic illustrations of cars and cosmetics, from glitzy celebrity portraits to sexy pinups made with collaged Polaroids, this catalogue raisonné sheds new light on the influence of the media and consumerism on contemporary art (and vice versa) even as it offers a unique perspective on Warhol’s deep and lifelong connection to popular culture.
Text von der Webseite
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26,8x19,8x6,2 cm, 7 Teile. ISBN/ISSN 978-3-869302997
Schuber mit sieben Büchern (Boschur).
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Englische Ausgabe. Erschienen anlässlich der Ausstellung "The Line of Fate" im mumok, Wien, 04.03.-29.05.2011.
Seven Books Grey is an updated, expanded version of Tacita Dean’s Seven Books (2003), and is an exploration of Dean’s oeuvre as it straddles film, drawing, photography, writing and book-making. Each book has a different focus and together they are an accurate survey of Dean’s work to date.
Book One: “Complete Works and Filmography 1991–2011”
Book Two: “Selected Writings 1992–2011” (Dean’s writings)
Book Three: “A Panegyric, Gaeta, Edwin Parker” (three projects made with and about Cy Twombly)
Book Four: “Film Works with Merce Cunningham”
Book Five: “Footage” (artist’s book with a text by Marina Warner taking a cultural-historical look at the foot and the significance of limping)
Book Six: “Post-War Germany and ‘Objective Chance’: W.G. Sebald, Joseph Beuys and Tacita Dean” (essay by Christa-Maria Lerm Hayes)
Book Seven: “Essays on the Work of Tacita Dean” (texts by Wolfram Pichler, Peter Bürger, Douglas Crimp and Achim Hochdörfer)
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[352] S., 30x16 cm, Auflage: 1.000, ISBN/ISSN 978-2-954197425
Broschur, in silberner Kunststoff Schutzhülle mit Aufkleber
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A reflection about the status of the image as a balance of forces in tension and a paradoxical act of cancellation of the body through its own representation. In Ion Grigorescu’s work, as in the book, the body is continually shown in different ways - from photography to film, from performance to drawing - and yet it remains absent, obscuring its own identity in an attempt to question the collective one. As it is impossible to show his art during the regime, it ends up hiding, disappearing inside the image. Instead of showing, the image conceals, because it is non-documentary and non-transmittable. it is an act of birth, a prove of the artist’s resistance, especially as a human being inside (or against) any geographical or historical background. In the rituals of his gestures and in the symbolism of his performances, Grigorescu finds a way to stay alive, preserving his own intellectual status while also defending the dignity of everyday life. The book traces the progression, both expansive and inclusive, of his work, which inscribes itself into the space of the body and of the world. Grigorescu absorbs elements of the surrounding reality, showing us a continuity between art and life: his act of dissidence is not an outcry of provocation, nor is it extreme. it is an anti-aesthetic operation which uses experimentation and rough techniques to uncover the fiction of art, to denounce the artifice of representation and to affirm images as an instrument of subversive power.
Text von der Webseite.
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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 ‘Atem’?
‘Atem’ stands for “wind, breath” in german. This word is inspired by an illustrated poetry book published by Paul Celan (poet) and Gisèle Celan (illustrator) called Atemkristall.
Who we are
Atem Books curators are María Cerezo and Emma Llensa. We both do all the works involved with mantaining Atem Books.
What we can do
We’re also offering our services to help you self-publish your book (both digital -pdf, epub, mobipocket-, Ipad and Iphone apps and print). Whether 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.
We’re also offering our services to help you create your own website and, if you need one, how to create an e-commerce to sell your own goods. And, of course, we can give you marketing and self-promotion advises and guidelines.
Atem Books is 100% independent!
We don’t receive any external money. This project survives with the earns we do selling our publications.
Von der Webseite
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78 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farbkopien nach PDF, lose ineinander gelegt, Dokumentation der Ausstellung
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This survey of experimental art and design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space for the presentation of artworks and text. Throughout the 20th century, international avant-garde activities in the visual arts and design were often codified first in the informal context of a magazine or journal. This exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections to the past lineage of artists’ magazines and little architecture and design magazines of the 20th century, as well as a clear sense of the application of new techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library’s sustained effort to document and collect this medium.
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Art-Rite, No. 20 Pearl Girl, An Operetta - a libretto
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24 S., 28x21 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Illustrated with charming line drawings of urban love, this score includes music and lyrics for eight voices and clavichord, bell, flute, violin, oboe, horn, cymbal, drum. Each of the three acts are introduced with a plot synopsis of the amorous adventures of protagonists Pearl and Anthony. The libretto ends with a thoughtful epilogue: As young lovers Pearl and Anthony must acknowledge the reality of their sentiment for each other as a separate and a whole reality from their surroundings they must effectively substitute the ...skylines that they could inhabit for the places and constructs as spiritual parts of themselves and to the intuitions and instincts to their intentions and to their youth as ingenuous their present and their future have become realized as each other they must consider a different sort of naiveté
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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
Blätter, lose ineinander gelegt, Druck in ROT und SCHWARZ
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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 „The Office for Anti-Propaganda“ drifted to a political platform. In cooperation with activists and cultural makers Office lounges and supports political campaigns, social projects, organizes protest actions, and publishes underground newspapers.
The emphasis lies on projects which work outside the white cube 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 citizens’ 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, users’ comments, testimonies of victims and political activists.
Text von der Website
Mit Untzerstützung der Konrad Adenauer Stiftung und der Zeit-Stiftung Ebelin und Gerd Bucerius
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240 ca. S., 12,5x10 cm, Auflage: 2.000, ISBN/ISSN 0894390139
Umschlag aus Karton mit Leinenstreifen, ca. 120 Seiten gestanzt
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2004 winner of I.D. Magazine's Design Distinction award, Absence is the third book to come out of Printed Matter’s Publishing Program for Emerging Artists, a program made possible through the generous support of New York City's Department of Cultural Affairs, The Andy Warhol Foundation for the Visual Arts, the Elizabeth Firestone Graham Foundation, and the Heyday Foundation. The generosity of Whitney trustees Melva Bucksbaum and Raymond J. Learsy was instrumental to the Museum’s participation in the publication of this exciting new work.
Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.
At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book’s only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages – one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.
Of all of the proposed monuments and grand designs for the twin towers to emerge in the last two years, Absence is remarkable for its employment of an under-used strategy: restraint. The simplicity of Yoon’s materials and her use of repetition speak, without words, about unspeakable loss. Quiet, respectful, mournful, the book does not aim to represent the magnitude of the disaster. Instead it appeals to the vastness of the reader’s imagination and capacity to grieve. The human scale of her memorial operates on a personal level – it delivers the memory of lives lost into the reader’s hands. At the same time, as a scale model of a vanished architectural site, it operates on a larger cultural level by commemorating the site itself.
Text von der Webseite. Fotos Xenia Fumbarev
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104 S., 28x22,5 cm, ISBN/ISSN 9789491677144
Schweizer Bindung, verschiedenes Papier, Farb- und Schwarz-Weiß Fotografien
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Onomatopee 95. 11”x17” by Elisa van Joolen is an on-going project that examines and challenges the fashion industry’s prevailing value systems and proposes new methods of production. The project began in 2013 with a series of conversations with representatives of various fashion brands including G-Star, O’Neill, gsus sindustries, Rockwell by Parra, Converse, moniquevanheist, and Nike. These companies then contributed by donating clothing and footwear in the form of samples, archival pieces and stock. A selection of these, complemented with pieces of second-hand and no-brand clothing have undergone a process of cutting out and reconstructing to become 11”x17” Sweaters and Invert Footwear. 11”x17” creates a network. It unites different categories of clothing and different values within fashion. an eclectic mixture of mid-market, second-hand, and high-end items.
Text von der Website.
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Gotto Go Gotto Flow - Life, Love, and Lust - On Chicago's South side - From the Seventies
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194 S., 24,8x22,5 cm, ISBN/ISSN 9780991541829
Fadengeheftet, Hardcover, mit Schutzumschlag
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Poems by Patricia Smith, Photographs by Michael Abramson.
Bump contests and blues. Love goddesses and shake dancers. The Sexy Mamas and Their Mack. Funky. Sexy. Music and voodoo. Every night like New Year’s Eve. This was the scene that Abramson recorded. Patricia Smith, took a look at Abramson’s photos nearly four decades later and brought his night world back to life. “These fiercely breathing visuals are a last link,” she says, “to the unpredictable, blade-edged and relentlessly funky city I once knew.” Her words and his pictures open the doors and give us a front-row (or a back-row... even better) seat to a time and place long gone. So: Watch. Listen.
Text von der Website.
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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 that’s 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 today’s 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.
Text von der Webseite
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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 Søndergaard. The Wordpharmacy has be shown in several cities like Paris and London and Berlin and Bangor and Tromsø and Voss. The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian Ramsø and is now available in six languages.
Text von der Webseite
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr 038 aus der Reihe 100for10.
75 g/m² started as a black and white photocopy exhibition. The project was initiated by Maycec, a photographer, self-publisher and graphic designer who draws inspiration from alternative culture and her personal life. She is co-founder of Vesselroom Project and Atelier29. The first 75 g/m² exhibition took place in Berlin in 2014 with Maycec alongside Vonverhille and Damien Sayer whom both grew up 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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MONO.KULTUR #41 Meg Stuart - Make the first move
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48 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, auf verschiedenen Papieren gedruckt
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Meg Stuart’s work is not about the elegance and beauty of dance, or at least not in the conventional sense. It is about exploring the outer edges of movement, where bodies age, fail, and surrender, where individual spaces disintegrate and bleed into each other, where physical memories are exposed like open wounds. Meg Stuart’s work is located at the vanishing point where dance meets visual arts. Within just two decades, Stuart’s dance company Damaged Goods, which she founded in 1994, have produced a lengthy and diverse list of projects, ranging from countless full-length feature works to multi-disciplinary dance installations, improvisations, and films that spread far beyond the theatre stages of the world, into museum spaces, film festivals or the wide open street. With mono.kultur, Meg Stuart talked about her first physical memories, the healing power of dancing and the thrill of disorientation. Following Meg Stuart’s interest in abundance and complexity, the design discards all notions of top or bottom, left or right, with text and images set in different and ever-changing directions. A magazine as a physical object that wants to be handled and turned. Reading as a dance.
Text von der Website.
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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 Søndergaard. The Wordpharmacy has be shown in several cities like Paris and London and Berlin and Bangor and Tromsø and Voss. The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian Ramsø and is now available in six languages.
Text von der Webseite
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
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recorded in 2007 at the Leo Mars studio.
´Lightears´ is the long awaited debut album by Berlin duo Leo Mars. After a year of trial and error, a lot of sessions, sound collecting and analysation of possibilities a precisely crafted, yet astonishingly free floating album came to life. In times of almost infinite sounds, instruments and styles it took the duo some time to come up with the basic material, form a language and then of course learn to speak it. Hours were spent in the studio and their favourite lebanese restaurant discussing the world of sound.
´Lightears´ intelligently smudges the borders between a classic drone, an underground noise, a playful improvisation and an old fashion musique concrete record. All the genres fall into place rather unpretentious with pure sound excitingly assembled to challenge ones listening habits.
It is a rather harsh production always bouncing back and forth between digital, crisp electronics and field recordings pushed way over the edge.
With minimal gear and set up Leo Mars managed to manoveur themselves somewhere inbetween a bedroom thrashing noise keyboard project and a theoratical paper score composer duo. Performing in a trance - allowing things to happen - awaken - making a conscious decision - slipping back into space
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146 S., 21,5x13,5 cm, keine weiteren Angaben vorhanden
Offset-Druck, Broschur. Aus dem Kattenstroth Konvolut.
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Networking Currents ist Chuck Welshs 1986 erschienener Überblick über die Mail Art, ihre Ursprünge und zeitgenössischen Praktiker. Es ist auch eine erweiterte Meditation über die Idee von Netzwerken, die Mail Art und andere Formen „subversiver“ Korrespondenz als politisch aufgeladene Formen des Widerstands begreift. Das Buch enthält einen illustrativen Anhang mit Reproduktionen der besprochenen Werke.
Text von der Website, übersetzt mit DeepL
Cover Design vom Autor
CONTENTS
Introduction and Acknowledgements
Part I Networking Currents
1 The Open Letter Manifesto
4 The Wooster Gallery Mail Art Melee
6 Origins and Fluxus Factors
11 Mail Art and Mass Media
14 Archives for Further Research
15 The Mail Art Product and Process
17 Networking and Mail Art Options
20 Money and Mail Art Don't Mix!
24 Mail Art Fame
27 Tourism
28 Networking Currents
33 Networking New Spheres of Influence
35 Fighting Censorship Through Networking
41 Networking in Eastern Europe
42 Networking Marginal Resistance
44 Solidarity Through Networking
Part II Flags for World Peace
47 Flags for World Peace
Part III WNYC Radio Broadcasts
55 WNYC Radio Broadcasts
56 Interview with Buster Cleveland and Carlo Pittore
68 Interview with Mark Bloch and John Evans
81 Interview with David Cole and John P. Jacob
Appendix
94 Illustrations and Text
Notes
123 Notes, Part I
129 Notes, Part II
Bibliography
131 Primary Sources
132Secondary Sources
Index 137-144
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Artist Music Journals Vol. 1 No. 03
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[24] S., 26,5x26,5 cm, Auflage: 1.000, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Heft in Pappschuber mit Aufkleber
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Artist Music Journal is an ongoing, limited edition small book series published by Sound Screen Design that focuses on the inseparable connection between music and art. Each release is limited to 1,000 copies, features a 24 page, saddle-stitched small book printed on thick stock and encased in a 10″., record jacket. The artists signature is replicated on a letterpressed sticker placed around the jacket opening, and hand numbered.
Daniel Higgs is a musician and artist from Baltimore, Maryland, who has been a contributor to the independent art and music community for nearly 3 decades. His artistic work ranges from musical records to books of poetry to visual collections of his drawing, painting and collage work
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2 S., 9,3x14 cm, keine weiteren Angaben vorhanden
Beidseitig bedruckter Flyer
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STET – livros & fotografias is book shop in Lisbon, specialized in Photo books, artist books and author editions. This project was born as a critival platform for the debate and presentation of photo editions, promoting the circulation of Portuguese artist and importing international publishers. We have independent and classical editions, artist books, author editions, cheap and expensive, weird and special.
Text von der Webseite
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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 — ‘good day, good afternoon, good night’ in Portuguese — conveys the idea that books can become part of everyday life, regardless of the time of day. BOM DIA was founded in 2011 by Manuel Raeder and Manuel Goller in Berlin, solely run by Manuel Raeder since 2013. BOM DIA is specialized in high quality artist books that are conceived as an integral part of an art work or as the art work itself that, often, plays with the format of the book and reflects its medium. A focus of BOM DIA lies in publishing contemporary artists from Latin America. The books of BOM DIA are produced in close collaboration with a group of fellow artists, among others Henning Bohl, Daniel Steegmann Mangrané, Mariana Castillo Deball, Haegue Yang, Leonor Antunes, Abraham Cruzvillegas, Danh Vo, Nina Canell, and BLESS.
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Esopus 12 Black and White
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154 S., 29,3x23 cm, 2 Stück. ISBN/ISSN 9780981574516
Broschur mit eingelegte und angeklammerten Teilen auf diversen Papieren, einlegte CD mit Musik und Film
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Esopus CD #12: Black and White, Nina Nastasia, Sam Amidon, dj/rupture, and 8 others create songs based on black-and-white films
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Line Issue #1 Intersection
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304 S., 30x23 cm, ISBN/ISSN 2194394X
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LINE IS AN ENTITY BORN FROM RESTLESS MOVEMENT, THE NECESSARY CONSECRATION OF THE PASSAGE FROM STILLNESS TO MOVEMENT DUE TO THE ACTION OF SEVERAL FORCES ON THE SAME POINT.
ITS ASSUMPTION IS TO TRACE A PATH THROUGH THE DIFFERENT CREATIVE AND EXPRESSIVE FIELDS OF HUMANKIND (FASHION, MUSIC, ART, PHOTOGRAPHY, CINEMA, AMONG OTHERS) AND TO ANALYZE THE INTERSECTIONS WHERE THESE DIFFERENT EXPERIENCES ARE FOUND TO HAVE A MOMENT THEY SHARE, AS A SOURCE WHOSE WATERS SCATTER IN DIFFERENT DIRECTIONS.
LINE IS A NEW MAGAZINE ABOUT ART, MUSIC AND FASHION. IT WILL BE A BIANNUAL PUBLICATION SUPPORTING YOUNG TALENTS WITH A STRONG IDENTITY. THE PRODUCTION WILL SUPPORT EVERY FORM OF CREATIVE EXPRESSION THAT MAY REFLECT THE UNICITY OF THE INDIVIDUAL CREATOR AND THAT IS, THEREFORE, ORIGINAL.
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Photobooth - The Art of the Automatic Portrait
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200 S., 24,2x20,2 cm, ISBN/ISSN 9780810996113
Hardcover mit Schutzumschlag, beigelegtem Lesezeichen und eingeklebtem Heftchen, Seiten teils aufklappbar.
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Since its introduction to the public in September of 1926 on a street corner in New York City, the automatic photobooth has captured the interest of the general public and fine artists alike. Raynal Pellicer, author of Mug Shots, examines the self-portraits – sometimes practical, sometimes whimsical – produced by this enduring 20th-century novelty. The countless documents included here feature shots of Francis Bacon, Billy Childish, Allen Ginsberg, John F. Kennedy, Anne Frank, Salvador Dalí, André Breton, Wim Wenders, Walker Evans, and John Lennon, among others.
Photobooth draws a fantastic inventory of artistic variations on the snapshot, bringing together works of art and self-portraits of persons both known and unknown, from the 1920s to the present.
Text von der Webseite.
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14,8x10,5 cm, keine weiteren Angaben vorhanden
A 4 Blatt, doppelseitig bedruckt, gefaltet auf A6, mittig geheftet, so dass es nicht ganz aufgefaltet werden kann.
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Since 1974, Luna Bisonte Prods has published a wide variety of experimental, avant-garde, audio, and visual literature in a wide variety of formats by artists from all over the world. Among the authors and artists published are such major and emerging figures as Ivan Argüelles, Sheila E. Murphy, Jim Leftwich, Andrew Topel, Carlos M. Luis, Scott Helmes, Jake Berry, John M. Bennett, Susan Smith Nash, Al Ackerman, Bob Heman, Richard Kostelanetz, Charles Henri Ford, Dick Higgins, Robin Crozier, and many many others.
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Notes from the Cosmic Typewriter - The Life and Work of Dom Sylvester Houédard
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192 S., 26,5x18,5 cm, ISBN/ISSN 9780956962331
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This book is the first since the early 1970s devoted to the extraordinary British Benedictine monk, scholar, translator, concrete poet and artist Dom Sylvester Houédard (1924–92). Edited by Nicola Simpson, with new essays by Gustavo Grandal Montero, Rick Poynor, David Toop and Charles Verey, Notes from the Cosmic Typewriter offers a broad and richly illustrated introduction to this major artistic and theological figure.
Besides many of Houédard’s ‘typestracts’ – the concrete poems produced entirely with his Olivetti typewriter – this book also includes examples of his lesser-known ‘poem-objects’, a selection of key texts, as well as never-before-published performance scores. In both his spiritual views and artistic output, Houédard stands out as a model of insatiable curiosity, building around him a vast network of enlightened poets, visual artists, performers, musicians and thinkers of all faiths and walks of life.
Text von der Webseite
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Boot Print, Volume 1, Issue 1
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32 S., 41x29 cm, keine weiteren Angaben vorhanden
Blätter lose zusammengelegt, einmal gefaltet
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Boot Print Volume 1/Issue 1 covers the Boots exhibitions and happenings. The inaugural exhibition The Politics of Friendship and Georgia Kotretsos solo show 10 Fingers 88 Teeth looks at five different models of artist-run spaces La Panaderia, Mexico. Kling and Bang, Iceland. PiST, Turkey, and SubCity Projects, in the United States. discusses forms of arts publishing and distribution. features Adelheid Mers insightful diagrammatic chronicle alongside Vilem Flusser’s Crisis of Linearity (1988), the first translation into English. and last, speaks with influencial curatorial voices about their practice sush as Anne-Laure Oberson. Vasif Kortun. Xenia Kalpaktsoglou, Poka-Yio, Augustine Zenakos. Mary Jane Jacob and Shannon Fitzgerald about the local and international art scene, as well as the debutant Destroy Athens Biennial.
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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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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 – 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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ArtsLibris Barcelona 2018
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[4] S., 23x16 cm, Auflage: 700, 2 Stück. keine weiteren Angaben vorhanden
Leichter Karton, bedruckt, einmal gefaltet, eingelegt ein Paar weiße Handschuhe bedruckt und in Plastikhülle, in bedrucktem Briefumschlag. Einmal ungeöffnet
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ArtsLibris, International Fair of Artists' Books and Contemporary Edition, holds its 9th edition from 21.04.-23.04. at Arts Santa Mònica. The ArtsLibris Barcelona 2018 program includes the 5th International Symposium on Editions and Collecting and the Speakers' Corner presentations, as well as the exhibitions Biblioteques insòlites, curated by Glòria Picazo, and Nova York en fotollibres, curated by Horacio Fernández. the presentation of the fourth book of the AL Series, by Wilfredo Prieto, and several workshops. Besides, as every year, the ArtsLibris–Banc Sabadell Foundation Award will be granted. ArtsLibris has two projects of limited editions: the AL Series, a collection of artists' books produced with the support of Fundació Banc Sabadell, and the limited edition of tote bags and gloves, sponsored this year by Blueproject Foundation and designed by Ignasi Aballí.
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DAS TREFFEN DREIER PUNKTE - Kapitel 1
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[48] S., 19x12,3 cm, keine weiteren Angaben vorhanden
Gefaltete Einzelblätter, mit Gummiband gebunden.
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Katalog zur Ausstellung DAS TREFFEN DREIER PUNKTE, 01.-31.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well as the lives of strangers.
Text von der Webseite.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics of the work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances.
The project unfolds over the course of the month of July in six chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half of its projects in Berlin’s public space.
The city of Berlin is a partner of INTERIORS TO BEING as any curator or participating artists in the program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting the way artists move within it. INTERIORS TO BEING internalizes these changes through the framework of its community. All contributors to INTERIORS TO BEING are part of the extensive creative network of PICTURE BERLIN (founded in 2009, a not-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin.
The red thread running through all events is the dérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads to the development of a psycho-geographical awareness. This concept beautifully sums up the way INTERIORS TO BEING works as a project in the city of Berlin.
Text von der Webseite.
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HIDDEN TREASURES - Katipel 2
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[40] S., 19x12,3 cm, keine weiteren Angaben vorhanden
Gefaltete Einzelblätter, mit Gummiband gebunden, Wendeheft.
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Katalog zur Ausstellung HIDDEN TREASURES, 03.,07.,13.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well as the lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics of the work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances.
The project unfolds over the course of the month of July in six chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half of its projects in Berlin’s public space.
The city of Berlin is a partner of INTERIORS TO BEING as any curator or participating artists in the program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting the way artists move within it. INTERIORS TO BEING internalizes these changes through the framework of its community. All contributors to INTERIORS TO BEING are part of the extensive creative network of PICTURE BERLIN (founded in 2009, a not-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin.
The red thread running through all events is the dérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads to the development of a psycho-geographical awareness. This concept beautifully sums up the way INTERIORS TO BEING works as a project in the city of Berlin.
Text von Der Webseite.
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THE MIDDLE STUFF - Kapitel 4
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[36] S., 19x12,3 cm, keine weiteren Angaben vorhanden
Gefaltete Einzelblätter, mit Gummiband zusammengehalten, Wendeheft.
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Katalog zur Ausstellung THE MIDDLE STUFF, 05.-12.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well as the lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics of the work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances.
The project unfolds over the course of the month of July in six chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half of its projects in Berlin’s public space.
The city of Berlin is a partner of INTERIORS TO BEING as any curator or participating artists in the program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting the way artists move within it. INTERIORS TO BEING internalizes these changes through the framework of its community. All contributors to INTERIORS TO BEING are part of the extensive creative network of PICTURE BERLIN (founded in 2009, a not-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin.
The red thread running through all events is the dérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads to the development of a psycho-geographical awareness. This concept beautifully sums up the way INTERIORS TO BEING works as a project in the city of Berlin.
Text von der Webseite.
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[64] S., 19x12,3 cm, keine weiteren Angaben vorhanden
Gefaltete Einzelblätter, mit Gummiband zusammengehalten, Wendeheft.
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Katalog zur Ausstellung HOSTING, 02.-31.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well as the lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics of the work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances.
The project unfolds over the course of the month of July in six chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half of its projects in Berlin’s public space.
The city of Berlin is a partner of INTERIORS TO BEING as any curator or participating artists in the program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting the way artists move within it. INTERIORS TO BEING internalizes these changes through the framework of its community. All contributors to INTERIORS TO BEING are part of the extensive creative network of PICTURE BERLIN (founded in 2009, a not-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin.
The red thread running through all events is the dérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads to the development of a psycho-geographical awareness. This concept beautifully sums up the way INTERIORS TO BEING works as a project in the city of Berlin.
Text von der Webseite.
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RAUMANEIGNUNG - Kapitel 6
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[64] S., 19x12,3 cm, keine weiteren Angaben vorhanden
Gefaltete Einzelblätter, mit Gummiband zusammengehalten, Wendeheft.
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Katalog zur Ausstellung RAUMANEIGNUNG, 19.-31.07.2019, Berlin, im Rahmen von INTERIORS TO BEING.
INTERIORS TO BEING takes visitors and invited artists into an intimate encounter within the homes, gardens and streets of Berlin as well as the lives of strangers.
INTERIORS TO BEING spans time and space as a collective happening through the cityscape of Berlin. Six curators from Berlin have developed formats around the specifics of the work of a total of 51 artists and curators. The chosen formats range from traditional exhibitions, walks, salons and discussions to gatherings and performances.
The project unfolds over the course of the month of July in six chapters that flow into one another, occasionally overlapping. INTERIORS TO BEING expands radically outwards, realizing half of its projects in Berlin’s public space.
The city of Berlin is a partner of INTERIORS TO BEING as any curator or participating artists in the program would be. The cityscape functions anthropomorphically–with the city’s growth and continual change impacting the way artists move within it. INTERIORS TO BEING internalizes these changes through the framework of its community. All contributors to INTERIORS TO BEING are part of the extensive creative network of PICTURE BERLIN (founded in 2009, a not-for-profit artist initiated hybrid residency/art academy), which is a community made up of more than two hundred international artists and curators, two-thirds of whom are based in Berlin.
The red thread running through all events is the dérive, a term devised by Situationist Guy Debord to describe an aimless wandering through different urban environments that leads to the development of a psycho-geographical awareness. This concept beautifully sums up the way INTERIORS TO BEING works as a project in the city of Berlin.
Text von der Webseite.
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Books and editions - The world is very large.
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14,8x21 cm, 3 Teile. keine weiteren Angaben vorhanden
Drahtheftung, Preisliste und Visitenkarte
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Elisabeth Tonnard is a Dutch artist and poet working in artists’ books, photography and literature.
She has published over forty books that are exhibited widely and held in numerous private and public collections including the Centre Pompidou, Columbia University, Getty Museum, Kunstbibliothek Berlin, MoMA Library, New York Public Library, Tate Library and the Walker Art Center. Much of her work involves responding to existing books, texts and images, reworking them into new (visual) literature. The works range in scale and method from a book that is completely invisible to a book that is a swimming pool. A catalogue of books is available here.
Text von der Webseite
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15x13,4 cm, Auflage: 400, 2 Stück. ISBN/ISSN 9783923205301
Broschur, Leinenstreifen, zweifarbiger Offsetdruck, geklammert
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Die amerikanische Künstlerin Romaine Perin analysiert in diesem kleinen Buch "Flecken" verschiedenster Art: Ungeziefer, Röntgen-Bilder, Computerausdrucke, Erdbeben, Ess-Flecken und mehr.
Dieses Buch ist die erste Künstlerbuch-Publikation des Verlages Hubert Kretschmer.
Von Romaine Perin selbst gestaltete Anzeige zu diesem Büchlein im ersten Verlagsprospekt von 1980.
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The wine spilled out of the bottle and stained the tablecloth
Stains are the effects of a cause, the proof of circumstance, the evidence of events. Stains are made by daylight, weather and natural disasters, on surfaces that reflect, and in the danger zone.
Daylight at sunrise, the stain of daylight soaked the brick wall of my house and dripped onto the side walk. I stood outside and turned my face to the sun. My shadow trickled into the dusty gutters and stained the street behind me.
Weather During the night the rain struck the roof. The pellets of water pockmarked the muddy ground and the swollen river entered the ocean and was stained with salt.
Natural Disasters. The stains of earthquakes in the broken stones.
Reflections of the gloomy tundra stain the mirror through the dusk.
Stains of War in the Danger Zone in a corner of the continent, on a treeless snow covered plain, armies laid down their guns. The whistling of the cold wind abruptly ceased. A white flag drooped in the still air and the silence was stained with the loud breathing of soldiers
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[60] S., 25x19 cm, Auflage: 200, keine weiteren Angaben vorhanden
Vorder- und Rückseite mit Siebdruck in Gold
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Sourcebook presents the detritus and collected imagery of a year of contemplation, frustration and ambivalence with the nature of photography. From an initial starting point of the typographic reference book, within its pages a myriad of situations and pictures present themselves - each at once recognisable and indecipherable.
Drawing heavily on ideas of representation and the 'reading' of an image, the work within is open-ended, a liquid, unstable mix of ideas and images that attempt to elude the conclusive, finite nature of the captured image or the printed photo. Instead, Sourcebook aims to be fluid - at once a source of reference and stimulation for future creative processes, and a photographic document littered with unanswered questions, oblique strategies and glimpses of meaning.
Text von der Verlagswebseite
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Then & Now - Hollywood Boulevard 1973-2004
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152 S., 44,7x32,5 cm, ISBN/ISSN 978-3-865211057
Hardcover, Leineneinband im Schuber,
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One of the most well-known of Ruscha's books from his early period is Every Building on The Sunset Strip, showing a famous stretch of real estate along Sunset Boulevard in Los Angeles, published in 1966. In July, 1973 he followed the same procedure while documenting Hollywood Boulevard.
Loading a continuous strip of 33 feet of Ilford FP-4 black & white 35mm film into his motor-drive Nikon F2 and then mounting it on a tripod in the bed of a pickup truck, he drove back and forth across the 12 miles of the street shooting, frame-by-frame, both the north and south sides of its entire length. The negatives were developed, contact sheets were made, and the materials were placed in storage.
Thirty years later, in 2003, a digital record of Hollywood Boulevard was created and it served as a reference guide for the traditional film/still documentary of 2004. For this shoot, the same type of camera equipment was used to re-photograph the street on 35mm color-negative film.
The resulting material of both shoots — 4500 black & white and 13,000 color images — have been scanned and digitally composed into four panoramics of the complete 12 miles. In THEN & NOW, the original 1973 North side view is shown along the top of the page and juxtaposed with its 2004 version underneath. Along the bottom of the page, you find the original 1973 South side view shown upside down, also juxtaposed with its 2004 version. The panoramics face each other and they are aligned.
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82 S., 24,3x17,2 cm, keine weiteren Angaben vorhanden
Broschur
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From what started as a music blog aimed at sharing the best music acts of ‘tomorrow’, nearly 3 years on, TMRW is not only a quarterly printed lifestyle magazine, but an industry-recognised brand and voice.
As a fresh faced, naïve 21 year old, Founding Director and Editor, Joe Brine was oblivious to the potential of what he had incepted. Having made the conscious step in to the world of print, Joe adopted a simple but effective design, which would give TMRW a niche and set the magazine apart from any other on the market. The attention to detail shows exactly this. The thicker paper stock and the smaller size made the quarterly print high quality and aesthetically pleasing, because of this the magazine is more sought after and such is looked after more by readers and shared around with friends and family. For any brand associated with TMRW it means that the reader is more inclined to notice and is more inclined to make a purchase.
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Rampike. The Poetic Eye - Vol. 23, No. 2
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84 S., 28x16,5 cm, signiert, ISBN/ISSN 07117647
Broschur, beigelegt eine Karte mit handschriftlichem Text
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Rampike magazine, in print since 1979, featuring stellar international writers, critics and artists invites you to subscribe and/or submit articles both creative and scholarly (juried). Edited by Karl Jirgens, featuring post-modern art and writing from around the world with a strong focus on Canadian expression. The journal has received substantial support from the Canada Council and the Ontario Arts Council and has published interviews and works by internationally acclaimed figures ... . Rampike has been praised by critics such as Wayne Grady (Globe & Mail), and Marjorie Perloff (Stanford U) and is distributed internationally.
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292 S., 23,3x14,2 cm, ISBN/ISSN 978-1-910010082
Klappbroschur,
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This book presents a wide selection of interviews and photographs from the collaborations between Willats and residents in the many housing estate projects he makes. The first-hand observations and individual opinions, from the past four decades, record a variety of attitudes and perceptions towards the physical reality of their surroundings. Created outside of the norms and conventions of an object-based art world, the projects in this book, mainly on estates in and around London, but also in Bath, Leeds, Milton Keynes and Oxford, highlight the realities of everyday life in both tower blocks and low-rise planned housing. Text von der Webseite
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Rampike, electricitee, special double issue - Vol. 02, No. 1&2 - electricitee
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80 S., 42x15 cm, ISBN/ISSN 07117647
Klebebindung,
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Rampike magazine, in print since 1979, featuring stellar international writers, critics and artists invites you to subscribe and/or submit articles both creative and scholarly (juried). Edited by Karl Jirgens, featuring post-modern art and writing from around the world with a strong focus on Canadian expression. The journal has received substantial support from the Canada Council and the Ontario Arts Council and has published interviews and works by internationally acclaimed figures ... . Rampike has been praised by critics such as Wayne Grady (Globe & Mail), and Marjorie Perloff (Stanford U) and is distributed internationally.
Text von der Website
Cover art: Ints Plampe
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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 haven’t 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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All or nothing and other pages
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224 S., 23,4x14,2 cm, ISBN/ISSN 978-1-910010136
Klappbroschur, mit einigen Schwarz-weiß Abbildungen,
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A survey of the work of Michael Gibbs whose activities included poetry, performance, film, and publishing, and his immersion in what he called “a genuinely ‘underground ’ culture… which owed nothing to the official art establishment ”. As well as visual poetry and texts, the book includes his major study of blank books ‘All or Nothing ’, written in 2005, a selection of critical writing that originally appeared in Kontexts, and Artzien, journals that he edited and published, as well as articles from the photography journal Perspektief, and Art Monthly, for which he wrote a regular column. A chronology of examples of his visual and concrete poems, books and photography is reproduced, along with documentation of performances.
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Fuck Seth Price - A Novel
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122 S., 17,8x11,8 cm, ISBN/ISSN 9780981546834
Broschur, Cover mit gestanztem Loch, Schrift: Caslon, Lesezeichen beigelegt von aliasbooks east
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1. Ausgabe.
From one of the most influential artists of his generation comes a provocative, moving novella about what it means to be a creative person under today's digital regime. In the course of a gripping, headlong narrative, Price's unnamed protagonist moves in and out of contemporary non-spaces on a confounding and enigmatic quest, all the while meditating on art in the broadest sense: not simply painting and sculpture but also film, architecture, literature, and poetry. From boutique hotels and highway bridges to PC terminals and off-ramps. from Kanye West and Jeff Koons to George Bush and Patricia Highsmith. from the playground to the internet to the mirror, Price's hybrid of fiction, essay, and memoir gets to the central questions not only of art, but of how we live now
Text von Amazon.com
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Paper News - Special Edition: Women in Print - November 2018
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4 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Ein Blatt, gefaltet
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Although the history of photography and the history of photo and artists’ books is widely documented, collected, exhibited, and discussed, the legacy of women using photography in print is underdocumented, cursory, fragmentary and too often, inaccurate. Women were always at the forefront of innovation and the political debate on photography, despite the harsh conditions in which they often lived and worked, but their voices and their historical contribution are still marginalised. As the feminist art historian Linda Nochlin asked, what are the implications of this rejection and what elements of these practices do we need to reevaluate? And why does it matter, beyond the historical inaccuracies? On the occasion of Paris Photo, Paper News is launching this Special Issue dedicated to women in print.
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ruine 06 - The Görli From Ipanema (and other texts)
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36 S., 21,6x15,3 cm, Auflage: 90, numeriert, 3 Teile. ISBN/ISSN 978-3-947250196
2 auf farbige Papiere fotokopierte Hefte, Drahtheftung, ineinander gesteckt, zusammen in gefaltetem Blatt A3 mit Prägedrucken
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Zum Release und zur performativen Lesung im Café Bellevue de Monaco in München am 06.12.2018 um 19 Uhr.
Adelaide Ivánova (1982, Recife/Brazil) is a journalist and political activist working with poetry, photography, performance, translation and publishing. Her poems were translated into German, Galician, English, Spanish, Greek and Italian. Her texts and photographic work were printed in publications such as The Huffington Post (USA), Marie Claire (BR), Clinic (UK), alba londres (UK), Lateinamerika Nachrichten (GER), artiCHOKE (GER), modern poetry in translation (UK). Her photo reportage are part of the collection of Kunst Museum Dieselkraftwerk (Germany), L’arthotèque – Museum of Fine Arts (France) and Galeria Murilo Castro (Brazil). She edits the anarco-feminist zine “MAIS PORNÔ, PVFR!” (proudly not online) and is co-founder of RESPEITA!, a coalition of Brazilian female poets and slammers. She lives in Berlin, where she tries earn a living as baby-sitter, life model, waiter and other alienating jobs.
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Flux on Demand 017 - Tim Olive & Anne-F Jacques
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17,5x10 cm, Auflage: 30, numeriert, signiert, keine weiteren Angaben vorhanden
C-30 Audio Tape, zwei Blätter, bedruckt, in beschrifteter Plastikhülle
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Repetetive music with selfbuilt machines. Recorded live May 11 2017 Walpoden Akademie Mainz, mastered by BS & Anne-F, photo by Brandstifter.
Anne-F Jacques and Tim Olive use handmade, idiosyncratic instrumentation to produce and amplify detailed sound textures, from fine-grained to coarse. They share a tactile, lo-tech approach to improvised sound composition, manipulating diverse objects and materials in conjunction with somewhat unpredictable audio pickup/amplification systems to create a music in turns serene and agitated, pellucid and dense, fluid and gritty. Jacques uses small electric motors and Olive employs magnetic pickups; both sources are modified, manipulated and amplified. The hands-on nature of their instrumentation results in performances which are both sonically captivating and visually intriguing.
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192 S., 28x24 cm, ISBN/ISSN 978-3-899553444
Broschur
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Die Entdeckung der klassischen Moderne im aktuellen Grafikdesign
Today’s designers and illustrators are synthesizing the best elements from past eras of graphic design to create a new visual language with a reduced and rational approach. The Modernist documents this uniquely contemporary, yet timeless aesthetic that is built upon the rediscovery and seamless melding of classical type elements and collage 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 erträumte Zukunft sieht einfach besser aus. In dem Bildband "The Modernist" simulieren Designer Menschen und Gebrauchsspuren" (Süddeutsche Zeitung) von Jan Füchtjohann liegt bei.
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28,2x43,8 cm, keine weiteren Angaben vorhanden
Mehrfach gefaltetes Poster, doppelseitig bedruckt
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Die Arbeit ist Teil des "Equilibrium Projects": Equilibrium is a collaborative initiative to develop creative contexts for women in towns and cities to explore practices that stay immersed in everyday. The project gave a platform for artists from Europe and Asia to come together, interact and work with the women members of self-help groups from Partapur and nearby villages. The artists and women members worked together as equals through sharing their experiences, skills, stories, and recipes through several creative projects. Now these creative projects are going to be displayed in an interactive exhibition at Walpodenakademie Mainz from May 08, 2015.Equilibrium is a project of Walpodenakademie (Mainz), Sandarbh (Partapur/ New Delhi), and Beneshwer Lok Vikas Sansthan (Partapur), curated by Shilpa Upadhyay and h.i.s.(Tanja Roolfs and Stefan Brand).
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Artist Music Journals Vol. 1 No. 10 - Brian Roettinger & No Age
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[24] S., 26,5x26,5 cm, Auflage: 1.000, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, in Heft eingelegt eine Schallplatte in Schutzumschlag, in Pappschuber mit Aufkleber. Einseitige 10" Schallplatte "Brian Roettinger w/ No Age", 45 UpM, Katalognr. SSD.10
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Edition 10 in the ongoing Artist Music Journals series features the work of the Los Angeles based designer, artist, musician and label owner Brian Roettinger, who operates the creative umbrella Hand Held Heart. Unlike any previous Artist Music Journal, this installment includes Brian's 24-page book as well as a one-sided 10" record, featuring a collaboration between Brian and No Age with three exclusive tracks!
Brian lives and works in Los Angeles primarily as a graphic designer. He received a BFA in graphic design from CalArts in 2004. His work encompasses design, publishing, writing and curating as well as running his own vinyl-only record label Hand Held Heart. In 2009 he was nominated for a Grammy for his design of the No Age Nouns album packaging. In 1999 he was providing bass duties for This Machine Kills. He is a part-time professor in the design department at CalArts, as well as a current designer in residency in the Design | Media Arts program at UCLA
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[20] S., 21x13 cm, Auflage: 500, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, Laserkopie Schwarz-Weiß
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Mit der diesjährigen Ausgabe von Super BOOKS leitet das Haus der Kunst den Münchner Bücherherbst 2023 ein. Seit dem Auftakt im Jahr 2019 erhält die sehr lebendige und aktive Künstler*innenbuchszene zum vierten Mal die Fläche für einen gemeinsamen Auftritt.
Am 3. und 4. November zeigen über 50 Künstler*innen, Gestalter*innen und alternative Verleger*innen sowie drei Hochschulen ihre aktuellen Produktionen im Haus der Kunst. Neben Produzent*innen aus Deutschland sind in diesem Jahr auch Aussteller*innen aus Spanien, Italien, Frankreich, Österreich, England, Belgien, den Niederlanden und Südkorea vertreten. Die Teilnehmenden sehen sich in der Tradition der 1960er Jahre, als sich im Umfeld der postavantgardistischen Kunstszene neue Kommunikations- und Distributionsnetze bildeten. Ihre Produkte wie Künstler*innenbücher, Magazine oder Zines sind autonome Kunstwerke.
Der Schwerpunkt von Super BOOKS liegt auf Publikationen, die die Grenzen des Mediums Buch hinterfragen, neu denken und deren Themen, Formate und Techniken sich ständig erweitern. Mit ihrer Ethik der Zugänglichkeit, die in Preisgestaltung und der Direktheit von Vertriebswegen zum Ausdruck kommt, bilden sie ein Gegengewicht zu den gängigen Spielregeln des Kunstmarkts. ...
... Super BOOKS ist ein Kooperationsprojekt zwischen Haus der Kunst, AAP Archiv Künstlerpublikationen, Bayerischer Staatsbibliothek, Akademie der Bildenden Künste München und Kunsthochschule Kassel. Projektleitung: Sabine Brantl (Haus der Kunst)
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2 S., 74x37,5 cm, 2 Stück. keine weiteren Angaben vorhanden
schwarze Stofftasche, auf einer Seite mit dem weißen Aufdruck des Messenamens Super BOOKS und dem Logo des Münchner Haus der Kunst
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Zum zweiten Mal seit dem Auftakt im Jahr 2019 zeigen über 50 Künstler*innen, Gestalter*innen und alternative Verleger*innen ihre Produktionen im Haus der Kunst. Damit erhält die in München sehr lebendige und aktive Künstlerbuchszene die Fläche für einen gemeinsamen Auftritt. Neben dem Schwerpunkt München sind diesmal auch Produzent*innen aus Österreich (Auslöser sowie Darja Shatalova und Kristian Ujhelji), der Schweiz (_957 Independent Art Magazine sowie GRRRR) und den Niederlanden (The Artist and the Others sowie Dutch Independent Art Book Publishers und Lula Valletta & HOK) vertreten. Tobi Huschka aus Köln stellt Bücher vom Kunsthaus Kat18 vor, einer inklusiven Kunstwerkstatt. Die Münchner piratInnenpresse, ein Verlag von Kindern und Jugendlichen, stellt Taschenbücher und Faltkarten her. Ihr üblicher Versammlungsort ist „die Kajüte unterm Dach der Seidl-Villa in Schwabing“. Iwalewabooks hat die jüngsten Entwicklungen in der zeitgenössischen Kultur Afrikas im Fokus. Die Teilnehmenden sehen sich in der Tradition der 1960er-Jahre, als sich im Umfeld der postavantgardistischen Kunstszene neue Kommunikations- und Distributionsnetze bildeten. Ihre Produkte wie Künstlerbücher, Magazine oder Zines sind autonome Kunstwerke. Mit ihrer Ethik der Zugänglichkeit, die in Preisgestaltung und der Direktheit von Vertriebswegen zum Ausdruck kommt, bilden sie ein Gegengewicht zu den gängigen Spielregeln des Kunstmarkts.
Super BOOKS ist eine Kooperation mit AAP Archiv Künstlerpublikationen, Akademie der Bildenden Künste München und fructa space.
Kuratiert von Sabine Brantl mit Hubert Kretschmer, Martin Schmidl
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[68] S., 21x12,7 cm, Auflage: 700, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung
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Katalog zur Künstlerbuchmesse Super BOOKS 3, 2022 im Haus der Kunst 11.-12.11.2022 mit knapp 60 Aussteller*innen aus 4 Ländern
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[2] S., 14,8x10,85 cm, 2 Stück. keine weiteren Angaben vorhanden
Postkarte
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Mit der diesjährigen Ausgabe von Super BOOKS leitet das Haus der Kunst den Münchner Bücherherbst 2023 ein. Seit dem Auftakt im Jahr 2019 erhält die sehr lebendige und aktive Künstler*innenbuchszene zum vierten Mal die Fläche für einen gemeinsamen Auftritt.
Am 3. und 4. November zeigen über 50 Künstler*innen, Gestalter*innen und alternative Verleger*innen sowie drei Hochschulen ihre aktuellen Produktionen im Haus der Kunst. Neben Produzent*innen aus Deutschland sind in diesem Jahr auch Aussteller*innen aus Spanien, Italien, Frankreich, Österreich, England, Belgien, den Niederlanden und Südkorea vertreten. Die Teilnehmenden sehen sich in der Tradition der 1960er Jahre, als sich im Umfeld der postavantgardistischen Kunstszene neue Kommunikations- und Distributionsnetze bildeten. Ihre Produkte wie Künstler*innenbücher, Magazine oder Zines sind autonome Kunstwerke.
Der Schwerpunkt von Super BOOKS liegt auf Publikationen, die die Grenzen des Mediums Buch hinterfragen, neu denken und deren Themen, Formate und Techniken sich ständig erweitern. Mit ihrer Ethik der Zugänglichkeit, die in Preisgestaltung und der Direktheit von Vertriebswegen zum Ausdruck kommt, bilden sie ein Gegengewicht zu den gängigen Spielregeln des Kunstmarkts. ...
... Super BOOKS ist ein Kooperationsprojekt zwischen Haus der Kunst, AAP Archiv Künstlerpublikationen, Bayerischer Staatsbibliothek, Akademie der Bildenden Künste München und Kunsthochschule Kassel. Projektleitung: Sabine Brantl (Haus der Kunst)
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Super BOOKS 4 2023 Lageplan Programm
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[2] S., 29,7x42 cm, 2 Stück. keine weiteren Angaben vorhanden
Risodruck auf gelbem Papier
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Druck von rosidruckt.de, Raumplan von Malte Wandel.
Mit der diesjährigen Ausgabe von Super BOOKS leitet das Haus der Kunst den Münchner Bücherherbst 2023 ein. Seit dem Auftakt im Jahr 2019 erhält die sehr lebendige und aktive Künstler*innenbuchszene zum vierten Mal die Fläche für einen gemeinsamen Auftritt.
Am 3. und 4. November zeigen über 50 Künstler*innen, Gestalter*innen und alternative Verleger*innen sowie drei Hochschulen ihre aktuellen Produktionen im Haus der Kunst. Neben Produzent*innen aus Deutschland sind in diesem Jahr auch Aussteller*innen aus Spanien, Italien, Frankreich, Österreich, England, Belgien, den Niederlanden und Südkorea vertreten. Die Teilnehmenden sehen sich in der Tradition der 1960er Jahre, als sich im Umfeld der postavantgardistischen Kunstszene neue Kommunikations- und Distributionsnetze bildeten. Ihre Produkte wie Künstler*innenbücher, Magazine oder Zines sind autonome Kunstwerke.
Der Schwerpunkt von Super BOOKS liegt auf Publikationen, die die Grenzen des Mediums Buch hinterfragen, neu denken und deren Themen, Formate und Techniken sich ständig erweitern. Mit ihrer Ethik der Zugänglichkeit, die in Preisgestaltung und der Direktheit von Vertriebswegen zum Ausdruck kommt, bilden sie ein Gegengewicht zu den gängigen Spielregeln des Kunstmarkts. ...
... Super BOOKS ist ein Kooperationsprojekt zwischen Haus der Kunst, AAP Archiv Künstlerpublikationen, Bayerischer Staatsbibliothek, Akademie der Bildenden Künste München und Kunsthochschule Kassel. Projektleitung: Sabine Brantl (Haus der Kunst)
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254 S., 23x16,6 cm, ISBN/ISSN 9788480265096
Klappbroschur,
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Publikation zur gleichnamigen Ausstellung vom 15.10.2014-02.03.2015.
The exhibition catalogue of republic brings together a broad selection of works by Juan Luis Moraza that explore the museum as a system of conventions and possibilities of citizenship. If one of the problems of contemporary democracy is the dilemma facing each citizen – between passivity and the possibilities of participation in social life – in the museum Moraza finds a space of convergence between the citizen-artist and citizen-spectator. Texts by the artist, in addition to a glossary and conversation, both developed by the show’s curator João Fernandes, are presented. The publication is arranged into two complementary parts: the odd-numbered pages comprise a catalogue of works, documents and literary works selected by the artist, while the even pages make an essay about republic.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 030 aus der Reihe 100for10.
Eduardo Sarmiento is an artist working in the mediums of painting, drawing, design & illustration. His work is in the permanent collection of various museums and it has been shown in Miami, New York, Los Angeles, Oaxaca, Londres, Kiev, Munich, Santo Domingo, Quito, San Jose and Havana. Sarmiento’s work has been published in The New York Times, Texas Monthly, ESPN, Slanted, El Nuevo Herald, Miami New Times & ArteCubano Magazine among others.
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ABoT - Artists' Books on Tour - Artists' Competition and Mobile Museum
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80 S., 26x21 cm, ISBN/ISSN 978-3-863350857
Katalog zur Ausstellung im MAK Wien, MGLC Ljubljana und UPM Prag, Klappumschlag
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Vorwort von Helena Koenigsmarková, Nevenka Sivavec & Christoph Thun-Hohenstein. Beiträge von Jianping He, Martina Kandeler-Fritsch, Kathrin Pokorny-Nagel, Florian Pumhösl, Lucie Vlcková, Lawrence Weiner & Maria White.
Um das vielschichtige Genre des Künstlerbuchs einer breiteren Öffentlichkeit näherzubringen, hat das MAK Wien in Kooperation mit dem UPM Prag und dem MGLC Ljubljana das EU-geförderte Projekt "Artists' Books on Tour. Artist Competition and Mobile Museum" initiiert. Im Rahmen des damit verbundenen europaweiten Wettbewerbs wurden Künstler dazu aufgefordert, sich mit der Thematik des Künstlerbuchs und seinen vielfältigen ästhetischen Ausdrucksformen auseinanderzusetzen. Die vorliegende Publikation stellt die fünf prämierten sowie 45 weitere ausgewählte Projekte vor.
To familiarize a broader public with the multi-faceted genre of artists' books, the MAK - Austrian Museum of Applied Arts, Contemporary Art in Vienna, the UPM - Museum of Decorative Arts based in Prague and Ljubljana's MGLC - International Centre of Graphic Arts have launched the EU-funded project "Artists' Books on Tour. Artist Competition and Mobile Museum". In a pan-European competition, artists were invited to deal with the subject of artists' books and their multiple forms of aesthetic expression. The present catalogue features the five winning projects and 45 other selected works.
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Various Small Books - Referencing Various Small Books by Ed Ruscha
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288 S., 23,6x15,8 cm, ISBN/ISSN 9780262018777
Hardcover Leinen
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In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to 100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world. This book collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes.
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32x24x5 cm, Auflage: 600, keine weiteren Angaben vorhanden
Schachtel Hartpappe, Siebdruck (?), mit verschiedenen Materialien
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Inhalt: Einzelblatt (Manifest contra el Populisme Pervers), gefaltete Pappe mit Baumwollsocke, 3 Hefte, Leporello, Heft mit Originalnegativ, geschlossener Umschlag, gefaltetes Poster mit Sand, Folder.
In the wake of the worldwide glorification of Barcelona via the 1992 Olympics Games, a group of publishers felt that it was time to revive the creative and critical spirit at a cultural level, in the form of a magazine, in order to demonstrate the prevailing level of creativity - via manifestos and works without intermediaries. As a result, Vicenc Altaió, Claret Serrahima, Manel Guerrero, Joaquim Pibernat and Manel Sala launched the magazine, Cave Canis, (which literally means "beware of the dogs") in Barcelona, in 1996.
Starting with its first edition the magazine announced that it would have a short-lived existence - only 9 issues were published, each corresponding to one letter of the publication’s name. The magazine was constituted by a cardboard box, designed by Claret Serrahima, a manifesto, an artist’s book and sometimes contained CDs with recordings and other artistic objects, all associated with the same monographic topic. Each issue had a letter on the front cover designed by an artist. Cave Canis wasn’t available in the usual retail outlets. Each issue was presented in an unusual place in the city, where the manifesto was read, copies were distributed and the magazine then disappeared from sight. The last issue was published in 1999.
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[334] S., 18,5x13,5 cm, ISBN/ISSN 978-1-851498857
Broschur mit aufklappbarem Cover und Bauchbinde, Fadenheftung, teils aufklappbare Seiten.
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This award-winning contemporary art book is made completely from the perspective and language of bugs, from the front page to the final chapter, with no human writing and text, only the "writing" of bugs. Inspired by the marks left behind by a cicada walking across his sketchbook, contemporary artist Zhu Yingchun placed boards and "ink ponds" of dark-coloured vegetable juices in his garden for the bugs to crawl through. The resulting marks, were thousands of twisted characters, each with a charm of its own - the language of the bugs. The accompanying booklet explains the artist's concept and QR code links the reader to a video of the process.
"The bugs seem insignificant, but their strokes are beautiful," says Zhu Yingchun. "Art is not just those pieces hanging on walls and placed in exhibition halls. Everything in the world, including every life in nature, has the power to create beauty, and art is all around us.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 046 aus der Reihe 100for10.
Edward Fella is an artist and graphic designer whose work has had an important influence on contemporary typography here and in Europe. He practiced professionally as a commercial artist in Detroit for 30 years before receiving an MFA in Design from the Cranbrook Academy of Art in 1987. He has since devoted his time to teaching and his own unique self-published work which has appeared in many design publications and anthologies. In 1997 he received the Chrysler Award and in 1999 an Honorary Doctorate from CCS in Detroit. His work is in the National Design Museum and MOMA in New York.
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tragedias y otras ridiculeces
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44 S., 13,5x13,5 cm, Auflage: 100, keine weiteren Angaben vorhanden
Drahtheftung, Umschlag handkoloriert und mit transparenter Klebefolie überzogen
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tragedies and others absurdities
My lats book of poetry and short stories. Twenty tragic situations that make you laugh, or simply, absurdities. Made in collaboration with Andres Felipe Garzon and edited by perrosinvergüenza in Bogota.
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Are you searching for me?
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[70] S., 17,5x10,8 cm, Auflage: 100, keine weiteren Angaben vorhanden
Broschur
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There are many Joachim Schmids. Some play a role in public life, others don’t. People who wish to learn what we do or what we did, what we wrote or what we said, begin by searching the internet. It’s all there: names, dates, pictures and the rest. Thanks to the search engine the world has become transparent and there are no more secrets. Or so we think. If it’s me you’re looking for, most of the information you’ll find is not correct.
This book was first published in 2012. The original print-on-demand edition is discontinued and replaced by this second edition, re-designed in a different format.
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Wenn unbestellbar, Meldung
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
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Schwarz-Weiß-Drucke, Nr.005 aus der Reihe 100for10.
"Wenn unbestellbar, Meldung” means “if not possible to order, send a message”.
I collected old rubber stamps with bureaucratic contexts, some with small faults, others are correct but a bit strange. The illustrations mess up the meaning of the short texts and tell their own story. Be free to associate between
the drawings and the words and imagine your own story. If you need help translating the text on the rubber stamps, please contact me.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Hu-Be stands for Human Being, it is the name he started to use in NYC seven years ago doodling with chalks around the boroughs the shape of a man. He was inspired by the tales of Bodhisattvas, human seekers accepting to be bound to the cycle of birth, illness, sorrow and delusion in the search of others alikes. As a Bodhisattva, this sign is floating above ground in the struggle to rise and look at things wisely, even if in the struggle, and brightly. It made sense at that point as an external cognitive object to keep in mind, it still does.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Hu-Be stands for Human Being, it is the name he started to use in NYC seven years ago doodling with chalks around the boroughs the shape of a man. He was inspired by the tales of Bodhisattvas, human seekers accepting to be bound to the cycle of birth, illness, sorrow and delusion in the search of others alikes. As a Bodhisattva, this sign is floating above ground in the struggle to rise and look at things wisely, even if in the struggle, and brightly. It made sense at that point as an external cognitive object to keep in mind, it still does.
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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 artist’s books. This implies that different artistic media such as painting, drawing, photography, video, sculpture, and graphic design can manifest themselves through graphical problematics and their meanings. Alongside the 25 works 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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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 artist’s books. This implies that different artistic media such as painting, drawing, photography, video, sculpture, and graphic design can manifest themselves through graphical problematics and their meanings. Alongside the 25 works 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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Capital of the 20th Century
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913 S., 27x19x5 cm, ISBN/ISSN 978-1-784781569
Hardcover, in Schuber,mit Metallfolie kaschiert, Prägedruck
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Acclaimed artist Kenneth Goldsmith’s 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 sources—histories, memoirs, newspaper articles, novels, government documents, emails—and 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 Benjamin’s 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 “Sex,” “Commodity,” “Downtown,” “Subway,” and “Mapplethorpe.”
Capital is a book designed to fascinate and to fail—for 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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Ses dessins sont tellement réalistes qu'on dirait des photos…
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Antoine Eckart is a French artist and graphic designer currently living in Lyon. He shares his time between commissioned and self-published works. He works closely with the cultural and musical scene and his offbeat universe is an invitation to a mental journey. Best known for his humorous daily drawings and flat compositions of bizarre yet poetic life scenes, his sketches feature scribbled and uneven lines and gives an aphoristic vision of the world.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Jovana Reisinger is a filmmaker, writer, and artist who moves regularly between the worlds of journalism, fashion, literature, music, performance, theatre, and cinema. Her very first novel got published by Verbrecher Verlag, her fashionfilms get featured on i-D, INDIE and various international (fashionfilm-)festivals. Purchase „Donna Euro is poisoned by rich men in need“ and get access to www.donna100euro.de and watch 45 videos about love, hate, crime, fitness and shame and become part of the Donna Euro Celebration Society.
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Physical or Otherwise: Suggestions and Encounters
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112 S., 19x12 cm, Auflage: 100, ISBN/ISSN 9789925559145
Broschur, Umschlag Karton mit Blindprägung. Druck: Laser Graphics, Zypern
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Erschienen anlässlich der Ausstellung in der Telfer Gallery Glasgow, 09.02.-04.04.2018.
Physical or Otherwise: Suggestions and Encounters was published on the occasion of Leontios Toumpouris’ solo exhibition titled Suggestions and Encounters: Physical or Otherwise at The Telfer Gallery, Glasgow. The publication features commissioned and re-edited essays spanning academic, theoretical and experimental responses to notions associated with Toumpouris’ practice. It claims to shed light upon areas of interest of the artist, thus resulting in a collection of propositions rather than an exhibition catalogue.
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LETTERS TO JILL - a catalogue and some notes on copying
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128 S., 21x14,8 cm, Auflage: 1.000, ISBN/ISSN 9788867494095
Broschur mit Banderole
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Reprint nach einer Publikation des Visual Studies Workshop in Rochester, 1979, erschienen zur posthumen Ausstellung im Kunstverein München Something other than either, von März bis August 2020.
The book is composed of images and texts by Hill through which she intended to contextualize and explain her working methodology to Jill Kornblee, her New York gallerist. Untrained as an artist, Pati Hill began to use the photocopier as an artistic tool in the early 1970s, leaving behind an extensive oeuvre that oscillates between image and text. Besides this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, wrote poetry, and made drawings. Instead of an exhibition catalog that would offer an interpretation of her work, this publication provides space for Hill’s own writing that interrogates and accompanies her visual work.
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[70] S., 28x21,7 cm, ISBN/ISSN 9780996282215
Klebebindung
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CURRENT RESIDENT, a collaborative book by Kenny Komer and Marysia Gacek, comprises solely of computer generated imagery inspired by interior design catalogues and magazines. Based on interiors seen in Architectural Digest and Ikea catalogues, the book depicts a fictional, contemporary residence mimicking current tendencies to replace photography with 3D modeling computer software producing photo realistic images. Views of the apartment are generated via computer algorithms with the same techniques used in the advertising industry. A reader is invited to take a tour of the space while a number of mysterious activities unravel before her/his eyes.
Kenny Komer (b.1984) is an interdisciplinary multimedia artist who lives and works in Brooklyn, NY. He received a BFA from the School of Art, Cooper Union, New York, NY in 2006. He has exhibited at galleries in New York (Gavin Brown's enterprise, Rush Arts Gallery, Carriage House Center and White Box Gallery) and Tokyo, Japan (Motus Fort). Komer is a founding member of the guerrilla street-art collective, Concerned New Yorkers, whose work has been featured in the New York Times, New York Magazine, the Brooklyn Rail, the Village Voice, CNN, and the Daily Telegraph.
CURRENT RESIDENT, ein gemeinsames Buch von Kenny Komer und Marysia Gacek, besteht ausschließlich aus computergenerierten Bildern, die von Katalogen und Zeitschriften für Innenarchitektur inspiriert sind. Auf der Grundlage von Inneneinrichtungen aus Katalogen von Architectural Digest und Ikea zeigt das Buch eine fiktive, zeitgenössische Wohnung, die die aktuelle Tendenz nachahmt, Fotografien durch 3D-Modellierungssoftware zu ersetzen, die fotorealistische Bilder erzeugt. Die Ansichten der Wohnung werden mit Hilfe von Computeralgorithmen generiert, die auf denselben Techniken beruhen, die auch in der Werbeindustrie verwendet werden. Der Leser wird eingeladen, einen Rundgang durch den Raum zu machen, während sich vor seinen Augen eine Reihe mysteriöser Aktivitäten entfalten. Kenny Komer (geb. 1984) ist ein interdisziplinärer Multimedia-Künstler, der in Brooklyn, NY, lebt und arbeitet. Er erhielt 2006 einen BFA von der School of Art, Cooper Union, New York, NY. Er hat in Galerien in New York (Gavin Brown's Enterprise, Rush Arts Gallery, Carriage House Center und White Box Gallery) und Tokio, Japan (Motus Fort) ausgestellt. Komer ist Gründungsmitglied des Guerilla-Straßenkunstkollektivs Concerned New Yorkers, dessen Arbeiten in der New York Times, dem New York Magazine, dem Brooklyn Rail, der Village Voice, CNN und dem Daily Telegraph veröffentlicht wurden. Text von der Webseite
Text von der Webseite, übersetzt mit DeepL
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The Silent Scream: Political and Social Comment in Books by Artists
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190 S., 24,5x20,5 cm, ISBN/ISSN 9780987160607
Klappeinband, beigelegt ein Brief und Visitenkarte von Monica Oppen
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Preface by Sarah Bodman, Essays by Walter Struve (librarian State Library of Victoria), Dr Scott McQuire (Associate Professor and Reader, School of Culture and Communication, University of Melbourne), Humphrey McQueen (freelance historian) and Des Cowley (Rare Printed Collections Manager, State Library of Victoria).
The Silent Scream: political and social comment in books by artists presents, not only a companion catalogue to an exhibition held at Monash University Rare Books, but also a journey through some of humanity's most inhumane and hypocritical moments. Reaching back to William Blake with a facsimile of his illuminated book America: A Prophecy then travelling through the two world wars and on to the modern era the catalogue provides insights into 77 influential books and works presented in book form.
Von der Webseite
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Destroy All Monsters Magazine 1976-1979
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[270] S., 27x20,8 cm, Auflage: 3.000, ISBN/ISSN 9780978869786
verschiedene Papiere, erste Seite mit Schablone gesprüht
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Facsimile edition of Destroy All Monsters Magazine including remnants of the "lost" seventh issue, which was never released. Destroy All Monsters Magazine features work by Mike Kelley, Cary Loren, Niagara, and Jim Shaw.
Destroy All Monsters Magazine was edited by Cary Loren and contained artwork, photographs, and flyers from band mates Mike Kelley, Cary Loren, Niagara, and Jim Shaw. Printed using any papers and techniques available to the band, the issues combine the cut and paste tactics of punk zines with a psychedelic affinity for color. Destroy All Monsters Magazine functions as a kind of manifesto, providing insight into the band through densely layered pages with movie imagery, kitsch, cartoons, delicate drawings, and counter-culture collages. While Destroy All Monsters has been the subject of recent exhibitions and partial reprints, this is the first time that all issues have been reprinted.
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Boletim, No. 1 - Arquitectura - Architecture
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47 S., 21,8x14,5 cm, Auflage: 200, ISBN/ISSN 9788494070129
Drahtheftung
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Following the example of French and British railway companies, C.P. (Portuguese Railways) built houses and social facilities between 1910-20, to support its employees and their families. Key projects implemented during the first quarter of the twentieth century included the Boneca neighbourhood, for retired railway workers, and the Vila Verde neighbourhood, in the alignment of the Bairro Camões neighbourhood. The latter was built in 1926 designed by Cottinelli Telmo and Luís da Cunha. All these neighbourhoods are located in the city of Entroncamento. The city itself was created because of the railways. The station was the first dwelling - at the time a small tent (1862). This new venture provoked major migration from the interior of Portugal, of those who wanted to work for the Company. As a consequence, C.P. (Portuguese Railways) developed a plan, involving a series of ambitious social support structures, perhaps unique at the national level. The company built neighbourhoods for employees, a school, a supplies warehouse, an anti-tuberculosis dispensary that operated as a health centre and also encouraged the development of sporting activities. In parallel with technological evolution and development of railway activities, the workshop area was expanded, included reinforced staff training, which reached a peak when a training centre was built, that is today called FERNAVE, house in a huge building, built from scratch for these functions and which formerly housed the Instituto Superior de Transportes (Higher Transport Institute).
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SIX HANDS AND A CHEESE SANDWICH
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[20] S., 18x14 cm, Auflage: 3.000, ISBN/ISSN 978-3-868740080
Drahtheftung
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Ruscha der Fischotter aka: Printed Matter And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As After Ruscha aka: One Hundred Views Of One Hundred Views Of Mount Fuji, If Someone Says So aka: SIX HANDS AND A CHEESE SANDWICH is a book about books, a catalogue and an art/bookwork in its own right.
Content: By now the appropriation and paraphrasing of Ed Ruscha constitutes a genre of its own. The first were 1968 Bruce Nauman with 'Burning Small Fires' and 1971 'Ed Ruscha' (actually Joel Fisher) with 'Six Hands and a Cheese Sandwich', with further appropriations or hommages over the decades, and in the last years it almost became fashionable, the evidence is massive.
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Connect the dots (however you like)
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2 S., 11x16 cm, keine weiteren Angaben vorhanden
Postkarte
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Fabrica Features is the brand communicating the ideals and creative output of the Fabrica design studio. It is defined by the attitudes and creations of the young international people who work there, refreshed by the coming and going of studio members. Their process is informed by enquiry into rituals and materials, defining a language that is thoughtful, eclectic and alternative. The focus is on conceptual objects, limited collections and prototypes, produced under the brand – which is the meeting point between the studio and the outside world. Such encounters happen in galleries, museums, online and designated Fabrica Features spaces found throughout Europe. Text von Website
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We are not alone – We are a fly in the milk of infinity
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128 S., 29,7x21 cm, Auflage: 150, ISBN/ISSN 9789963225101
Softcover, Klebebindung
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Christophoros Kyriakides was born in Nicosia, Cyprus in 1949. He was an architecture draughtsman and considered himself an inventor. In 1988 he self-published “Six Continents Stars Compass”, ‘an entertaining and educational’ board game. He considered the game inventive, recreative and formative for all ages and intended its global distribution. The game received no recognition from the public and now only a few copies exist.
In the board game, Kyriakides draws a journey with impossible objects, invented maps, landscapes and anagrammatic poetry with mathematical diagrams. One comes across an abstracted reflection of 80s locality, world politics, obsession with the American dream, an isolated emotional darkness but also a universal landscape. A chance encounter of Marina Xenofontos with this game catalysed a strong fascination that led to the uncovering of his archive. This publication, a part of Xenofontos’ practice-based research, brings to the fore the rich universe of Kyriakides’ personal symbolism that shecreatively harnesses as a means of an alternative, atypical handling and systematisation of themes and issues that she finds affinities with.
Evagoras Vanezis.
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Six years: The dematerialization of the art object from 1966 to 1972 ...
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272 S., 21,5x17,5 cm, ISBN/ISSN 9780520210134
Hardcover, Exlibris der Pratt Institute Library, mit Ausmusterungsstempeln
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Titelergänzung: The dematerialization of the art object from 1966 to 1972 : a cross-reference book of information on some esthetic boundaries : consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, antiform, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones), edited and annotated by Lucy R. Lippard.
In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists — a historical survey and essential reference book for the period.
Text von der Webseite
Ursprünglich publiziert 1973 bei Praeger, New York
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Arts of the Working Class No. 03 - Restless Togetherness
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48 S., 35x26 cm, Auflage: 10.000, 2 Stück. keine weiteren Angaben vorhanden
Zeitungsdruck, Blätter lose ineinander gelegt
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Keep calm and abolish imperial pride, racial purity and class harmony
Aus dem Booklyn-Archiv
This third issue of our newspaper is dedicated to this year’s overwhelming number of anniversaries and its abysms. With curiosity we notice their paradoxical relationship with the present. It’s been ten years since the financial crash, but monetary values are not more balanced and speculation bubbles are bigger than ever. It’s been 50 years since LSD came into popular use, opening the doors of perception, but perception seems to be even narrower today than it was back then. It’s been 80 years since Austria’s annexation to Germany, and yet ‚The Sound of Music‘ is still remembered as a classic, sweetened depiction of resistance towards fascism’s expansion in Europe, rather than the fall of aristocracy, what it really was. It’s been 100 years since the end of the First World War and yet the struggle between Conservatism and Socialism has never been so prevalent. It’s been 200 years since Marx was born, and his work still remains a historical ideal rather than a reality.
Text von er Webseite
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256 S., 16,7x10,3x3,3 cm, 8 Teile. ISBN/ISSN 978-2-365680127
8 Büchlein in Schuber, Fadenheftung, Beiblatt
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1. Auflage
The author discusses the impasses and shortcomings of translation, this “approximation of discourse that produces a new discourse” and he opposes the notion of displacement, a phenomenon born of globalization: if people and objects are moved, so it will for language. Using the example of the inffuence of advertising, information flow and the effects of networking, Kenneth Goldsmith shows the obsolescence of the act of translation and reflects on the idea of movement. Movement is the new reality which tends to impose its standard upsets linguistic structures, social and political worlds, and profoundly changes our cultural practices.
Following Theory – a sum of 500 texts printed and assembled in the form of a ream of paper –, Against Translation is the second book of Kenneth Goldsmith published by Jean Boite Éditions.
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Remote Scottish Postboxes (The Postcards)
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[24] S., 20,3x12,5x1,5 cm, Auflage: 2.000, ISBN/ISSN 9780993232374
Pappschachtel mit ausgestanztem Fenster, 12 Postkarten
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Edition of 2000
Martin Parr’s Scottish Postboxes have been described as the prolific photographer’s ‘only contribution to landscape photography’. However, what Mr. Parr has achieved with these images is more a series of portraits of the lonely outposts of civilisation. The Postboxes in each place, standing out red and awkward against the lonely and beautiful Scottish backdrops each have a personality and a character of their own.
The postboxes are not only characters in the places they inhabit, they are symbols. the steadfast outposts of the institution that is the British postal service set against the untamable Scottish landscape invite the viewer the pause and ponder on their own place in the world.
“When you are in the middle of nowhere, in a bleak landscape and in wild weather, these little post boxes are strangely comforting, a sign that other people are around, that life is going on, and that you are connected to the world” – Susie Parr
This box contains twelve of Parr’s Postboxes, presented as postcards – a most appropriate form for the images to find themselves in, whether their fate is to be collected and cherished or themselves posted and shared.
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Streichholzbriefchen – 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 – Mund Verkehr: In die Hose gegangen" in der NGBK Berlin, 6.06.–12.07.1992 gezeigt wurde. Aus der Pressemitteilung zur Ausstellung:
Marlene McCarty’ (1957) Interesse gilt dem Machtgebaren und den patriarchalen Strukturen, der von ihnen geprägten männlichen Umgangssprache. Die alltäglichen Sprüche die ihr, einer Frau, auf den Straßen New Yorks zugerufen werden, die unverstellten oder unverschämten Aufforderungen mit denen sie konfrontiert wird, sind das Ausgangsmaterial für ihre künstlerischen Strategien wie für ihre Kunstobjekte.
Marlene McCarthy zur Installation: “This is a floor sculpture and it’s 15,000 matchbooks. They’re 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, ‘I got a clit so big I don’t need a dick.’ If you’ll notice, clit and dick are handwritten. The company had called me up and were like, ‘Ummm, we have a problem. We can print dick but we can’t print THAT OTHER WORD.’ She wouldn’t even say the word clit. So I said OK, take the mechanical—this was in the olden days—and just slice the dick and the clit off. Then I got some friends together and we wrote them all in by hand. I’m 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.”
Texte von den Webseiten.
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[148] S., 32,6x25,4 cm, ISBN/ISSN 3865211224
Hardcover mit Leineneinband und Prägedruck.
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Anlässlich der gleichnamigen Ausstellung von Paulo Nozolino im Museu de Arte Contemporanea de Serralves, Porto, 07.05.-10.07.2005.
Paulo Nozolino only makes black and white photographs and they are dominated by an impossible darkness that seems impenetrable to light. The photographs were made all over the world - notably in countries of the Arab world - but in the majority of cases it would be difficult to attribute a specific location to them.
Photographs from Auschwitz are the decisive exception. Auschwitz appears as the absolute place and time that orientates everything else. In thirty years of a career as a photographer, Nozolino has constantly intensified his tragic vision of reality: this is visualised in pictures that originate from his own biography and travels. in pictures of men, women and children. in pictures of birth, love making and death.
This publication assembles for the first time photographs from Nozolino's different projects over the years, to form a new narrative, untold until now: the narrative of beginning and ending, and at the same time the narrative of his life's work.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 020 aus der Reihe 100for10.
Adam Hayes is a specialist in hand-rendered typography and intricate, intelligent illustration. His prolific work style has generated an impressive portfolio that reflects an interest in vernacular lettering and a fascination with urban and natural landscapes. Adam’s creative process see’s his simple pencil sketches transformed and refined into elaborate and optimistic illustration. Each project is concept-driven, allowing his work to grow and maintain a sense of energy and sophistication. A graduate of the Royal College of Art, Adam has since established a diverse client base which welcomes collaboration with global companies, charitable organisations and small, local start-ups.
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100for10 nr. 021 - 100 camels for 10 women
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
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Schwarz-Weiß-Drucke, Nr. 021 der Reihe 100for10.
Fengel lives and works in his hometown, where he visited the Bavarian state institute of photography from 1986 to 1988. After that he lived in New York until 1991. In addition to regular illustrations and illustrations for well-established newspapers and magazines, such as ZEITmagazin and Vice, numerous national and international exhibitions took place. Fennel’s work is in the collection of the Munich Pinakothek der Moderne, the Städtische Galerie in the Lenbachhaus, the DEKA-Bank, the Fotomuseum Munich, the Museum of Modern Art in Frankfurt am Main and the Munich Re. Fengel also works as a filmmaker and shoots videos for DJ Hell. Together with Jörg Koopmann, he runs the “glossy” photo forum in Munich, which Koopmann founded together with Marek Vogel in 1997. In 2000, he founded the award-winning agency Herburg Weiland with Judith Grubinger and Tom Ising.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
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Schwarz-Weiß-Drucke, Nr. 027 aus der Reihe 100for10.
„Hate it or love it – the underdog’s on top.“ This basically says everything about Eva. Born and raised in the bavarian desert she made her way up north to study graphics and end up in Berlin. Being everything and nothing. Graphics, drawing, painting and writing was always part of her social media lifestyle.
FABIAN MAIER-BODE is a graphic designer currently working in Berlin. The starting point and main engine of his practice is a significant interest in type and content. That’s why he develops straight-forward and methodically design solutions that aim to be conceptually strong, contextually innovative and personally challenging.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-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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Gender Studies in Architecture - Performativity – The relationship of public and protected space
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20x40 cm cm, 10 Teile. keine weiteren Angaben vorhanden
Konvolut mit Heften/Zines unterschiedlicher Formate A6-A5 in Plastiktüte des Lenbachhaus mit Applikationen aus farbigem, geschnittenem Tape und Geschenkband. Teils Collage von ausgedruckten Fotos auf Transparentpapier, Fold-outs, gezeichnete u. geklebte Karten, übereinandergedruckter e-mail-Verkehr zum Seminar, Ausdruck des Seminarprogramms, als Binde um das Konvolut. Handschriftlicher Begleitbrief
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Produziert zum Seminar von Frauke Zabel an der TU München, Oktober/November 2018. In diesem Rahmen auch Besuch im AAP am 03.11.2018.
Based on an observation of public, semi-public and commercial spaces in which we move in Munich today, the seminar takes a look at the regulation of the public space (gender construction and repression of political opinions) in different times and cultures. We will consider various counter cultural movements in their emergence in relation to the public space of the respective time. Why do counter cultural movements withdraw from the public space into protected spaces and imitate a form of reality in them? We will look at the development of Brazilian theater under military dictatorship in the 1960s in Brazil by examining two architectural examples. The imaginative space of the theater, in which the reality is put into negotiation, will be regarded in relation to the imitation of the public space in the Ballroom culture of the 1980s in New York. There people were able to perform and to imitate (gender) roles, which the society did not provide for them. These historical references are complemented by a consideration of the current LGBTQ+ movement in different locations worldwide and their relationship to the public space. What are the moments that engage counter cultural movements to move in public space to gain visibility? We will look at examples like invisible theater, artistic processions, performances, parades and manifestations.
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MONO.KULTUR #32 Martino Gamper - All Channels Personal
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56 S., 20x15 cm, ISBN/ISSN 18617085
Drei Hefte in verschiedener Größe broschiert, mit Drahtheftung
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Martino Gamper is the kind of product designer we all have been waiting for: Brimming with ideas, energy and humour, his designs are disarmingly irreverent and irresistibly fun, and unlike anything one will see in the puristic galleries of contemporary design. Crossing over from studying sculpture to completing an MA in product design at the prestigious Royal College of Art under Ron Arad, Gamper has had little time to worry over the theoretical do’s and don’t’s of his profession – instead, he has followed a simple rule of learning by doing, meaning: the more you do, the more you learn. With mono.kultur, Martino Gamper talked about his idea of fun, why a chair is the ultimate challenge and what design has in common with cooking. Visually, the issue is bursting with references and ideas, reclaiming image material from left and right, while unveiling the structure of a book with three booklets of different sizes all lovingly assembled into one – and manually at that, which makes for some rough edges or rather what we like to call extra personality.
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[42] S., 28,9x22,2 cm, Auflage: 200, numeriert, signiert, keine weiteren Angaben vorhanden
Fadenheftung, sechsfarbiger Risographie, letzte Seite ausklappbar
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Rage, Heal, Root, Grow is a celebration of the chaos and complexity of life and one person’s process of adapting to it. Johnson’s postpartum years were challenging. She was fearful of what she saw happening—that she was disappearing as her male partner was becoming more visible. She struggled to find the time and space necessary to heal her body, and to reconcile the intense inequity of a child-rearing partnership when one partner (her) was nursing. A unique postpartum tale that refuses the female body as its central character. In its place: that body’s voice, and the bespoke flotsam of daily life.
Rage, Heal, Root, Grow was created on a shared Risograph duplicator over many months while Johnson’s child slept in a stroller nearby. She scanned and printed drawings they had made together with markers, watercolors, crayons, pencils, and lots of stamps into symphonic six-color prints. A narrative text describes her experience of raging, healing, rooting herself, and subsequently growing in a new direction.
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no one should call you a dreamer / 60 Minutes Later - A Collaborative Zine about Identity / ok werner / We Need Our Days To Be Quiet / days of each other,
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[20-36] S., 21x14,8 cm, 5 Teile. keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-Weiß-Fotokopien
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"Ok Werner" is a handmade fanzine made in collaboration with my brother, Glasgow-based musician Brian McEwan about our favourite filmmaker, Werner Herzog.
The zine was made over a period of 4 days in late July 2012 at my house in Yorkshire on a self appointed 'Herzog holiday' and contains our personal and collaborative responses to Herzog and his films via interviews, quotes, images and writing.
"We Need Our Days To Be Quiet" is a sketchbook in zine format, containing collected drawing and collage, text and photography and thoughts, reading and findings from summer 2012.
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MOTHERBABYHOME - zimZalla 056
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796 S., 29,7x20,4 cm, signiert, ISBN/ISSN 978-1-907570179
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The St Mary’s Mother and Baby Home was run by the Bon Secours Sisters on behalf of the Irish State to house unmarried mothers and their children. The location of the graves of 796 infants and children who died in the Home between 1926 and 1961 is unknown, though local knowledge, the research of local historian Catherine Corless, and recent excavations point to a field near the old site of the Home, as well as the likelihood that some children were illegally adopted. International media attention in 2014 led to the Irish government’s Commission of Investigation into Mother and Baby Homes, which is still underway.
MOTHERBABYHOME is a 796-page ‘report’ comprising conceptual and visual poetry. An excavation of voices, the poems are composed entirely of text taken from historical archives and contemporary sources related to the Home.
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288 S., 31x26,2 cm, ISBN/ISSN 9780500517635
Hardcover mit Schutzumschlag
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Hipgnosis created some of the most innovative and surreal cover art of the 1960s, 70s, and early 80s for the biggest names of the era—Pink Floyd, Led Zeppelin, Wings, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Syd Barrett, and Black Sabbath, to name just a few.
The sublime prism cover for Pink Floyd’s The Dark Side of the Moon continues to be one of the most pervasive images in all popular culture. Hipgnosis’s highly conceptual approach and graphic appeal earned them five Grammy nominations for cover design, and they profoundly influenced not only the history of music, but also all other creative fields from advertising to fashion.
Hipgnosis Portraits explores an endless stream of creative ideas in two sections. Part I, "Imagination," tells the story behind the artwork from germination through to the final sleeve design, supported by a wide array of archival materials. Part II, "Realization," contains beautiful and extremely photographic portraits of the musicians the agency counted as clients. Several of these images were taken but not used for projects and have remained buried in archives ever since.
The book is filled with playful, abstract compositions from a remarkably prolific collective that redefined the possibilities of concept-driven art and design.
Text von der Webseite artbooksonline.eu
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253 S., 22x15,3 cm, ISBN/ISSN 9783902374158
Klebebindung, Softcover
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THE OTHER IS ONESELF is a kaleidoscope of texts and images about the issues of escape and exile. The publication brings together literary testimonies, interviews, factual reports and, poetic, philosophical and socially critical writing on the subject and sheds light on the complexity of the phenomenon of migration and its impact upon individuals and society with the help of entirely personal perspectives from a range of periods and places.
THE OTHER IS ONESELF ist ein Kaleidoskop von Texten und Bildern zu den Themen Flucht und Exil. Die Publikation versammelt literarische Zeugnisse, Interviews, Tatsachenberichte sowie poetische, philosophische und gesellschaftskritische Schriften zum Thema und beleuchtet die Komplexität des Phänomens Migration und seine Auswirkungen auf Individuum und Gesellschaft mit Hilfe ganz persönlicher Perspektiven aus unterschiedlichen Zeiten und Orten.
Übersetzt mit DeepL
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Transcendental Mail Art - An anthology of 13 little art works made by order of the Secret Society of Diligent MAIL ARTISTS 1987-1988
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13 S., 22,5x31,0x2,5 cm, numeriert, signiert, keine weiteren Angaben vorhanden
Lose Blätter in Graukarton-Box, Offsetlithografie, Collageelemente (Tapete) und Bleistift, farbige Künstlerstempel, diverse Materialien, zum Teil handcoloriert
Beigelegt ist ein Dokument zur Überlassung von Publikationen Géza Perneczkys durch Ulli Kattenstroth an Hubert Kretschmer, sowie ein Versandetikett mit seiner Anschrift in Berlin.
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Nr.196 einer nicht näher bezifferten Auflage. Die Box ist frankiert und gelaufen (Mail Art) an Ulli Kattenstroth. Signiertes Deckblatt und 13 signierte Originalarbeiten von Perneczky. Die Box ist mit einem Etikett über Titel, Inhalt, und einer Begriffsdefinition von "Transcendental Mail Art" versehen:
"Why transcendental?
1. It is a charming word.
2. There is only the Mail Art that doesn't know any national or profession limits to time. It is viable without any capital and it does without the institutions. It goes through the world and infects the people like a funny influenza all over.
3. The Mail Art doesn't know style problems or the infamous feeling of the eclecticism. It's style is free of such questions, it is an an answer to the distances and the differences. It is simple & direct.
4. The directly statement declares the form, the technic and the iconography. Maybe the Mail Art is the only trend in the postmodern epoch which is able to create a new iconography and is fit to take pleasure in the day and the morrow.
5. The transcendental Mail Art breaks out from the ghetto of the alternative scene. Also further it will stay a present for the partners but it should be an expensive art for the museums. This is complete normal / This is the only scandalous thing.
6. The Mail Art is transcendental because also it is transient: it goes through all partitions and disappers by degrees. The missing pieces of a Mail Art action are gone into the transcendency.
7. The Mail Art has been born with the help of my existence and it will be transient by your existence. It is a metamorphosis by correspondence.
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2 S., 14,8x21 cm, keine weiteren Angaben vorhanden
Informationszettel,
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The project Gaudeamus igitur: self-organized artist in the state of domestic agoraphobia is an artist’s book titled Gaudeamus igitur and edited in limited edition. A public lecture that presents the work will be a part of the project. The artist’s book consists of photos depicting piles and floors, in general from all the institutions the artist has passed through in the process of becoming a self-organized individual-artist who constitutes her own artistic practice. The following text in the book is a popular academic song mainly performed at university/school graduation ceremonies – Gaudeamus igitur. The project thereby questions the role of (educational) institutions in the age of self-organization in art.
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stars & stripes - new york garbage flag profile
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292 S., 21,4x15,2 cm, Auflage: 550, ISBN/ISSN 3865880940
Fadenheftung mit flexiblem Plastikeinband
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First this was was a series of ephemeral situations in public space in New York 2002–2003. They become comprehensible through the publication of a book. The New York Garbage Flag Profile presents Berlin-based artist Michalis Pichler’s six month long project in which he collected and documented discarded paper cups, plastic bags, pizza boxes, newspapers and other mass-produced materials emblazoned with the American Flag.
Photographed in the public waste baskets, gutters and snow drifts of New York where he found them, the individual items are catalogued on a facing page with uniformly formatted information about their location, the date of their collection, number of flags depicted, number of stars, number of stripes, etc. Each record also includes a full transcription of the text found on the item. The nearly three hundred color photographs in the book are organized into forensic pairs showing the collection site before and after the artist’s intervention. This clinical presentation however belies the artist’s gentle, almost reverent approach to his material-garbage, after all. (Rachel Bers)
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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 Größen ausgedruckt
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Sarah Bodman made her first artist’s book tribute to Kurt Johannessen after Tanya Peixoto introduced her to his books at bookartbookshop.
She produced ‘An Exercise for Kurt Johannessen’ in 2010, in tribute to his book ‘Exercises’. 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 Sarah’s 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 artist’s book to carry out.
The result is ‘X Exercises for Kurt Johannessen’ an image only artist’s book, published as a free download, DIY self-assembly book on 21.02.2012. The exercises can be identified through reading the texts in Kurt Johannessen’s ‘Exercises’. Sarah has made her book as a free PDF download for you to print out and assemble yourself, you will need 4 sheets of A4 paper and a stapler
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128 S., 25x21 cm, ISBN/ISSN 1901033678
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Over the last 20 years, performance artist André Stitt has presented hundreds of performances - or 'akshuns' - which are invariably violent and cathartic, involving self-abuse, tantrums and exoreisms. His references are wide, ranging from urban alienation to alternative religions. Small Time Life presents Andre Stitt's incredible work with images from the artist's archive, a history of his work and a series of conversations between the artist and Roddy Hunter (formerly Senior Lecturer in Visual Performance at Dartington College of Arts)
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146 S., 29,7x23,5 cm, ISBN/ISSN 1854374117
Broschur, Softcover
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Publikation anlässlich der Ausstellung vom 14.03-04.06.2002 Tate Britain, London. Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
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[56] S., 21x12,5 cm, Auflage: 700, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung
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Katalog zur Künstlerbuchmesse Super BOOKS 2021 im Haus der Kunst 12.-13.11.2021 mit ca. 60 Aussteller*innen aus 4 Ländern
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[2] S., 9,8x21 cm, 2 Stück. keine weiteren Angaben vorhanden
Postkarte
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Messe für independent Künstlerpublikationen 11.-12.11.2022 im Haus der Kunst, München, mit radio 80000, das Internetradio, Eintritt frei
Im November wird das Haus der Kunst die dritte Ausgabe von Super BOOKS ausrichten. An zwei Tagen zeigen Künstler*innen, Gestalter*innen und alternative Verleger*innen ihre autonomen Produktionen. Super BOOKS wurde 2019 im Rahmen der von Sabine Brantl kuratierten Ausstellung „Archives in Residence: AAP Archiv Künstlerpublikationen“ erstmalig im Haus der Kunst veranstaltet. Das Projekt sieht sich in der Tradition unabhängiger, individueller Orte für Künstlerpublikationen, die sich seit den 1960er-Jahren im Umfeld der internationalen, post-avantgardistischen Kunstszene gebildet haben.
Aktionen
Carina Müller und Dominik Wendland bauen während der Messe vor Ort das Superbook, Jürgen O. Olbrich bietet mit seiner Bodeninstallation PaperPolice seine Objekte dem Publikum zur Mitnahme an.
Sound
Radio 80000 wird während der Veranstaltung sein Studio in der Nordgalerie des Haus der Kunst aufbauen und live ein Programm mit DJs, Performance und Sound senden.
Am 11.11.22 ab 21 Uhr wird Cosmica Bandida im Rahmen von Super Books 3 performen. Das Künstlerduo spielt experimentellen lo-fi Cumbia, begleitet von Visuals des Münchner Künstlers Merlin Stadler.
Super BOOKS wurde 2019 erstmalig im Haus der Kunst veranstaltet und ist ein Kooperationsprojekt zwischen Haus der Kunst, AAP Archiv Künstlerpublikationen, Bayerischer Staatsbibliothek, Akademie der Bildenden Künste München und Kunsthochschule Kassel.
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ABC (Artists? Books Cooperative)
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128 S., 28x21 cm, Auflage: 500, keine weiteren Angaben vorhanden
Klappumschlag
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During the life of an artist countless photos are taken, numerous videos are shot and plenty of text is written. In the case of a performance artist this material is even more extensive and also more important, because it gives us a witness report about a past event. When we noticed that Billy archived all the material about his work very accurately and everything was already there we decided to use only the accumulated images and texts, such as: stills and off-voices from Billy's video documentation, newspaper articles ranging from local press to international art critique, TV-Excerpts, lyrics from Billy's songs …
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Micronaut n°2 - Modern Life is Rubbish
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40 S., 27.2x19.7 cm, Auflage: 150, keine weiteren Angaben vorhanden
Blätter gefaltet, lose ineinander gelegt
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Micronaut is an editorial project initiated in 2011 with a critical and singular approach to publishing and artist book. In three years of activity, the book serie took several different forms, engaging a dialogue between disciplines and blurring the boundaries between actors involved in a book process. An independent editor and photographer based in Switzerland, Julien Gremaud runs Micronaut as an interface to produce and publish books but also as an artistic practice through collaborations whether it is an artist, a gallery, a museum or an artists collective.
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Annahme erwünscht! - Die Idee einer offenen Gesellschaft: Künstlerische 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 “in 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 individual”. In the 1960s and 1970s a new generation of artists began to replicate works of art in the form of artists’ 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"
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MONO.KULTUR #31 Michael Borremans - Shades of Doubt
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48 S., 20x15 cm, ISBN/ISSN 18617085
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When Belgian artist Michaël Borremans first presented his paintings to the world at the tender age of 37, he immediately caused a stir in the art scene. His realistic yet mysterious figurative images subtly draw one to the centre of a question which remains permanently unspoken. Through the combination of his immaculate painting techniques, using muted tones and classic compositions, and the puzzling scenarios that are at the heart of his work, the artist brings together both: melancholy and humour. With mono.kultur, Michaël Borremans talked about the mystery at the heart of painting and life in general, his commission for the Belgian Queen, and why he needs to wear his Sunday suit when he goes to work. The issue features a whopping 20 plates of Michaël Borremans' paintings, all printed in lifesize scale, allowing you to examine the technical mastery behind his work in breathtaking detail.
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RISE WITH YOUR CLASS NOT FROM IT
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82 S., 20,2x12,3 cm, Auflage: 200, ISBN/ISSN 9780957682870
Blätter lose mit Gummiband zusammen gehalten
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The fruit of a collaboration with artist/activist/creator of the Working Press archive Stefan Szczelkun and keeper archivist Rebekah Taylor.
Rise with your class not from it represents a lasting trace of and a vehicle for the Working Press project whose archive is now housed in UCA library special collections in Farnham. It highlights some important works by working-class artists while providing a valuable resource for anybody interested in working with archive material.
Working Press is a collective publishing imprint, which had the subtitle books by and about Working Class Artists, 1986-1996. Working Press includes the first computer generated comic (Harwood), the first book by Micheline Mason (disability and inclusion artist), and the first book about Greenham Common Yellowgate (Beth Junor).
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14,8x10,6 cm, keine weiteren Angaben vorhanden
Flyer
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Flyer zur Zine Fair im Mildura Arts Centre, die vom 02.-04.08.2019 stattfand.
Currently in the midst of another comeback, zines are set to take centre stage at MAC from 2 – 4 August as part of Mildura Zine Fair 2019.
Councillor for Arts and Culture Jason Modica said the idea to host a zine fair in Mildura was sparked by a recent travelling exhibition by State Library Victoria entitled Self-Made: Zines and Artist Books. ...
“Based on the positive response to the exhibition, the Mildura Arts Centre team set about developing a national zine fair aimed at connecting and uniting zine-makers from across the country.” (Monica Syrette)
Next month’s event has attracted both local and metropolitan-based artists, who will feature their works with 20 zine-maker stalls set up in the MAC foyer.
Die Zines, die derzeit ein weiteres Comeback erleben, werden vom 2. bis 4. August im MAC im Rahmen der Mildura Zine Fair 2019 in den Mittelpunkt gestellt.
Jason Modica, Stadtrat für Kunst und Kultur, sagte, dass die Idee, eine Zine-Messe in Mildura zu veranstalten, sich durch eine kürzlich von der Staatsbibliothek Victoria veranstaltete Wanderausstellung mit dem Titel Self-Made: Zines and Artist Books entzündete. ...
"Aufgrund der positiven Resonanz auf die Ausstellung machte sich das Team des Mildura Arts Centre daran, eine nationale Zine-Messe zu entwickeln, um Zine-Macher aus dem ganzen Land zu verbinden und zu vereinen." (Monica Syrette)
Die Veranstaltung im nächsten Monat hat sowohl lokale als auch in der Metropole ansässige Künstler angezogen, die ihre Werke an 20 Zine-Macher-Ständen im MAC-Foyer ausstellen werden.
Text von der Webseite, übersetzt mit DeepL.
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List 4/13 Artists' Books, and some others, which are not artists books, artists' writings and some new titels from book works
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[12] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserkopie, Drahtheftung. Buchliste des Antiquariats
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Streichholzbriefchen – Fear and hate / Do to others as you would have them do to you
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4,8x3,8 cm, keine weiteren Angaben vorhanden
Bedrucktes Streichholzheftchen.
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Produziert für die Ausstellung "Dissent, Difference and the Body Politic", Portland Art Museum, Oktober 1992.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 033 aus der Reihe 100for10.
Tamer Koseli is an Istanbul-based illustrator born in Switzerland. His illustration explores geometry and colours, informed by his background in fashion and industrial design. Clients include well-known brands such as Condé Nast, Monocle, Nike, The North Face amongst many others.
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47 S., 21x14,8 cm, Auflage: 300, keine weiteren Angaben vorhanden
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The project “Enseignement Universel” consists of a series of new textual compositions made by re-organizing the words of three original texts that were involved in Professor Jacotot’s experience (1824). The criterions that I followed are the ones which are common in the process of learning and understanding a language (the alphabetical order, grammatical categories, types of phrases, synonims, among others). The original texts that have been recomposed during the elaboration of the project are: “Enseignement Universel. Langue étrangère”, by Joseph Jacotot; “Le Maître ignorant. Cinq leçons sur l’émancipation intellectuelle”, by Jacques Rancière; and “De Gevallen van Telemachus”, by Fénelon.
Text von der Webiste.
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ARTPOOL - The Experimental Art Archive of East-Central Europe
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536 S., 29,8x21 cm, Auflage: 500, numeriert, signiert, ISBN/ISSN 9789630872256
Schmutztitelseite gestempelt, mit Widmung und Aufkleber, Vorwort von Kristine Stiles
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Using authentic documents, numerous photographs and illustrations Artpool’s chronological volume containing a brief presentation of events and exhibitions, a detailed bibliography and references follows the history of the Artpool art project – launched more than forty years ago by fine artist György Galántai and later jointly realized with Júlia Klaniczay – from the exhibitions of the Chapel Studio active in Balatonboglár between 1970 and 1973, through the establishment of the Artpool archive in 1979 to the opening of the Artpool Art Research Center in Budapest in 1992 and its becoming an esteemed research facility by the 2010s.
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1 S., 12,3x9,5 cm, 4 Teile. keine weiteren Angaben vorhanden
Ein Bogen mit 4 Künstlerbriefmarken, perforiert
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Ghosts of Hiroshima was a multi-media production written by Deborah Lubar and conceived and performed by the Lantern Theater Company. Harley designed and executed banners, masks, sets, and graphics for this documentary drama sponsored by Oberlin College and the Ohio Humanities Council. This project was on tour in 1983 and 1984 with Harley in attendance.
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Toiletpaper 08 - September 1971
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[44] S., 28,8x22,5 cm, ISBN/ISSN 9788862082860
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nur Bilder, ohne Text
"Toilet Paper" is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text - each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, "Toilet Paper" has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy". A brand new, pristine example of the eighth issue of this fascinating, irregularly issued artist's project.
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96 S., 21,6x18 cm, ISBN/ISSN 9780300182293
Softcover, Broschur, Klappumschlag, Schwarz-Weiß Fotografien
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Patti Smith: Camera Solo, on view at the Wadsworth Atheneum from 21.10.2011-19.02.2012, was the first museum exhibition of Patti Smith’s photography in the United States and included seventy photographs, one multimedia installation, and one video work.
The pioneering artist, musician, and poet, Smith has made her mark on the American cultural landscape throughout her 40-year career, from her earliest explorations of artistic expression with friend and vanguard photographer Robert Mapplethorpe in the 1960s and 70s to her profound influence on the nascent punk rock scene in the late 1970s and 80s.
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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 recipient’s 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. ‘Can the box be an artwork? Can the wrapping be the gift?’ – she questions her readers.
Text von der Website.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 009 aus der Reihe 100for10.
André Rösler has worked as a freelance illustrator, designer and animation directer. He illustrated several picture books for small and large kids. His work was awarded with various design prices and was shown on exhibitions in Berlin, Paris, Zürich and Dakar. André Rösler is based in the beautiful south and teaches illustration at the university of applied sciences in würzburg.Konrad Bayer is an artist and illustrator living in Berlin.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 045 aus der Reihe 100for10
British artist Anna McCarthy lives and works in Munich. She studied at the Glasgow School of Art and at the Academy of Fine Arts in Munich. McCarthy’s work combines paintings, drawings, installations, performances, music and film. She has exhibited in numerous international art institutions and museums, among them Northern Gallery for Contemporary Art, Sunderland, Shedhalle Zürich and at the Schaustelle, Pinakothek der Moderne in Munich. In 2013 she premiered the musical “How To Start A Revolution” at Haus der Kunst in Munich. The long-running multimedia project of the same title analyses the cliché of “the rebel” in a critical and humorous fashion. She attracted equal attention with her performative presentation: „Heute Nachmittag: Als wir noch an was glaubten“ (eng. It was only this afternoon that we still believed in something) as part of 1914/2014: Die Neuvermessung Europas. (Remeasuring Europe). In 2015 she was awarded a fellowship at the Villa Aurora, Los Angeles.
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Experimentelle Poesie - Retrospektive aus 15 Jahren
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[4] S., 21x14,5 cm, Auflage: 150, numeriert, signiert, 131 Teile. keine weiteren Angaben vorhanden
Drei Flyer, einmal gefaltet, acht Bogen Künstlerbriefmarken, perforiert. Zwei Bögen signiert und nummeriert.
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Zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 in der Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. I try with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
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The Museum That Did Not Exist
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336 S., 24,8x17,5 cm, ISBN/ISSN 978-3-791344997
Hardcover mit gefüttertem Einband.
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Erscheint anlässlich der Ausstellung "Daniel Buren, Le Musée qui 'existait pas", Centre Pompidou, 26.06.-23.09.2002.
Daniel Buren ist einer der wichtigsten französischen Künstler mit einer großen internationalen Wahrnehmung, seit 40 Jahren befragt er die Kunst und die Möglichkeiten, sie »in situ«, also vor Ort, zu entwickeln. Der Bildhauer und Maler mit starken Bezügen auf die Konzeptkunst richtete 2002 im Centre Pompidou in Paris eine spektakuläre Ausstellung ein. Die Publikation versammelt die Bilder zu der Ausstellung, die den gesamten Gebäudekomplex mit einbezog. Seine Installationen zerstörte er unmittelbar nach Ablauf der Ausstellung, der Katalog ist, was erhalten blieb. Aber er bildet nicht allein denn Rundgang ab, sondern dokumentiert auch Burens Vorarbeiten wie Skizzen, seien Ideen, die Pläne und Grundrisse des Baus. Die ungewöhnliche Herangehensweise und die kühne Umsetzung der Ideendes Künstlers treten deutlich hervor.
A seminal exhibition by the artist Daniel Buren at the Centre Pompidou in Paris is recreated through photographs of the since-destroyed pieces and illuminating reflections by the exhibition s curator. Since the late 1960s Daniel Buren has been challenging the traditional methods of presenting art through museums and galleries. Through his conceptual works Buren audaciously argues that the art and its viewing environment are both inextricable and antithetical. This beautiful volume takes readers on a tour of a spectacular exhibition at the Centre Pompidou in Paris. The photographs depict Buren s employment of the museum as a whole. The pieces, which he destroyed immediately after the exhibition closed, included hundreds of open cubes, mirrors, banners, and even a car park. Also featured are fascinating, behind-the-scenes accounts of the installation by the curator, Buren s own pre-exhibition sketches, ideas, andfloor plans, and perceptive essays that capture the significance of Buren s daring achievement.
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ruine 03 – You see I've Always Wanted Things To Be Beautiful
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84 S., 18,3x13 cm, Auflage: 70, numeriert, 3 Teile. ISBN/ISSN 978-3-947250103
Broschur, Schwarz-Weiß-Digitaldruck, beigelegt ein gefalteter Flyer, zusammen in gefaltetem Blatt A3 mit Prägedrucken
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Zum Release und zur performativen Lesung in der Lothringer 13 florida in München am 01.03.2018 um 20 Uhr.
Ruine München is happy to presents Max Grau's first artist book ever. In his words: "I’m really happy with how the book turned out. It looks and feels pretty. It has 84 pages and contains 53.260 characters (incl. spaces). There’s 25 images spread out over six chapters (which have names of varying length). The whole thing is titled after a line from a Frank O’Hara poem that I really like (although I’m not quite sure if I »get« it). There’s footnotes and page numbers and even a topic (optimism. Sort of). The text is written in English and the book is covered in a beautiful sleeve, designed by Maria (I think). It (the sleeve) contains a very flattering text (in German) about… uhm… me, written by the whole RUINE gang. Every issue is numbered and since there wasn’t a ton of money (why is there never an actual ton of money?), we only printed an edition of 70."
Text von der Webseite
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The Cyprus Dossier 00 - Towards free / Thinking Cyprus
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40 S., 29,5x23,3 cm, Auflage: 1.000, ISBN/ISSN 19863179
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In collaboration with Naked Punch and Shoppinghour.
An intellectual journal with one intention, to initiate frequent cross-disciplinary dialogue on political, social and cultural issues faced by the island’s inhabitants, as diversely and impartially as possible.
The Cyprus Dossier was founded in 2011 in Nicosia, Cyprus. It was distributed for free across Cyprus at selected locations in print/online and concluded in 2015. In 2012 The Cyprus Dossier hosted Mag Dossier, a celebration of contemporary magazine publishing from across the world curated by Peter Eramian. Special issues have been published for the exhibition Terra Mediterranea: In Crisis (2012) at the Nicosia Municipal Arts Centre, the participation of Cyprus at the 55th Venice Biennale (2013) and International Artist Initiated, a project organised by David Dale Gallery as part of the Glasgow 2014 Culture Programme for the Commonwealth Games, for which Peter Eramian also curated the exhibition Non-Standard Testimonials.
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[8] S., 14,8x10,5 cm, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung
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Infoheft zur Ausstellung in der Tate Modern, London, 17.10.2019-09.02.2020.
The visionary artist who embraced mass media and new technology.
Nam June Paik’s experimental, innovative, yet playful work has had a profound influence on today’s art and culture. He pioneered the use of TV and video in art and coined the phrase electronic superhighway to predict the future of communication in the internet age.
This major exhibition is a mesmerising riot of sights and sounds. It brings together over 200 works from throughout his five-decade career – from robots made from old TV screens, to his innovative video works and all-encompassing room-sized installations such as the dazzling Sistine Chapel 1993....
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Experimentelle Poesie 2000
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[4] S., 21x14,5 cm, Auflage: 150, numeriert, signiert, 48 Teile. keine weiteren Angaben vorhanden
Bogen Künstlerbriefmarken, perforiert
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Erschienen zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 in der Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. I try with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
Text vom Flyer.
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The Big Sleep - 4. Biennale der Künstler im Haus der Kunst
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108 S., 26x21 cm, Auflage: 1.000, 2 Stück. ISBN/ISSN 978-3-903796386
Broschur
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THE BIG SLEEP—the exhibition title refers to Raymond Chandler's detective novel and the legendary Film Noir. Sleep and death, pause, standstill, threats, ambiguity, fears—these aspects are virulent and gained astonishing topicality in 2020, as does the participation of many American artists in the exhibition. The Haus der Kunst becomes the setting for a production that plays with twilight and darkness, light and shadow. With introductory essays, artist texts and exhibition views, the catalog allows you to immerse yourself DeepLy in “THE BIG SLEEP”.
Text von der Webseite
Publikation erschienen, im VfmK Verlag für Moderne Kunst, anlässlich der 4. Biennale der Künstler im Haus der Kunst, 19.07.–08.09.2019, veranstaltet vom Künstlerverbund im Haus der Kunst München e. V. mit Texten von manchen der teilnehmenden Künstler zu Inspiration und Werk zum Thema The Big Sleep und ihrer Reminiszenz an den Film von Regisseur Raymond Chandler.
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annex - Special Issue for the 50th Venice Biennale - The Structures of Survival
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[8] S., 40x28 cm, keine weiteren Angaben vorhanden
Blätter lose ineinander gelegt
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Ausgelegt im türkischen Pavillon auf der Biennale Venedig.
Oda Projesi is an artist collective based in Istanbul; composed of Özge Açıkkol, Güneş Savaş and Seçil Yersel who turned their collaboration into a project in 2000. From January 2000, their space in Galata functioned as a non-profit independent space, hosting projects, gatherings and acts up until march 16th2005, when Oda Projesi was evicted from the apartment due to the process of gentrification. Since then Oda Projesi has a mobile status and not any more space based; continues to raise questions on space and place creating relationship models by using different mediums like radio stations, books, postcards, newspapers or giving form to different meeting points; depending on and respecting to the creativity of Istanbul and its citizens.
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Experimentelle Poesie 2000
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21x14,5 cm, Auflage: 150, numeriert, signiert, 31 Teile. keine weiteren Angaben vorhanden
Bogen Künstlerbriefmarken, perforiert, Farblaserkopien
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Erschienen zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 in der Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. I try with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
Text vom Flyer.
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21x14,5 cm, keine weiteren Angaben vorhanden
Flyer mit Erklärung von Klaus Groh, was Poesie für ihn bedeutet und wie er damit umgeht, seinem Lebenslauf und Aufzählung seiner Ausstellungen
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Zur Ausstellung Experimentelle Poesie, 13.04.-13.05.2000 in der Japtak Galerie, Breslau. Letters, Parts of Letters, Words, Parts of Words are working materials for me like color, structures and lines for human artistic communications. They belong to human origin like signs, symbols and ideas. I try with these elementary materials of human communication to create happenings of reading and discovering new thoughts in mind, real and life. It is a permanent dialog between material, thoughts and discovering new ideas and structures.
Text vom Flyer.
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[42] S., 26,8x20 cm, keine weiteren Angaben vorhanden
Drahtheftung, verschiedene Papiere. Im Set mit acht Heften von Ryan Foerster.
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This book was published in conjunction with Foerster’s on-site installation in a vacant lot in Miami [May, 17, 2012], put on by the New York gallery Shoot the Lobster. A conversation between Foerster and the show’s curator, Bob Nickas, is included in the book and offers insight into the artist’s process and experience with the project. The show emphasized the placement of printing plates and photographic paper in the lot and their interaction with the environment. This is highlighted by the photographs featured in the book, which document objects from the show, as well as its visitors and surroundings.
Text von der printed-matter-Webseite.
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... And there was evening and there was morning
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29x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, 2 Flyer und 1 Einladungskarte sind beigelegt.
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"So it was evening, then it was morning: and it was the first day." How does the beginning of everything look like? That eternal energy that generated the first beginning, the early morning of all time, for Simona has to do with an explosion: the fire, linked to the Latin verb foveo and to the Greek words φῶς (phos), light. Imploded energy, the Genesis of all moments. It is with one of the simplest destruction tools, the Molotov bomb, that the artist opens her personal exhibition, where an explosion accompanies us on a journey that with great delicacy investigates the boundaries of human exploration, in its higher sense. That man who wants to know, measure, ennoble. How much space does the highest point of the Earth occupy? "I asked Silvio Mondinelli, the sixth mountaineer in the world to have climbed all fourteen of the eight-thousand of the Himalayan chain, (without the help of oxygen) to recover through memory the space of the summit of Everest. He traced its perimeter in 1: 1 scale on a piece of paper" says Simona. This perimeter was used as a template to create a marble base, where Silvio Mondinelli’s signs and writings make that memory immortal in the most faithful way possible. In that memory, Francesco Šljiva Venturi gives life to a primordial sound that once again seeks a point of contact with the origin, through the use of his voice and a single instrument: a shamanic drum, purpose-built by a craftsman for the performance.
He will climb "on the top of Mount Everest" to sing a variation of Ives' Unanswered Question, in the lowest possible pitch. It is the elaboration of an impossibility: to go as high as possible while going as low as possible.
Text von der Website
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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 – 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 clichés and habitual routines. It is meant to demonstrate that contemporary art can foster and catalyse this kind of activity – in other words, that contemporary art is much more than mere luxury and a source of aesthetic pleasure.
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Everything is About to Happen
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1 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserkopie nach Webseite re-title.com
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Zur Ausstellung vom 14.04.-26.04.2014
The exhibition presents circa 300 books in an attempt to offer an overview, and initiate an archive, of recent artists’ books. It focuses on publication as a medium and context for art practices. It looks at the ways in which artists use the format of the book as an artistic strategy exploiting, and often expanding upon, its nature as a fixed but randomly accessible sequence of words and images. All the books selected are either self-published or participate in a minor economy of small publishers. Their modes of production and circulation, as well as the conditions under which they are experienced and stored, strengthen their content.
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90 S., 43x28,5 cm, ISBN/ISSN 978-3-863356798
90 lose ineinandergelegte Seiten mit 45 farbigen Abbildungen
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Herausgegeben von Alice Dusapin & Christophe Daviet-Thery. Beiträge von Steve Roden & Oscar Tuazon.
Allan Kaprow is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career. With a wide selection of images, this publication documents Kaprow's posters, a lesser-known side of his work, produced between 1953 fand 1996. Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style. More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.
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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, Rückseite mit Metallfolienprägung, eingelegter Aufkleber, in transparenter Kunststoffhülle 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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32 S., 21,5x14,5 cm, Auflage: 500, ISBN/ISSN 20566301
Drahtheftung,
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Uniformbooks is an imprint for the visual and literary arts, cultural geography and history, music and bibliographic studies. The uniformity of the format and the expansive variety of the list and its subjects, is characteristic of our open approach to publishing. The printed quarterly Uniformagazine gathers contributions by the writers and artists that we work with, sometimes thematically, as well as slighter or singular content.
Mit: Squint David Matless, A Tips Alphabet Stephen Duncalf, The Green Man Ronald Johnson, Beginning and ending with trains on a table Steve Roden, Transmitter Masts Theo Simpson, Field Signals Angus Carlyle & Chiara Caterina, CapitalNY @CaptialNY, In House Publishing @Unpublishedwork, Bridge/Tunnel Colin Sackett
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176 S., 27x18 cm, ISBN/ISSN 9788480265300
Softcover, Broschur, Schutzumschlag aus Noppenfolie,
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Publikation zur gleichnamigen Ausstellung vom 10.11.2015-21.03.2016.
A conversation between Hito Steyerl and João Fernandes, curator of the exhibition, an essay by Carles Guerra and Steyerl herself, introduced us to one of the most relevant contemporary artists in the field of Video art. Steyerl approaches current themes in her work, for instance the impact the proliferation of images and the use of the Internet and technology have on our lives. She uses these issues as a starting point for developing, not just through her video pieces but also through writing and essays, critical work about control, surveillance and militarisation, migration, cultural globalisation, feminism and political imagery, questions she believes have the capacity to create realities.
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Possible Content for 18 Pages - Volume II - A Set of Lines, A Stack of Paper
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[80] S., 29,7x21 cm, Auflage: 500, ISBN/ISSN 978-3-957632746
Broschur, mit zahlreichen Abbildungen, drei Bände in Banderole,
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"A Set of Lines, A Stack of Paper" is the second in a series of exhibitions and publication based on a wide-reaching research about writing with the title 'Possible Content for 18 Pages'. The original typewritten manuscript of Vilém Flusser's essay 'The Gesture of Writing' provides the thematic and formal-aesthetic foundation for reflecting the act of writing at the intersection of linguistic, visual, physical and spatial communication. 'To write,' says the philosopher about the basic requirements that should lead to a complete piece of writing, we need 'a blank surface, for instance a white leaf of paper, an instrument which contains a matter that contrasts with the whiteness of the paper, the letters of the alphabet, the convention which gives a meaning to the letters, 'orthography' = correct writing, the rules which order that language, what is called 'grammar', an idea to be expressed in a language, and a motive to express that idea'. Understanding the act of writing as a culturally embedded gesture, 'A Set of Lines, A Stack of Paper' covers artistic, literary, as well as curatorial and editorial fields of action and combines them. The book is published on the occasion of the correspondent exhibition at KARST, Plymouth (June 5 - July 5, 2015). The publication comprises an exhibition documentation with installation views and a curatorial statement. Furthermore, the author Maria Fusco situates the concept of the exhibition in an actual context of literature.
The participating visual artists expand the topic of the exhibition with artistic contributions especially made for the book.
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Cadences - A Journal of Literature and the Arts in Cyprus, Vol. 12 Fall 2016
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112 S., 23,5x16,5 cm, ISBN/ISSN 14501813
Softcover, Broschur
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Candences: A Journal of Literature and the Arts in Cyprus is a multilingual literary magazine, publishing poetry, short fiction, life writing, experimental work, reviews, and other writings in all the languages of the island of Cyprus and of its visitors. Writers in Cyprus think, feel, and express themselves in several languages, with Greek, Turkish, and English being three of the most prominent. Cancences is a bridge between them, a meeting point at which writers of the diverse communities of the island may find each other, and learn from their encounters with difference.
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her first meteorite - photographic collages
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6 S., 23,7x19 cm, keine weiteren Angaben vorhanden
Einzelblatt mehrfach gefaltet, doppelseitig bedruckt, handschriftlicher Gruß
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Found, sliced and assembled, the photographic collage establishes experimental and introspective forms through the combination of familiar and obscure images. The montages from the various artists each evoke a distinct entry into surreal worlds, bound together by connected and intertwined photographs. With found objects and images, the spontaneity of discovery and combination counters the intricacy of the details in the works.
Text von der Website
Teilnehmende Künstler/innen: Carolle Benitah, James Gallagher, Melinda Gibson, Ken Graves, Stéphanie Solinas, Annegret Soltau, and Grete Stern
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Punk Press - Rebel Rock in the Underground Press 1968-1980
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240 S., 34x22,5 cm, ISBN/ISSN 978-1-419706292
Broschur mit Klappumschlag
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Punk was born on the East Coast in the late 1960s, later crossing the Atlantic and exploding in London and Paris. This dynamic countermovement churned out heaps of professional magazines and photocopied, hand-stapled fanzines, all expressing ideas on music, art, and current events. By creating its own press, the punk movement secured its place in the history of 20th-century culture. Featuring collages, cutouts, and handcrafted typography, Punk Press compiles the stunning graphics created by these publications, spanning from the East Village to East London to the Left Bank. With unforgettable images of punk’s greatest bands—the Ramones, the Sex Pistols, the Clash, the Dead Kennedys, Iggy Pop, and more—this is a captivating look at some of music’s most fascinating personalities and greatest talents.
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[36] S., 22,5x16 cm, ISBN/ISSN 978-3-905714371
Broschur, Softcover, Farbdruck
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Peaceable Kingdom is the first book of collaborative work by the two American artists Chris Johanson and Jo Jackson partners in life and art. All paintings feature a mix and match of both artists' styles, from Johanson's political, social themes and color patterns, to the oneiric, provocative and ambiguous side of human identity represented by Jackson's softer tones. Each painting being none like the other, and showing an incredible combination of shapes, forms, colors and ideas through a fascinating imaginary world, almost childlike.
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40 S., 14,8x21 cm, keine weiteren Angaben vorhanden
Broschur, Digitaldruck
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The Pepsi Challenge
Oversized ‘promises’ in the form of real estate advertisements are promoting the new city along the lines of global real estate and living standards. ‘The perfect union to all you desire’ and ‘We believe luxury is best served in small quantities’ first seen along Varthur Road in Whitefield, Bangalore, caught my attention. The second one leaves a particularly ironic, tangy, protestant-flavoured impression, seen from the German point of view.
Questions emerged about the Indian caste system, the sense of community, modesty and personal goals.
The design of this urbanity also reminds me of earlier journeys to the United Arab Emirates and Shanghai. The new urbanity becomes exchangeable, custom-tailored and its ‘ultra-luxurious villas’ accessible ‘for the chosen few’ of the Pepsi Generation.
But what happens to the majority of a city’s 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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Redesigning the Medieval Book - Personal Carol 1400 - singing breathing score video 2017
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1 S., 21x10,5 cm, signiert, 2 Teile. keine weiteren Angaben vorhanden
Infokarte, rückseitig handschriftlicher Gruß. In Briefumschlag
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A workshop and competition for book artists at the Bodleian Library, Oxford. 01.12.2017-11.03.2018
The exhibition Designing English at the Bodleian Library 2017-18 will illustrate the layout of English literature in handwritten manuscripts and inscriptions across the Middle Ages, from Old English picture books to early Tudor plays and manuals for handling swans. It will trace the different spaces granted to English through the first thousand years, from stray notes scratched into Anglo-Saxon herbals or fragments of lost medieval songs in the margins, to masterpieces placed centre-page and framed by illustration and illuminated borders. it will cover both books and other objects, from grisly tombs to charms written on food.
Text aus dem exhibition summery
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Hidden Islam - Islamic makeshift places of worship in North East Italy, 2009-2013
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90 S., 24,8x17 cm, ISBN/ISSN 9788890981708
Hardcover mit festgeklebtem Schutzumschlag. Jede Seite aufklappbar.
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Dritte Auflage.
Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy and yet, officially, only eight mosques in the whole country. One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses and old factories. This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed by the right wing party Lega Nord. The dull images of the many and diverse buildings that house the makeshift mosques are printed on folded pages. You open up the gatefold to reveal the scenes inside the mosques, shot in full colour. The size of the gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups of two or three Muslims. Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely in our own hands.
In 2014 Hidden Islam was awarded the Gold Award - Deutscher Fotobuchpreis, First Book Award - Paris Photo/Aperture Foundation and Author Book Award - Les Rencontres des Arles.
Text aus dem Vorwort von Martin Parr.
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10 S., 22,4x15,8 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Besucherbroschüre zur Ausstellung im holländischen Pavillon der Biennale di Venezia, 09.05.-22.11.2015.
Herman de Vries (b. 1931) is representing The Netherlands at the Biennale Arte 2015. Under the title to be all ways to be the Dutch pavilion exhibits new sculptures, objects, works on paper and photography by de vries. Educated as a horticulturist and natural scientist, de vries gathers, orders, isolates and displays objects from nature, directing our attention to both the unity and the diversity of the world around us. In his preparatory travels to Venice, de vries collected many objects from the Laguna, the Giardini and the city, resulting in multiple works both in the Dutch Pavilion and on the deserted island of Lazzaretto Vecchio in the southern Laguna. The exhibition is curated by Colin Huizing and Cees de Boe.
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Forensic Architecture - Violence at the Threshold of Detectability
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368 S., 23,5x19 cm, 2 Stück. ISBN/ISSN 978-1-935408864
Hardcover, Schutzumschlag
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2. Auflage von 2018. In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN.
Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.
In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.
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[44] S., 36x28,5 cm, Auflage: 1.000, ISBN/ISSN 1590051742
Hardcover, Fadenheftung, Leineneinband, Titel geprägt. ehem. Bibliotheksexemplar, Loyola Marymount University, siehe Etikett im Vorsatz und Aufdruck auf den Schnitt
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Recto, Verso is the latest attempt to grasp the magnitude of the monumental archive of photograms that Robert Heinecken created during the past 40 years. In this current sampling, comprised of work from his own archive, Heinecken offers a look back at the decade of the 1980s, where decadence and narcissism inhabit the same space as spirituality and family values. Though the patinas of these color photograms speak of that generation, their revelations are contemporary in their incisiveness. In looking at the history of the photogram, beginning with Henry Fox Talbot’s ‘photogenic drawings’ and Man Ray’s ‘Rayographs’, Heinecken must be viewed as its most rebellious practitioner – unflinching, enigmatic and alert. Robert Heinecken’s work has been widely exhibited in the United States, Europe and Asia, and is included in many major collections, including the Museum of Contemporary Art, Chicago. LA County Museum of Art. and the Center for Creative Photography, Tucson. Recto/Verso is printed in a first edition of 1,000 casebound copies, with an introduction by Rod Slemmons, Director of the Museum of Contemporary Photography, Chicago.
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100 problems for no reason
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 014 aus der Reihe 100for10.
After graduating with a degree in Graphic Design (London and Augsburg) Mirko Borsche worked as an art director for advertising agency Springer & Jacoby where he was responsible for several campaigns. From 1999 to 2002 he was art director of jetzt magazine (spin-off of Süddeutsche Zeitung). From 2002 M. Borsche was art director for Mini-International BMW Group for several years. Also in 2002 he launched the youth magazine NEON for Stern/Gruner+Jahr as art director. In 2004, he returned to jetzt for the magazine’s relaunch and stayed until 2007. Since 2007 he is creative director for weekly newspaper DIE ZEIT and every other publication of the Zeit-Verlag such as Zeitmagazin and Zeit Wissen. In 2007 Borsche also founded his design studio Bureau Mirko Borsche in Munich. His clients hail from all fields, from culture and media to business: Bavarian State Opera, Bavarian Radio Symphony Orchestra, Thalia Theater, Harper’s Bazaar, Audi, BMW Group, Saskia Diez, Stefan Diez, Kostas Murkudis, Nike… Mirko Borsche received numerous national and international awards for his work. Amongst many national exhibtions, his work was exhibited in Amsterdam, Barcelona, Florence, Stockholm, Seoul and Tokyo.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
NEU creates integral visual identies, appearances, brandings and communication strategies for print and web in various disciplines as editorial design, corporate design, web design and UX design, illustration, communication and marketing of towns. Unexpected, exciting, focused, convincing – NEU interacts between emotion and logic, art and culture, economy and design.
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The Museum of Lost Public Notices
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16 S., 29,7x21 cm, 3 Teile. keine weiteren Angaben vorhanden
Zwei lose Blätter, eine Telnehmerliste, geklammert
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The Museum of Lost Public Notices (24.05.-02.06.2017) is a community noticeboard installation consisting of posters which explore the role of art in relation to the individual and society. Contributions from local and international artists from all stages of their careers are invited. The Museum of Lost Public Notices is anopen exhibition that both celebrates and critiques the role of conventional gallery spaces and public noticeboards as sites which use a community space to promote, herald and advertise personal and group concerns.
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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 – think U2, Talking Heads or Coldplay, to name but a few – composed several film scores not to mention the start-up theme for Microsoft’s Windows 95. All of which is 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 ‘The Pelvis’. Given Brian Eno’s 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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152 S., 20,5x14,3 cm, ISBN/ISSN 11759313
Broschur, Softcover
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The other New Zealand literary journal. Brief is an independent biannual print journal. It is primarily a space for writing that does something interesting, experimental, adventurous, challenging, or exploratory. Brief publishes poetry, prose, essays and criticism, hybrid forms, and occasionally visual art. Issues typically contain a mixture of new, established and emerging writers. The present issue is wide-ranging and engages with everything from aestethic to the ontological, rats and war and love and art.
Text von der Website und aus der Publikation.
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144 S., 19x12,8 cm, Auflage: 1.000, 2 Stück. ISBN/ISSN 978-3-960986041
Broschur
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Erschienen zum Symposium im Rahmen der Ausstellung PAUSE (prelude) im Haus der Kunst München, 22.-29.07.2018, veranstaltet vom Künstlerverbund im Haus der Kunst München.
The pause in the context of art is subject of this book, states of rest, of sleep, but also attitudes of inaction and refusal, of dropping out, of strike and boycott. How do beholders and producers of art deal with the ambivalence of pauses, given the importance of dynamics, activity, participation, engagement, and work? The contributions from philosophy, art history and curatorial practice treat museums, pictures and biennials as places of pause, positions such as Malevich, Duchamp, Lee Lozano, Thomas Huber. They thus create a timeline from the 19th century to the present. The book contains the lectures of the symposium, which accompanied the exhibition PAUSE (prelude) 2018 at Haus der Kunst, extended by an essay and installation views of the exhibition.
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Emptiness & Silence - A Supplement to Reading Nana
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12 S., 20,5x13,8 cm, ISBN/ISSN 978-1-910055342
Drahtheftung
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Emile Zola's novel Nana is re-read and re-written, according to emptiness and silence. There are failed voices, empty glasses and drawing-rooms, and noiseless departures. There is silent laughter. Men and women are dumbfounded. There is a deathly hush and the plains of the new Paris are icy and empty.
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Code-X – Paper, Ink, Pixel and Screen
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276 S., 24,3x14 cm, Auflage: 500, ISBN/ISSN 9780957682832
Klappbroschur, mit ausklappbaren Seiten
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Code X brings together a selection of personal histories of the current ‘transforming’ and ‘expanding’ of the book medium with the aim to challenge the very notion of what it could be(come) in today’s complex information era.
The design of Code—X within codex form represents a playful and daring twist of ink imitating pixel to render composition and design. The content is seen as a continuous scroll, cropped where screen meets paper edge. We celebrate both camps by highlighting dichotomies of edge to scroll, sequence to time and image to place.
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Under the Radar Underground Zines and Self-Publications 1965 – 1975
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368 S., 33,5x24,5 cm, ISBN/ISSN 978-3-959050326
Spiralbindung, mit zahlreichen Abbildungen, Textseiten im kleineren Format
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2. Auflage. Ausstellungskatalog. Zentrum für Künstlerpublikationen, Weserburg Bremen, 30.10.2015-14.02.2016, Bremen.
The mid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed for the production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, »messianic amateurs« combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic
strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual forms of expression in the name of a new »sensibility«.
This book (which appears in conjunction with an exhibition at the Weserburg in Bremen) is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the internationalcontext in which they emerged: not as an anecdotal history but as an attempt to tap into the aesthetic cosmos of a Do-It-Yourself rebellion, one that also challenges us to take a new look at the current boom in »independent publishing«, the risograph aesthetic, and so on.
Text von der Webseite.
Das Design wurde in Zusammenarbeit mit Studenten der HfK Bremen entwickelt
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Book Manifest - Books in reverse chronological order 2022-1986. With comments here and there.
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1000 S., 15x11x4 cm, ISBN/ISSN 9783753300917
Broschur, Klebebindung, Schutzumschlag, in Schachtel aus Karton versenkt
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3. erweiterte Auflage mit 600 farbigen Abbildungen, zur Ausstellung 03.02.-08.05.22 bei Allard Pierson der Universität von Amsterdam.
Die renommierte niederländische Designerin Irma Boom ist bekannt für ihre kühne und experimentelle Herangehensweise, mit der sie die Konventionen des traditionellen Buches sowohl in Bezug auf das Design als auch auf den gedruckten Inhalt in Frage stellt. Im "Book Manifest" (das 3. Buch der Reihe) präsentiert Irma Boom ihre Vision vom Wesen, von der Bedeutung und Relevanz des Buches. Grundlage hierzu waren intensive Nachforschungen, die Irma Boom zur Entwicklung des Buches in der Bibliothek des Vatikans angestellt hat. Die dabei gewonnenen Erkenntnisse teilt sie mit einer Auswahl von mehr als 350 von ihr gestalteten Büchern, in denen sie den Kontext und die Beziehung zum traditionallen Buch ausführlich erörtert. Mit diesem 1000seitigen, reich bebilderten Buch möchte Irma Boom die neue Generation von Designern inspirieren und zum Experimentieren anregen, um die Stellung des Buches für die Zukunft zu sichern. Die Bücher von Irma Boom befinden sich in der ständigen Sammlung des MoMA in New York und in den Sondersammlungen der Universität von Amsterdam: das Irma Boom Archiv.
World renowned Dutch designer Irma Boom is known for her bold experimental approach to her projects, often challenging the convention of traditional books in both physical design and printed content. In the book "Book Manifest" (the 3rd book in the series) Irma Boom presents her vision on the essence, meaning and relevance of the book. The basis for this book is formed by the in-depth research that Irma Boom carried out into the development of the book in the library of the Vatican. The knowledge she gained about this, and the inspiration it gave her, is shared with a selection of more than 350 books she designed, in which she extensively discusses the context and relationship with the old book. With this 1000-page, richly illustrated book, Irma Boom aims to inspire and encourage the new generation of designers to experiment, in order to ensure the book's position for the future. Boom's books in the permanent collection of MoMA in New York, and Special Collectons of the University of Amsterdam collect her complete oeuvre: the Irma Boom Archive.
Text von der Webseite des Verlages
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[94] S., 25,3x20 cm, ISBN/ISSN 9780986908941
Broschur, Laserdruck
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Lone Wolf is a picture book whose name is derived from the provision of the U.S.A. Patriot act which seeks to create a legal framework that allows the government to surveil individuals not associated with any group or country who are believed to be engaged in terrorist activities. Comprised of screenshots from reality television shows depicting expressions of physical force within three sectors of american society: police, local militia, and the U.S. military, excerpts from congressional hearings of the 112th and 113th congresses on the Patriot act give context to the images. The photographic images have been converted into large halftone dot compositions, which might imply an information flow—or lack of—that exposes the roots of suspicion and intolerance that culminate in statements like “see something, say something.”
"Texts from 'Let there be light,' directed by John Huston, 1946, and four congressional hearings on the USA Patriot Act between 2009 and 2011 (111th and 112th Congress). Images from various reality television shows including Cops, Moonshiners, Sons of Guns, The Colony, American Guns and Alaska State Troopers, as well as Flickr.com"--Colophon
Title based on the Lone Wolf provision on surveillance in the USA Patriot Act.
Texte von verschiedenen Webseiten.
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[28] S., 20x15 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Fadenheftung, schmaler Karton als Umschlag, rückwärtiger Teil mit Signatur und teil des Impressums abgeschnitten
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I was born in the Basque Country in 1978. This land has been inhabited since prehistoric times by the Basques. This continuous presence is explained by the context of the landscape, collected by the mountains and bathed by the Cantabric Sea, that has served as a shelter to a rooted culture and popular customs that are still alive in the 21st century.
Here, nature, history and legend come together with unusual force and create a land of myths and magic that I explore through photography. A land where nature is praised in old rites learned from our ancestors.
These intangible concepts are the beginning point to create a visual imaginary which serves me to understand the society and the land I live in, positioning myself in my environment through photography. Trees, waves, animals and black skies build a symbolic world that I turn into a channel to reach the soul of the Basques, an old soul, the soul of the one who pursues its lost paradise.
Galerna is a tribute to the original identity of this land.
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PUNK - The Best of Punk Magazine
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354 S., 30,5x23,5 cm, ISBN/ISSN 9780061958359
Hardcover
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... The very best of Punk—the legendary magazine that defined an era—finds new life in this stunning anthology, featuring original articles along with behind-the-scenes commentary and the backstory on each issue as told by editor-in-chief John Holmstrom. Punk was the Bible of the urban counterculture movement. It not only gave punkmusic its name, but influenced the East Village art scene and steered the punkaesthetic and attitude. The Best of Punk Magazine includes high-quality reprints of hard-to-find original issues, as well as rare and unseen photos, essays, interviews, and even handwritten contributions from the likes of Andy Warhol, Lou Reed, Debbie Harry, the Ramones, the Sex Pistols, Lester Bangs, Legs McNeil, Lenny Kaye, and many more. For collectors, lifelong punks, and those just discovering what punk is all about, this is the chance see the history of the movement come back to life. ...
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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 Blätter, Druck auf Zeitungspapier.
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AusgabeMai 2022. „Arts of the Working Class“ ist eine Straßenzeitung für Armut, Reichtum und Kunst. Sie erscheint alle zwei Monate und enthält Beiträge von Künstlern 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 Künstler, 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 Callie’s and a.p. Starting at 6.30 PM, the event will take a tour and discuss matters of tourism and forced displacement through the words and works of its contributors. The title of both the event and our latest issue take Jules Verne’s 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 lesson– 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.
Text von der Webseite.
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[64] S., 24x16 cm, ISBN/ISSN 978-3-86930-791-6
Broschur, Klebebindung
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"This “history” came about because my friends, Sarah Dudley and Ulie Kuhle, litho printers in Berlin, were given about 100 litho stones from a former Socialist art academy in what was the D.D.R. The stones all had images on them drawn by forty years of students under the oppressive regime. I asked them to reactivate the stones and print them on Zerkall Paper 450 g/m². Most images I chose of the 100 were able to have life breathed into them. We had finally forty-five images. They editioned the lithographs and then sent them to us in Walla Walla, Washington. I drew and ground and bit copper plates to go over them. I wanted a black view of the image and a sense of Berlin in the East as I knew it when the horrible wall was still up. The etchers who came to work with me every summer over two and a half years have coaxed the exact mood I wanted out of the plates." Jim Dine
"Diese "Geschichte" entstand, weil meine Freunde Sarah Dudley und Ulie Kuhle, Lithograph in Berlin, etwa 100 Lithosteine aus einer ehemaligen sozialistischen Kunstakademie in der ehemaligen DDR erhielten. Auf den Steinen befanden sich Bilder, die vierzig Jahre lang von Studenten unter dem Unterdrückungsregime gezeichnet wurden. Ich bat sie, die Steine zu reaktivieren und sie auf Zerkall-Papier 450 g/m² zu drucken. Den meisten der 100 Bilder, die ich auswählte, konnte ich Leben einhauchen. Wir hatten schließlich fünfundvierzig Bilder. Sie gaben die Lithografien in einer Auflage heraus und schickten sie dann zu uns nach Walla Walla, Washington. Ich habe gezeichnet, geschliffen und Kupferplatten gefertigt, um sie immer wieder nachzuzeichnen. Ich wollte eine schwarze Ansicht des Bildes und ein Gefühl von Berlin im Osten, wie ich es kannte, als die schreckliche Mauer noch stand. Die Ätzer, die zweieinhalb Jahre lang jeden Sommer mit mir gearbeitet haben, haben den Platten genau die Stimmung entlockt, die ich wollte." Jim Dine
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Cotton Puffs, Q–Tips, Smoke & Mirrors. The Drawings of Ed Ruscha
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260 S., 28x28 cm, ISBN/ISSN 9783882439656
Hardcover, Leineneinband, Titel geprägt
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Cotton Puffs, Q-tips®, Smoke and Mirrors: The Drawings of Ed Ruscha’s work includes paintings, photographs, prints, books, and films, but his unique works on paper are perhaps his richest vein. Through his interpretations of cultural icons and vernacular subjects such as the Hollywood sign, trademarks, and gas stations, as well as his renderings of words and phrases in countless stylistic variations, Ruscha proposes a modern landscape based on keen observation and wry humor.
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20x12 cm, 3 Teile. keine weiteren Angaben vorhanden
Zine und Karten verpackt in einer Hülle für Videokasette
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An experimental body of work conducted over ten days that explores themes of femininity, intimacy, nudity, eroticism, beauty, and body image through self-portrait photography as a medium of expression and a creatively printed zine as its format.
The visuals capture the beauty and sensuality of femininity, intertwining the author’s personal interpretation of the sensory experience of her body and the sensitivity of her mind with a critique of societal perspectives over the last hundred years. These perspectives, though influenced by ethical progress, have often ridiculed and degraded the essence of femininity, reducing it to trivial, denaturalized, or even grotesque aspects.
The black-and-white veil symbolizes the timelessness of the theme, while the zine’s format mimics a vintage erotic videotape, complete with "bonus visuals" reminiscent of retro collectible postcards. This design evokes the commodification of a natural human characteristic and critiques the enduring, market-driven objectification of femininity.
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NASU 10 - Das Ende von Amerika
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard & Martin Eichhorn
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recorded in 2006, mastered at ICEM in 2007.
We are very proud to announce our 10th release !!! and what makes it even better is that it´s a new dis.playce album!
The EP is called ´Das Ende von Amerika´ (The End of America) and it´s dis.playce´s second release on naivsuper. The title refers to the book ´Amerika´ by Franz Kafka and should not be interpretated in the wrong way)
´Amerika´, also known as ´Der Verschollene´ or ´The Man Who Disappeared´, was the incomplete first novel by Franz Kafka, published posthumously in 1927.
The story describes the bizarre wanderings of a sixteen-year-old European emigrant named Karl Rossmann in the United States, who was forced to go to New York to escape the scandal of his seduction by a housemaid.
Hope originates when something else is absent and holes need to be filled again. The purpose of hope is to make itself vanish again and to reach a state of mind where Utopia or the promised land of North America won´t be needed anymore.
Kafka puts his hero Karl Rossmann over and over again in situations where he is lacking something only to discover that he is lacking even more. The spiral of hope, disappointment and reproaches seems to be endless. With ´Amerika´ Kafka finishes a series of America-fiction from the 19. Century which glorified the United States as the land of boundless possibilities. For Kafka America is not the solution of our problems anymore, it is almost like a second Europe - a land where the problems stay the same.
´Das Ende von Amerika´ is one 24 minute piece published on high quality CDRs
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[96] S., 34x23,5 cm, ISBN/ISSN 9788469720493
Drahtheftung. Vorderseite mit mittig ausgestanztem Loch. Kleineres Blatt im Centerfold.
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In recent years Valencia has been posting the so-called Campus Party. In this type of social-cultural gatherings, thousands of young adults —software developers, lovers of digital works and robots, hackers and defenders of free software, gamers and simulation fanatics, ciber-apostles and modding artists— come together to exchange archives and share their experiences, living for a week connected to each other.
For these super-users — digital natives that make computer technology a way of life and who are often classified as the new urban tribe of the geeks — computers are much more than just a device for work, they are an extension of their identity and the digital ecosystem where they decide to live.
< YO >< YO >< YO > Sets out a journey from the plug into the computer, with the intention of portraying along the way this kind of super-user: an exaggerated reflection of our relation with technology.
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18 S., 21,7x14 cm, keine weiteren Angaben vorhanden
Drahtheftung, Schwarz-Weiß-Fotokopien, 3 farbige Stempel auf dem Cover.
Aus dem Kattenstroth Konvolut "Perpetual Motion"
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PERPETUAL MOTION is a publication of Circle Arts, Inc., a non-profit arts organization serving as a resource for the creative effort of the public.
CIRCLE ARTS InC.
M. Jankowski 1439 Ocean Ave 2F Brooklyn New York 11230
...is a non-profit, tax exempt public arts resource organization dedicated to providing an open forum for the promotion and nuturing of creative talent and art. Launched in 1982 and incorporated in 1983. Circle Arts activities include monthly performance parties and a quarterly arts journal. In addition, Circle Arts has acted as a clearing house for information for the arts and artists in the New York community. We are currently searching for contributions for the next issue of Perpetual Motion. Please send your contributions of poetry. fiction, reviews, statments-on-the-arts, graphics, photography, etchings, music scores, screen adeptations.
HAVING A GREAT TIME
WISH YOU WERE HERE
There's no deadline yet for this mail art project sponsored by Matty Jankowski at Circle Arts Inc., which is a non-profit arts resource organization.
If you send to the address below, you will receive a mail art kit with a blank post card, a gummed label in a celo-phane envelope and a sheet of in-structions. Matty also asks that you contribute - "perpetual motion, public property, circular commotion, video art, mail art and last but certainly not least, rubber stamp art...."
PERPETUAL MOTION ist eine Veröffentlichung von Circle Arts, Inc. einer gemeinnützigen Kunstorganisation, die als Ressource für die kreativen Bemühungen der Öffentlichkeit dient.
CIRCLE ARTS InC.
M. Jankowski 1439 Ocean Ave 2F Brooklyn New York 11230
...ist eine gemeinnützige, steuerbefreite Organisation, die ein offenes Forum für die Förderung und Pflege von kreativen Talenten und Kunst bietet. Sie wurde 1982 gegründet und 1983 eingetragen. Zu den Aktivitäten von Circle Arts gehören monatliche Performance-Partys und eine vierteljährlich erscheinende Kunstzeitschrift. Darüber hinaus fungiert Circle Arts als Clearingstelle für Informationen über Kunst und Künstler in der New Yorker Gemeinschaft. Wir suchen derzeit nach Beiträgen für die nächste Ausgabe von Perpetual Motion. Bitte senden Sie uns Ihre Beiträge in Form von Gedichten, Belletristik, Rezensionen, Stellungnahmen zu Kunstwerken, Grafiken, Fotografien, Radierungen, Musikpartituren und Bildschirmdarstellungen.
HAVING A GREAT TIME
WISH YOU WERE HERE
Es gibt noch keinen Abgabetermin für dieses Postkunstprojekt, das von Matty Jankowski von Circle Arts Inc. gesponsert wird, einer gemeinnützigen Organisation für Kunstressourcen.
Wenn Sie an die unten angegebene Adresse senden, erhalten Sie ein Mail Art Kit mit einer leeren Postkarte, einem gummierten Etikett in einem Zellophan-Umschlag und einem Anleitungsblatt. Matty bittet auch um Beiträge zu den Themen „Perpetuum Mobile, öffentliches Eigentum, kreisförmiger Aufruhr, Videokunst, Postkunst und nicht zuletzt Stempelkunst....“.
Text von der Website, übersetzt mit DeepL
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Burning IXXUES von Zine COOP
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keine weiteren Angaben vorhanden
Blogeintrag vom 18.09.2021
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FLORIDA in der Kunsthalle Lothringer13 in München zeigt vom 18.09.2021–10.10.2021 zu Various Others 21 BURNING IXXUES, eine Sammlung von über 100 Zines, entstanden während weltweiter gesellschaftlicher Bewegungen.
2019 begann die Gruppe ZINE COOP Zines zu sammeln, die während der Pro-Demokratie-Proteste in Hongkong entstanden sind. Diese Sammlung wurde 2020 mit Zines aus Indien, Indonesien, Japan, Kuwait, Libanon, Macao, Südkorea, Philippinen, Russland, Singapur, Taiwan, Deutschland, England, Schottland, Frankreich, Chile, Mexiko, Venezuela, Kanada und den USA erweitert. ...
... ZINE COOP (seit 2017) ist ein unabhängiges Publishing-Kollektiv in Hongkong. Es sammelt Zines und vermittelt diese in Workshops und Ausstellungen. ... Aktuelle aktive Mitglieder sind Atom Cheung, Beatrix Pang, Forrest Lau, Jason Li und Ranee Ng.
Zine-Workshop mit Paula Pongratz am 23.09.2021 von 11 bis 16 Uhr.
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Ed Ruscha and Some Los Angeles Apartments
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100 S., 26x20,5 cm, ISBN/ISSN 978-1-606061381
Softcover
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Los Angeles–based contemporary artist Ed Ruscha is celebrated for his paintings, drawings, prints, and artist’s books, receiving widespread critical acclaim for more than half a century. Capturing the quintessential Los Angeles experience with its balance of the banal and the beautiful, his photobooks of the 1960s—such as Twentysix Gasoline Stations, Every Building on the Sunset Strip, Some Los Angeles Apartments, and Thirtyfour Parking Lots—are known for their deadpan cataloguing of the city’s functional architecture.
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Projektion auf die Krise. Gauweilereien in München
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72 S., 24x17 cm, Auflage: 500, numeriert, 2 Stück. keine weiteren Angaben vorhanden
Broschur, Cover Siebdruck, eingelegt eine bedruckte rote Folie und ein 2fach gefaltetes Blatt
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Since 1999, the archive “Forum Homosexualität München e.V.” has been collecting documents on gay and lesbian movements in Munich. Artist Philipp Gufler focused his research on the AIDS-crisis and the repressive politics in Munich during the 80ies. In his video-installation and the accompanying artist’s book “Projektion auf die Krise. Gauweilereien in München”, documentary material opposes artworks of friends to update and comment on the historical.
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Europe, an artist’s-eye view: City Guides collection
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20,8x14,8x4 cm, 2 Stück. keine weiteren Angaben vorhanden
10 Hefte, Broschur und Drahtheftung, Softcover, mit Gummiband zusammen gehalten, Druck auf farbige Papiere
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One of the modul-dance project key elements is the promotion of mobility, so that artists receiving its support follow itineraries across Europe to develop their creative work and present it to different audiences.
Modul-dance presents a collection of modul-dance city guides. Each of the guides in this collection shows a city from the viewpoint of a local artist, who proposes his or her own particular route to artists in transit, seeking to put them in connection with their host city. While these city routes share some basic features, each one is different and in their differences lies a wealth of gazes, aesthetics, approximations to the local and much more. In a word, they form a mirror of the diversity that modul-dance has always fostered. Athens, Barcelona, Bassano del Grappa, Dresden, London, Stockholm, Vienna, Toulouse, Paris and Poznań, ready to be discovered.
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Projektion auf die Krise. Gauweilereien in München
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21x14,6 cm, 2 Stück. keine weiteren Angaben vorhanden
bedruckte Folie, eine rot, eine grün
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Since 1999, the archive “Forum Homosexualität München e.V.” has been collecting documents on gay and lesbian movements in Munich. Artist Philipp Gufler focused his research on the AIDS-crisis and the repressive politics in Munich during the 80ies. In his video-installation and the accompanying artist’s book “Projektion auf die Krise. Gauweilereien in München”, documentary material opposes artworks of friends to update and comment on the historical.
Text von der Webseite
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59x42 cm, keine weiteren Angaben vorhanden
Plakat,
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The Office gallery is delighted to present the most recent work from the controversial, British artist/taxidermist Polly Morgan titled ‘FOUNDATIONS AND REMAINS’. Since 2005 the London based artist has managed to create a visual language of her own through the use of animals as raw materials of her work and their placement as protagonists in scenes that are unnatural to them.
Though her peculiar work, she is forcing us to look at the animals used, as if for the first time, free from previous associations, deliberately challenging the fragile relationship between humans and animals.
The major work of the exhibition titled ‘FOUNDATIONS/REMAINS’ has been made using 2428 cast crow femurs that are each painted by hand. The glue used is identical in colour to the fat present in the joints of bones, so it bears the same colour and consistency of a real animal skeleton. This work is inspired by Charnel Houses (Ossuaries) which were decorative buildings essentially used to pile high skeletons in order to save space. The structure was built using plans from Sol Lewitt's spiral tower “Untitled” 1989.
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Loose Associations vol. 3 issue 1 - Roger Mayne
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68 S., 18x13,2 cm, ISBN/ISSN 23970839
Broschur
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Loose Associations is a periodical, book format publication from The Photographers’ Gallery offering a diverse set of reflections on photography and image culture. Loosely inspired by the gallery’s exhibition programme, LA includes essays both written and visual, artist pages, images, interviews, fiction and philosophy from a wide range of contributors.
In this issue, the first to focus on the work of a single artist, we have brought together a selection of Roger Mayne’s photographs, alongside newly commissioned writing by Anna Douglas, Owen Hatherley and Bob Stanley. This publication is an accompaniment to our exhibition Roger Mayne, 3 March – 11 June 2017.
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[84] S., 42x29,7 cm, Auflage: 600, ISBN/ISSN 9789081287425
Softcover, fadengeheftet, diverse Papiere, Seiten teils ausgestanzt.
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Hamano's dense, layered bookwork collects her drawings, photographs and mirrored texts in a playful, associative manner. Made for the artist's solo exhibition at Sieboldhuis in 2009, Leiden, the poetic narratives of text and image are inspired by two fishing villages in Japan and the Netherlands. A colourful, nuanced and fresh world of imaginaire.
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96 S., 21,5x26 cm, ISBN/ISSN 9788792877284
Hardcover
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Katalog zur Genese der gleichnamigen Ausstellung im Lousiana Museum of Modern Art, 20.8.2014-11.1.2015.
In the fall of 2014 the internationally acclaimed Danish-Icelandic artist Olafur Eliasson (born 1967) showed the major solo exhibition Riverbed at Louisiana Museum of Modern Art in Denmark. The exhibition included a monumental site-specific intervention—a huge landscape of rocks and streaming water—occupying the main part of Louisiana's exhibition space in what was his first solo show in the renowned museum, located on the outskirts of Copenhagen.
The installation radically transforms the museum and the visitors' journey through this reconstructed space: it comes to life through the visitors' encounters with one another, extending from inside the museum to the world outside.
This book introduces the artist and the ideas behind the exhibition to a broader audience through interviews, dialogues and an introductory essay by Louisiana curator Marie Laurberg.
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112 S., 32,6x24,6 cm, ISBN/ISSN 9788792877666
Hardcover
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Katalog zum visuellen Gang durch die gleichnamigen Ausstellung im Lousiana Museum of Modern Art, 20.8.2014-11.1.2015.
In the fall of 2014 the internationally acclaimed Danish-Icelandic artist Olafur Eliasson (born 1967) showed the major solo exhibition Riverbed at Louisiana Museum of Modern Art in Denmark. The exhibition included a monumental site-specific intervention—a huge landscape of rocks and streaming water—occupying the main part of Louisiana's exhibition space in what was his first solo show in the renowned museum, located on the outskirts of Copenhagen.
The installation radically transforms the museum and the visitors' journey through this reconstructed space: it comes to life through the visitors' encounters with one another, extending from inside the museum to the world outside.
This book introduces the artist and the ideas behind the exhibition to a broader audience through interviews, dialogues and an introductory essay by Louisiana curator Marie Laurberg.
Text von der Webseite.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 042 aus der Reihe 100for10
Yury Ustsinau an artist, designer and illustrator residing in Frankfurt am Main, Germany. Born in 1979 in Vitebsk, Belarus, the hometown of world-known artist Marc Chagall. Graduate from Vitebsk Technological University, with a degree in Product Design. He works as commercial illustrator and continues his passion for art in his private time. Much of his work is found in private collections an various pieces have been represented in galleries and art exhibitions. He has also success-fully participated in many competitions.
Starting off with traditional illustrations, Yury Ustsinau knew that he wanted to create his own special world. His first hands into a dialog. Subsequently special lighting was added, which allowed the forms to become more flexible. Yury has developed an amazing distinguished personal style where surrealism is rendered in black and white a unique glossy feel.
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dncht #14 - Magazin für Fotografie, Gestaltung und Subkultur
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126 S., 18x15 cm, Auflage: 1.000, numeriert, ISBN/ISSN 18681506
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... featuring, among others Asger Carlsen’s “Wrong” series (also the cover story), and more photography by Chinese photographer Ren Hang, by Palíndromo Mészáros, Julia Sonntag, Scott Typaldos, “unlikely” objects by Giuseppe Colarusso, a design Portfolio by Sfia Brajal, photo book reviews, …
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WhiteWalls #13 - a magazine of writings by artists - Drawing in the 80s
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96 S., 21,7x14 cm, ISBN/ISSN 01909835
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A Magazine of Writing by Artists.
Founded in 1978 in Chicago by artist Buzz Spector and writers Reagan and Roberta Upshaw, Whitewalls began as a publication for artists working with language. For the most part Whitewalls is a straight-up sampler of artists' experimental projects for the page: each issue contains from half a dozen to several dozen artists employing text, image, and other notations in various combinations. While Whitewalls featured an international cast of emerging and established artists, it also provided a showcase for the Chicago area's experimental art community, including artists such as Jeane Dunning, Joseph Nechvatal, and Christopher Wool. Text von der Website
Mit Texten u. a. von Richard Artschwager, Andrea Blum, Christo, Mike Kelly, Lawrence Weiner, Mark Staff Brandl, Rosemary Mayer, Paolo Colombo, Joel Hubaut
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attack delay magazine 001 Spring / Summer 2001
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21x16,3 cm, keine weiteren Angaben vorhanden
eingelegt ein Blatt mit lieferbaren Titeln bei EFA
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Jim Avignon geb. 1968 in Schweden, Schulbusfahrer, danach Künstler.
Cartoon poet, speed painter and performance artist between cheap art and high-paying commercial work, regards himself as a storyteller and illustrator of modern times, expressing complex relationships with the simplest of means. Well observed and a little crazy Avignon crafts a gentle, visual critique of society, exposing everyday absurdities between business and lovesickness with an apt, sympathetic bite. "Attack Delay", a personal magazine in a book format, presents this hero of modern multitasking in his unmistakable technicolor cartoon style
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Kilimanjaro Magazine No 13 A Love Letter to Roni Horn - Art, Love and everyday Life
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48,5x35x1,3 cm, ISBN/ISSN 14791404
3 gefaltete Hefte in Faltkarton
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A collaboration with Roni Horn - featuring Juergen Teller, John Waters & Adrian Searle.
Issue 13 of Kilimanjaro is an unofficial catalogue of sorts, whose theme is A Love Letter To Roni Horn. It is the first edition of the magazine which has been created with a single artist, and is a kind of visual & textual retrospective.
Using the traditional format of a magazine publication, comprised of interviews, essays and art criticism, we have curated an overview both of the DNA of Horn’s work, and – through the words of our selection of her friends, collaborators and admirers – of Roni Horn herself. The issue features: JUERGEN TELLER, ADRIAN SEARLE, JOHN WATERS.
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Don't eat the yellow snow - Pop Music Wisdom
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[512] S., 18x12 cm, ISBN/ISSN 9789093692889
Hardcover mit abgerundeten Ecken, Text Buchdruck. 2. Auflage
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Don’t Eat the Yellow Snow (Frank Zappa) is a collection of all the famous advice songs and many surprises as well. It gives the reader the song titles, painted by hand by the designer, and a striking quote from the song lyrics, as well as indexes on artist and themes. This well-produced, iconic album of words of advice from musicians is the perfect gift for music lovers of all ages.
Marcus Kraft is a graphic designer and art director based in Zurich, Switzerland. From his studio, he realizes commissioned projects for renown clients as well as self-initiated projects. His focus is on elaborate design concepts, editorial projects and typographical quality. He has been awarded several international prizes for his work. In his spare time, he plays the drums in a rock band.
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Miss Read - The Berlin Art Book Fair 2016
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108 S., 21x14,7 cm, 2 Stück. keine weiteren Angaben vorhanden
Broschur, Programm und Ausstellerverzeichnis
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zur Veranstaltung vom 10.-12.06.2016 in der Akademie der Künste Berlin.
Miss Read: The Berlin Art Book Fair brings together a wide selection of the most interesting artists/authors, artist periodicals and art publishers and is accompanied by a series of lectures, discussions, book launches and workshops exploring the boundaries of contemporary publishing and the possibilities of the book.
In conjunction, the Conceptual Poetics Day will explore the imaginary border between visual art and literature.
In 2016 Miss Read: The Berlin Art Book Fair will return to Akademie der Künste, Berlin, who will provide their main exhibition halls at Hanseatenweg.
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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, Rückseite mit Silberprägung, in transparenter Kunststoffhülle 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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MONO.KULTUR #43 Fatima Al Qadiri - embedded narratives
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40 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, 4 Blätter lose eingelegt
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... Bending and fusing different genres of music, the Kuwaiti producer and visual artist has released a handful of largely instrumental albums that often imply narratives wrapped in a dystopian atmosphere, evoking an uncanny imagery of our increasingly oversaturated and disorienting information age. It is a simple yet complicated sound that owes as much to electronic music and video game soundtracks as it does to Russian composers and Arab musical traditions. ...
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@Large - Ai Weiwei on Alcatraz
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[196] S., 26x26 cm, ISBN/ISSN 9781452142760
Hardcover, fadengeheftet
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Erschienen zur Ausstellung bei der FOR-SITE Foundation, San Francisco 27.09.2014-26.04.2015.
Internationally renowned Chinese artist and activist Ai Weiwei is one of contemporary art's most newsworthy figures, noted for both his groundbreaking work and his outspoken stance on human rights, which ultimately resulted in his controversial 2011 detainment. In an astonishing new large-scale project, he turns his attention to Alcatraz—a place he could not visit because he was not permitted to leave China, but that stands as a world-famous symbol of both incarceration and protest. This book showcases the major exhibition presented by FOR-SITE Foundation of site-specific, multimedia installations and sculptures Ai Weiwei create for the island, on view from the fall of 2014 through the spring of 2015. Featuring beautiful photographs and thought-provoking text, At Large is the essential document of this remarkable happening from one of today's most celebrated artists.
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106 S., Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 010 aus der Reihe 100for10.
Leo-Leander Namislow, born in 1983 in Essen, lives and works as a freelance artist in Essen. Growing up in a rural environment in Rhineland-Palatinate, he started to creatively engage with his surroundings early on. After his training
as a stonemason, Leo worked for an animation company in Frankfurt. When he moved back to Essen in 2007 he eventually started living off his creative output. Since then he has had several solo exhibitions and took part in
many group shows in a variety of institutions such as the Kunstverein Essen-Werden. His works fascinate by opening up new fantastic worlds to the viewer on the one hand and by proving of a large multiplicity of techniques on the other hand. This book gives an insight into a sample, mainly comprised of black and white works, of a much larger, colourful and ever increasing artistic universe.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 031 aus der Reihe 100for10.
Andrej Glusgold is a photographer, artist, poet and photography teacher living in Berlin. He was born in the USSR and studied photography at the University of Arts in Bremen, Germany. After having worked for numerous international magazines as portrait and fashion photographer, he teaches since 2011 as professor for photography at BTK – University of Art & Design in Berlin and focuses mainly on his own art projects. Glusgold is interested in finding the meaning of live, esoteric literature, Outsider Art and Tarot.
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Never felt so good before
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 034 aus der Reihe 100for10.
Peter Phobia is an artist and illustrator currently living in Vienna, Austria. Besides being a passionate golf player, he has an obsession with writing lists, loves bananas and carries his sketchbook everywhere he goes. Furthermore, Peter is a collector of absurd moments of everyday life which later on often serve as a source of inspiration in his work. He has worked with several magazines and brands in Austria and his artwork has been shown in numerous places around the globe, such as in Paris, Vienna, Berlin, Madrid, Switzerland and Mexico.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
When Oliver was a boy in the late seventies he once saw his neighbour, a graphic designer at the distinguished Rosenthal porcelain factory, driving by in a gold-coloured Porsche. This powerful and lasting impression was the impetus for him to study graphic design at the Lette-Verein Berlin and illustration at Hamburg’s University of Applied Sciences. After his graduation he also worked internationally as a graphic artist in San Diego, California, and since the year 2000 has been pursuing successfully his career as a designer in Berlin. Amongst his clients are music and publishing houses, the world-famous dance-club Berghain, as well as the Berlin-based daily newspaper taz for which he regularly provides artistic illustrations for political and cultural articles.
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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-Weiß-Drucke
Stanislaus Müller-Härlin 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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Understanding And Painting Abstract Art – How And Why For Artist, Student And Layman
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[12] S., 20,5x14,5 cm, Auflage: 10, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Verlagstempel auf Umschlag. Umschlag A5, quer.
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Fanzine, was Teil der Ausstellung namens "Fin De Practicas Muestra Pop-Up", die im Tiendaderecha am 19/06/2012 in Barcelona stattfand, ist. Auf dem Umschlag ist ein Ausschnitt des Covers des Buches "Understanding and Painting Abstract Art: Semi-Abstract and Non-Objective (Volume 71)" von Ella Nelson zu sehen. Zweite Auflage.
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[64] S., 27,5x22 cm, Auflage: 800, ISBN/ISSN 978-3-905770698
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Man bekommt, was man findet.
Das Werk von Erik Steinbrecher (*1963, Basel) hat sich in zwei Hauptrichtungen entwickelt: in die Bereiche Architektur und Skulptur im Zusammenschluss mit der Fotografie. Der Künstler realisiert immer mehr Projekte im öffentlichen Raum und setzt sich auch mit den Massenmedien auseinander.
Steinbrechers "Superfundi", eine Sammlung von Fotografien mit Hügeln, Gräben und Gräbern, ähnelt einem Magazin. Als zusammenhängende Bilderserie könnte "Superfundi" auf ein skurriles, geheimnisvolles Territorium verweisen, das gleichzeitig unberührt und verwüstet ist.
Übersetzt mit www.DeepL.com
What you find is what you get
The work of Erik Steinbrecher (*1963, Basel) has developed in two main directions: the areas of architecture and sculpture and the realm of photography. The artist not only realizes more and more projects in public spaces, but also takes a passionate interest in mass-media.
Steinbrecher’s “Superfundi,” a collection of photographs featuring hills, trenches, and graves, resembles a magazine. As a connected series of pictures, “Superfundi” could refer to a ludicrous, mysterious territory, pristine and devastated at the same time.
Text von der Webseite
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The ARTZINES Research project - A story by Antoine Lefebvre in collaboration with Hubert published by Objet Papier
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40 S., 21x14,8 cm, Auflage: Unikat, keine weiteren Angaben vorhanden
Laserausdrucke nach Email und PDF, Drahtheftung. Email Englisch und Deutsch
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... I am writing you because I interviewed you for my research project ARTZINES, in which I explored the world of zines made by artists.
The project started in 2015, so the interview in question might have happened ages ago. If it was a video interview, it should be on Vimeo and here: https://www.youtube.com/@ARTZINESINFO
I have been collecting 88 testimonies from various people interested in zines for a very long time, and I wanted to gather all of them into a book about zines made by artists.
Then life happened, the good and the bad, until I met the Objet Papier collective, who published Print It, a web-to-print magazine generated from a website to be different each time.
For the past two years, I worked with them to create an interactive and generative ARTZINES book that is different each time it is downloaded (I counted 130.749.696 possibilities, but that’s a low estimate).
I wrote my research journey as a " Choose Your Own Adventure Book," and I am happy to tell you that you are a character in this story, since your interview is featured in the book! There are a maximum of 6 interviews in each generated PDF, so your interview won’t show in every book.
If you want to see what it looks like, you can generate PDFs of the book directly from the platform ...
Auszug aus der Email vom 05.11.2024
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The ARTZINES Research project - A story by Antoine Lefebvre in collaboration with Hubert Kretschmer published by Objet Papier
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82 S., 21x14,8 cm, Auflage: Unikat, keine weiteren Angaben vorhanden
Laserausdrucke nach Email, Drahtheftung
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... I am writing you because I interviewed you for my research project ARTZINES, in which I explored the world of zines made by artists.
The project started in 2015, so the interview in question might have happened ages ago. If it was a video interview, it should be on Vimeo and here: https://www.youtube.com/@ARTZINESINFO
I have been collecting 88 testimonies from various people interested in zines for a very long time, and I wanted to gather all of them into a book about zines made by artists.
Then life happened, the good and the bad, until I met the Objet Papier collective, who published Print It, a web-to-print magazine generated from a website to be different each time.
For the past two years, I worked with them to create an interactive and generative ARTZINES book that is different each time it is downloaded (I counted 130.749.696 possibilities, but that’s a low estimate).
I wrote my research journey as a " Choose Your Own Adventure Book," and I am happy to tell you that you are a character in this story, since your interview is featured in the book! There are a maximum of 6 interviews in each generated PDF, so your interview won’t show in every book.
If you want to see what it looks like, you can generate PDFs of the book directly from the platform ...
Auszug aus der Email vom 05.11.2024
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[25] S., 29,7x21 cm, Auflage: 20, numeriert, signiert, keine weiteren Angaben vorhanden
Spiralbindung, überwiegend mit Fotocollagen,
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An artist's book of text and photomontage exploring a visual poetic dedicated to the founder of Gaberbocchus Press, Stefan Themerson. According to the Victoria and Albert Museum, "From the start, Gaberbocchus was 'a vehicle for introducing new ideas', and specialised in intellectual avant-garde texts. These ranged from poetry and philosophical novels to unclassifiable combinations of text and pictures" (Nicholas Pounder, New Series Catalogue no. 6, July 2015)
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TRANS> arts.cultures.media, 01 Premier Issue
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27x21 cm, ISBN/ISSN 1888209003
Broschur
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TRANS>, a multilingual journal, chronicles contemporary art and culture from around the world. The multidisciplinary publication is divided into three sections - Project Sites, Telesymposium, and Overviews, Views and Reviews - and includes theoretical, critical, art historical and fictional texts by leading thinkers and critics.
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Rex Reason - solid gaseous liquid synthetic
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216 S., 13,3x10,5 cm, Auflage: 2.000, ISBN/ISSN 1870699130
Klappumschlag
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Rex Reason presents the Periodic Table of the Elements in book form. A colour-coding system is set up (black for solids, blue for liquids and yellow synthetics) but where we might expect to find hydrogen, helium or lithium we find Yul Brynner, William Hogarth and Maria Callas. The selected names relate to the chemical symbol for each element: both letters must appear in the chosen name for example, Bertolt Brecht (Br, Bromine).
A loose logic prevails in the choice of names, for example names in red, gases, are from Greek myth or history and the yellow synthetic elements are given their proper names. However, Patterson disrupts this system with red herrings, mysteries and riddles that test the reader’s knowledge and that expose the inherent human desire to establish order and meaning
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Der Greif Ausgabe 05 Dezember 2011
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98 S., 35x25 cm, Auflage: 2.000, numeriert, 2 Stück. ISBN/ISSN 21914524
Drahtheftung
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550 photographers and authors from 41 countries submitted their works for the fifth issue. Responsive to the increased number and especially the outstanding quality of the submissions, the page number has now reached 100. In an exciting and intense curation and editing process, the works of 107 photographers and 22 authors were chosen and put into new combinations.
Text von der Webseite.
Was ist DER GREIF?
DER GREIF kuratiert Fotografien und Texte aus aller Welt. Jeder kann Arbeiten einreichen.
DER GREIF ist mobile Galerie und gleichzeitig Forum für die ausstellenden Künstler.
DER GREIF ist thematisch frei. Er lebt von der Kombination der eingesendeten Arbeiten.
DER GREIF steht einem Buch näher als einem herkömmlichen Magazin. Die Spannung der inszenierten Arbeiten wird nicht durch Werbung unterbrochen.
DER GREIF bildet und und konserviert eine zeitgenössische Vorstellung von Fotografie, Literatur und Ästhetik.
DER GREIF ist ein Experiment…
Wie funktioniert der Greif?
Fotografen und Autoren aus allen Teilen der Welt reichen über ein Upload-Formular auf der Magazin-Website bis zu 10 Arbeiten ein. Die Redaktion kuratiert die Einsendungen, kombiniert sie miteinander und stellt daraus neue Bild- und Textkompositionen zusammen. Demnach ist DER GREIF kein Portfolio-Magazin, sondern findet seinen Inhalt aus einer Fülle künstlerischer Arbeiten. Er lebt vom Vertrauen der Künstler in die sensible Kuration und Zusammenstellung durch die Redaktion des Magazins.
Warum gibt es den Greif?
Die Kuration und Gestaltung des Magazins ist ein intensiver Arbeitsprozess, die Intensität wird für den aufmerksamen Betrachter spürbar. DER GREIF ist somit ein Ruhepol in der täglichen Flut aus Bildern und Informationen. Er fordert zum genauen Betrachten, Verweilen, Nachdenken auf – er freut, schockiert, berührt, kurz: DER GREIF entfaltet sich erst voll durch die Emotionen und Gedanken der Betrachter. DER GREIF mäandert zwischen Märchenbuch, Ausstellungsraum und Reflexionsvorlage. Er steht in starker Verbindung zum Netz, bietet der Geschwindigkeit und der daraus resultierenden Oberflächlichkeit Kontra, vor allem durch einen entscheidenden Punkt: Er schafft Raum, der gefüllt werden darf mit eigenen Ideen, Perspektiven und Phantasien
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1 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Presseinfo zur Ausstellung und Perormance ind der Emily Carr University of Art u. Design, Ausdruck
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The Ecart Group published artists’ books, presented exhibitions and performances, and opened a bookstore/gallery that is considered to be “one of the most important alternative spaces in Europe in the 1970s” (Ken Friedman). Ecart worked with many artists. The exhibition features artworks made by Armleder and Ecart and includes a complete set of Ecart publications, works on paper, mail art projects, films, and sound works created for Paul McCarthy’s Close Radio.
Text von der Webseite
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ABZ: More Alphabets and Other Signs
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224 S., 29,7x21 cm, ISBN/ISSN 978-1-870003339
Hardcover, Ecken abgerundet
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ABZ presents a fabulous collection of complete alphabets, emblems, logos, letters and signs, together with stunning graphics from classic modernist books and magazines, and from obscure professional manuals.. Drawn from collections, many of them private, in London, Paris, Amsterdam, New York and Mexico, most of this fascinating, rare and beautiful material is reproduced for the first time since its original publication
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Self Publish, Be Happy Summer 2010
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24x18 cm, Auflage: 200, keine weiteren Angaben vorhanden
Broschur, Cover mit Prägedruck
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Self Publish, Be Happy is an organisation founded by Bruno Ceschel in 2010 with the aim of celebrating, studying and promoting self-published photo books through events (such as exhibitions, displays and talks), publications and online exposure. Self Publish, Be Happy also organises workshops that help artists and photographers make and publish their own books.
Self Publish, Be Happy Shop sells a selection of remarkable and rare contemporary books.
Self Publish, Be Happy Blog features daily photography by mostly emerging artists.
Text von der Webseite
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OZON International Winter 2012-13 Shelter issue
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29x23 cm, ISBN/ISSN 17923085
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OZON Magazine is an urban fashion magazine that has had a stable and significant reputation as an independent publication since 1996. OZON is a different form of fashion periodical that focuses on urban youth culture, modern fashion, art and music.
The new international issue of OZON is devoted to our personal shelters all over the universe. You will gaze at beautiful pictures and read beautiful minds in search of tranquility and introspection. We discover forgotten places and wonder whether our shelters look alike.
Interviews with: Anders Petersen, George Pitts, Steven Tai, Wes Lang, Martin Stranka, Phoebe English and more. Photography by Alena Jascanka, Yorgos Mavropoulos, Sonia Szóstak, Rita Lino, Nikolas Ventourakis, Hayley Louisa Brown, Sophie Van Der Perre, Winter Vandenbrink.
Text von der Webseite
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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
Blätter lose ineinander gelegt, Risographie, in transparenter Kunststoffhülle
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The origin of this work of self-fiction can be found in one of São Trindade’s 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 1940’s, the device is simple: in a "real décor," São Trindade’s body, abandonned and unconscious, is photographed. The body is always the same but differently ‘prepared’ and ‘composed’ with new dresses, new gestures, new signs of a recent activity or a different personality. Each image has its particular story and each space is a sounding board for each of these performative states of body.
Text von der Webseite
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Workshop Publishing as Artistic Practice
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8 S., 14,8x23 cm, signiert, keine weiteren Angaben vorhanden
zu einem Buch gefaltetes Plakat zur Veranstaltung
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What does it mean to publish today? In the face of a continuously changing media landscape, institutional upheavals and discursive shifts in the legal, artistic and political fields, concepts of ownership, authorship, work, accessibility and publicity are being renegotiated. The field of publishing not only stands at the intersection of these developments but is actively introducing new ruptures.
How the traditional publishing framework of processes, practices, institutions and discourses has been cast adrift will be discussed in the workshop through the examination of recent advancements of publishing concepts emerging from the experimental literature and art scene, where publishing and publicizing are often part of an encompassing artistic practice.
Text von der Webseite
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7,5x12,5x2 cm, keine weiteren Angaben vorhanden
Musikkassette in Waschbeutel mit Reißverschluss, mit 2 Aufklebern gehalten
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released 08 October 2014
Our journey through the wicked world of weird audio tapes continues with the first release of the freshly founded LIMBS-label which is the new "Waschmaschinenfest 2K14" compilation, a C30 cassette based on Field Recordings of - well... - washers. Recorded, contributed and remixed - sic! - by artists like Xotox, Klonk, Low Entropy, Jasmina, Fgnugen, Aehm and Indesit we're introduced to quite a few different types of washers e.g. ones crafted by Bauknecht, Haier, Siwamat etc. and their typical, mechanic sound patterns as well as to dark'ish Drones, haunting athmospheres and cold, scampering experimental Tribe Tekno for underground soundsystems and chemically polluted teknival scapes. Quite interesting for collectors of conceptual releases - and washers.
Text von der Webseite
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LAWRENCE WEINER - PER KIRKEBY
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76 S., 32,5x25 cm, ISBN/ISSN 978-3-863357993
Leinen
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Erschienen zur Ausstellung vom 16.01.-15.03.2015 in der Galleri Susanne Ottensen Kobenhagen. (Anm. Im Katalog werden drei verschiedene Daten für die Dauer der Ausstellung angegeben).
Text von Magnus Thorø Clausen. Interviews von Hans Ulrich Obrist.
Per Kirkeby and Lawrence Weiner have known each other for many years. The idea of making a collaborative work and an exhibition together already evolved in the mid eighties, but due to practical reasons the project was not realized back then. Last year during the fall, the idea returned to us in a new form, and we decided together with the artists that now was the time to make it happen. Per Kirkeby shows two brick works built directly within the gallery space. One work is a tall stele with a deep niche, a black line or a "metaphysical shadow" running vertically through it. The other piece is a monumental quadrangular block, an open/closed building or, if you will, a hollow slightly rotten tree. This new installation is made in collaboration with Lawrence Weiner, who has contributed with texts across the inner and outer brick walls, so that words, matter and space overlap and transform the whole. Lawrence Weiner is also showing two other textbased sculptures made site specifically for the gallery space.
Text von der Webseite
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2 S., 10x15 cm, keine weiteren Angaben vorhanden
Beidseitig bedruckter Flyer,
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The project Tipo.pt is dedicated to editions created by Portuguese artists, illustrators and designers or related with Portugal. Tipo.pt aims to collect information on the largest number of books and other printed objects, produced in the context of contemporary art. The project comprises the www.Tipo.pt database and the Portuguese Small Press Yearbook.
www.Tipo.pt, still in development, is divided in two sections:
- Archive: Editions
- Archive: Periodicals and collections
Each file is on a piece of work and contains photos, technical information, a short description and, when available, critical texts.
Text von Website
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124 S., 16,4x23 cm, ISBN/ISSN 978-3-869304892
Broschur
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Erschienen anlässlich der Ausstellung "Roman Signer - Straßenbilder und Super-8-Filme" im Aargauer Kunsthaus, 28.01.22.04.2012, herausgegeben von Peter Zimmermann und Madeleine Schuppli.
This book presents photos taken by Roman Signer on a 2005 journey through the Carpathian Mountains, which took him to the Ukraine and Romania. The photographs evidence brief stops at the side of the road and present subjects that fall into two distinct catagories: home-grown fruits, vegetables and other produce for sale, carefully displayed on stools or small tables, and loving memorials of flowers, crosses and wreaths for deceased family members and friends who were road casualties.
Text von der Webseite
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300 S., 23x16,7 cm, ISBN/ISSN 9788480264990
Klappbroschur,
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Ausstellungskatalog anlässlich der gleichnamigen Ausstellung im Museum Reina Sofia, Madrid vom 28.10.2014-09.02.2015.
This catalogue investigates the notion of “really useful knowledge” and its origins. In the 1820s and 1830s, working class organisations in the UK introduced this phrase to describe a body of knowledge that encompassed various “unpractical” disciplines such as politics, economics and philosophy, as opposed to the “useful knowledge” proclaimed by business owners who had previously begun to invest more heavily in their companies’ progress through financing workers’ education in “applicable” disciplines like engineering, physics, chemistry and mathematics. The publication presents texts and conversations that analyse these themes, including philosophy, art, politics and technology.
Mit Texten von u. a.: What, How & for Whom, Marina Garcés, Raqs Media Collective, Luis Camnitzer, Trevor Paglen, Jacob Appelbaum, Fred Moten & Stefano Harney und G.M.Tamás.
Text von Website
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art seen - contemporary art projects & editions
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2 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Lieferprogramm, beidseitig bedruckt
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Art Seen - Contemporary Art Projects & Editions is an organization operating as a cultural platform of exchange in contemporary art. Its aim is to create bridges and dialogue between Cyprus and the international contemporary art scene. The idea was born from the need of new and creative collaborations that took a fresh look focusing on contemporary artistic approaches and reflecting upon the dynamic and changing art world. Art Seen projects and Art Seen editions are the two pillars of this organisation.
Text von der Website
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32 S., 21,5x14,5 cm, Auflage: 500, ISBN/ISSN 20566301
Drahtheftung
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Uniformbooks is an imprint for the visual and literary arts, cultural geography and history, music and bibliographic studies. The uniformity of the format and the expansive variety of the list and its subjects, is characteristic of our open approach to publishing. The printed quarterly Uniformagazine gathers contributions by the writers and artists that we work with, sometimes thematically, as well as slighter or singular content—click on animation for further details.
Text von der Website
Mit: "Vovite Leaves"-David Matless, "The Reader's Digest Family Encyclopedia of World History"-Kasper Pincis, "tap-root"-Simon Cutts, "A glance to the past"-Martha Hellion, "Condensations"-Nathan Walker, "Trago Mills, Newton Abbot"-Phil Smith, u.a
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[20] S., 21x14,8/ cm, keine weiteren Angaben vorhanden
Drahtheftung
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Dimanche skate co. is a London based brand born from the love for skateboarding, culture, design, and photography. It all started with a roll of film shot in London and New York at the start of 2014, these photos then went on to inspire the brand's original style aesthetic and products. All products are made in limited runs with a focus on quality and simplicity. The product line ranges from decks, t-shirts, rugby shirts and beanies to patches and photography.
Text von der Webseite
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44 S., 28,9x22,4 cm, ISBN/ISSN 9788862084284
Drahtheftung
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nur Bilder, ohne Text
TOILETPAPER is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, TOILETPAPER has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy. Text von der Webseite
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44 S., 28,9x22,4 cm, ISBN/ISSN 9788862082945
Drahtheftung
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nur Bilder, ohne Text
TOILETPAPER is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, TOILETPAPER has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy. Text von der Webseite
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44 S., 28,9x22,4 cm, ISBN/ISSN 9788862083393
Drahtheftung
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nur Bilder, ohne Text
TOILETPAPER is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, TOILETPAPER has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy. Text von der Webseite
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[44] S., 28,8x22,5 cm, ISBN/ISSN 9788862085564
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nur Bilder, ohne Text
Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. Number 15, powered by Perrotin. The magazine contains no text. each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, ‘Toiletpaper’ has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.
Text von der Webseite
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[44] S., 29x22,4 cm, Auflage: 2.000, numeriert, ISBN/ISSN 9788862083850
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Nur Bilder, ohne Text. KENZINE ist eine Kollaboration zwischen TOILETPAPER Magazine und KENZO.
“For the third installment in our collaboration with TOILETPAPER for our advertising campaigns, we worked with Maurizio, Micol and Pierpaolo to take people on a mysterious journey to an unfamiliar world. A place where the ordinary is slightly disorted, mirrors lead to other dimensions and the strange and beautiful coexist in singular harmony. We love that David Lynch’s (the inspiration for our collections) skewed and somewhat disruptive sense of storytelling seamlessly fits with how the TOILETPAPER approach image making and the final results speak for themselves. Needless to say we’re delighted with the out come and hope everyone else enjoys the images as much as we do.” Carol Lim & Humberto Leon
Text von der Webseite
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[112] S., 23,2x24,3 cm, ISBN/ISSN 978-1-907946622
Hardcover mit Siebdruck auf dem Cover.
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Spanning almost three decades, 'Moonshine' is a portrait of the American Appalachian folk, a mythologised region populated by ‘moonshiners’. Van Manen’s images are defined by a fierce intimacy with her subject, as the viewer teeters on the edge of the frame, perpetually trespassing on private moments: rollicking children practicing handstands on the couch. a kneeling daughter combing the hair of her grandmother.
Van Manen first visited the region in 1985, to the Appalachian areas of Kentucky, Tennessee and West Virginia, returning periodically up until 2013 to visit mining families with whom she lived: the Boggs family with their ten red-haired sons. miners Mavis and Junior. The intergenerational images subtly trace the insidious changes undergone by Appalachia – the slow and steady demise of the mining industry, and the migration of inhabitants from ramshackle wooden cabins to the city, or urban trailer parks. Van Manen intermixes black-and-white images with later colour work – another register of time passing and the inevitability of change.
Text von der Webseite.
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lightworks, Nr. 22 The Ray Johnson Issue
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96 S., 28x21,7 cm, ISBN/ISSN 01614223
Klebebindung, mit Audio CD "Ray Johnson" by Nick Maravel (1987-1988), Postkarte mit "Correspondance from Ray Johnson postmarked 7. January 1976" und Visitenkarte von Charlton Burch beiliegend
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"This is not the document of Ray Johnson wall art. It's not about his famous collages or what remains in museums and for sale in galleries. It's an issue about the atmosphere of Ray Johnson - the element, the ambient specifics of who he was and what he did. Years in the making, it's an homage to the Ray Johnson who made communication, letter writing, and otherwise unlikely creative gestures his art. It's about Ray's correspondences seen and not seen, sent or otherwise, and his notions of the world that he caused to flow between islands of friends, acquaintances and strangers."
Charlton Burch, Editor
Excerpt from the editor's letter
„Dies ist nicht das Dokument der Wandmalerei von Ray Johnson. Es geht nicht um seine berühmten Collagen oder um das, was in Museen und Galerien zum Verkauf steht. Es geht um die Atmosphäre von Ray Johnson - das Element, die Besonderheiten der Umgebung, wer er war und was er tat. Es ist eine Hommage an den Ray Johnson, der Kommunikation, Briefeschreiben und andere unwahrscheinliche kreative Gesten zu seiner Kunst machte. Es geht um Rays gesehene und ungesehene, gesendete oder nicht gesendete Korrespondenzen und seine Vorstellungen von der Welt, die er zwischen Inseln von Freunden, Bekannten und Fremden fließen ließ.“
Charlton Burch, Herausgeber
Auszug aus dem Brief des Herausgebers
Übersetzt mit DeepL
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100for10 Nr. 001 - No rush
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 001 aus der Reihe 100for10.
Harmsen lives and works in Munich as creative director at Melville Brand Design. He launched the fontlabel Volcano-Type and is editor/publisher of Slanted blog and magazine, related to design and typography. He is also professor of typography and design at the University of Applied Sciences
and Arts Dortmund.
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Stoned marker in houston w / Chris
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Mike Perry makes paintings, animation, sculptures, books, public art installations, monographs, exhibitions, drawings, silkscreens, and more. His creative purpose is to conjure that feeling of soul-soaring wonder you have when you stare into distant galaxies on a dark night, when you go on long journeys into the imagination, when you ponder what it is that this life is all about. In so doing, he celebrates form: of the human body, of shapes and lines that coalesce into lyrical masses, of the vastness of the cosmos and the questions it calls us to. In Mike’s patterns, portraits, and dreamscapes, there are layers upon layers of meaning, some erased, some covering, some asking you to look deeper, some no longer there but still vibrating with a story that sought not to be forgotten. His use of color, pattern, and form, at times child-like, expresses a joyful spirit and a reverence for the bliss that is inherent in the human experience.
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Stock fiction – A meta story
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Ariane Spanier was born in Weimar, Germany. She studied visual communication at the Art Academy Berlin-Weißensee. After that she went to New York to intern at Sagmeister Inc. and she opened her own design studio in Berlin in 2005. Many of Ariane Spanier’s clients have a cultural background such as galleries, artists, publishers and architects. The studio’s focus lies on the design of books, catalogues, posters, but also branding, animation, illustration and websites. Since 2006 she has been the creative director of Fukt, an annual magazine for contemporary drawing. Her playful approach to typography and image explores the perception of depth, gravity and weightlessness, revealing the underlying and hidden.
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Bruno Leti - The Cross and the Matrix
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4 S., 21x21 cm, keine weiteren Angaben vorhanden
Faltblatt, mehrfach gefaltet, ausgefaltet 29,7x42 cm
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During nine months of research at the Library, Leti examined the works of a diverse range of artists who utilise the form of the cross, including Antoni Tàpies, Piet Mondrian, Arthur Boyd and Rover Thomas. Throughout the project, Leti kept a daily journal recording his observations and inspiration. His jottings and sketches in the journal served as a springboard to larger works made on paper, metal, glass, canvas and wood.
Bruno's book The matrix was published in 2010.
Text von der Website.
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MONO.KULTUR #44 Trevor Paglen - The Edge of Tomorrow
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24 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, sechs Blätter, gefaltet, in Antistatiktasche
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Best known for his series on clandestine military bases and spy satellites, Trevor Paglen’s practice reaches far beyond museum walls. Instead, it encompasses a variety of disciplines. from image-making and installations to investigative journalism, writing, engineering, geography, and sound design. Along the way, Paglen challenges our traditional notions of fine art. He has published a number of books on the functioning of the US intelligence services, installed a series of Autonomy Cubes that allow access to the entirely anonymous Tor network, and is currently working on his own satellite to be launched into space in summer 2018. In a sweeping conversation with mono.kultur, Trevor Paglen talked about the volatility of truth, the dilemmas of the Anthropocene, and why Artificial Intelligence will not outlast humanity. True to its precious content, the issue comes in a Static Shielding Bag normally used for sensitive electronic products. In loose reference to computer coding as well as archival documents, it contains a main booklet with the text and excerpts from Paglen’s current cycle on machine vision, as well as six ‘attachments’ covering seminal projects from his career to date.
Text von der Website.
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CURRENT OBSESSION - Munich Jewellery Week 2019
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48 S., 41x29 cm, keine weiteren Angaben vorhanden
Drahtheftung, Druck auf Zeitungspapier
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Munich Jewellery Week, held from 11.03.-17.03.2019 showcases avant-garde contemporary jewellery by both established and up-and-coming designers from all around the world. This yearly gathering is by far the most significant event on the contemporary jewellery calendar. it’s a unique phenomenon, and it sets the pace for the contemporary jewellery field. Current Obsession Magazine and Platform coined the title Munich Jewellery Week in 2015 to give a name to this extraordinary collective effort and to associate it with other professional fashion and design weeks around the world.
Text von der Website.
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ruine 04 – Als Hallo Die Mündliche Welt Verliess
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36 S., 22x16 cm, Auflage: 75, numeriert, 3 Teile. ISBN/ISSN 978-3-947250127
Drahtheftung, Schwarz-Weiß-Digitaldruck, beigelegt ein gefalteter Flyer, zusammen in gefaltetem Blatt A3 mit Prägedrucken, eingelegt eine bedruckte Magnetfolie, Hoffentlich nicht anale Phase
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Zum Release und zur performativen Lesung in der 404 Bar in München am 15.05.2018 ab 20 Uhr.
Kyrill Constantinides Tank, born in Munich in 1990, studied art education at the Academy of Fine Arts in Munich. Here he made his first experiences with live performances and performances, both solo and in collectives and bands (i.e.org.i.e.n, LadeKabel, Lappenforum). In addition to sculptural and painting activities, he further developed his performative practice, in which the spoken text became the main protagonist. During a semester abroad in Athens he played sound collages, live improvisations and discussions with his friends in the self-organised exhibition space Circuits and Currents via the radio station CircuitsOnAir.
Text von der Webseite
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Album #01 - The Deepest Space of Now
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31x31,4 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Schallplatte in schwarzer Papierhülle, 2 Einzelblätter, Umschlag, alles zusammen in bedruckter transparenter Kunststoffhülle mit zwei zwei Papierklebestreifen verschlossen
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Limited Gold Vinyl Edition of 100 vom 13.12.2019.
There's not much in the world that is more exciting than a record label's album release number one. If you feel about music like we do, then you will most probably agree. This sets a tone and foundation and we are very excited about this album being our #01. After many collaborations and work as producer, composer for famous artists, this now is ENIK's 4th official solo album and his first solo album in years. The Deepest Space of Now is a truly unique and trippy soundtrack.
Text von der Webseite
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We are Cypriots - Wir sind Zyprer - 28 Cypriots Tell Their Stories: Reports and Photographs from a Devided Island
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[2] S., 14,8x10,5 cm, Auflage: 1.000, 2 Stück. 2 Teile. keine weiteren Angaben vorhanden
2 Postkarten, Englische und Deutsche Variante
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Werbekarten zum Buch “We Are Cypriots”, a chronicle that takes us behind the scenes sharing personal histories that official histories often ignore.
Between 2015 and 2018, during the reunification talks and after they failed, the author Lisa Fuhr visited Cypriots from both communities and photographed them in their surroundings. These intimate photographs and accompanying in-depth conversations shed light on life in Cyprus today.
Travellers, Cypriots living abroad, foreigners who have chosen to settle there, and last but not least, the people of Cyprus itself just might discover in these pages something they did not expect.
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AND UND AND - Elements of the Maze
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31,3x22 cm, Auflage: 150, keine weiteren Angaben vorhanden
Einzelblatt und neun faltbare Objekte in Kartonbox, Schuber
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Aus der Reihe paper - poem - objects (#5)
Peter Downsbroughs AND UND AND, Elements of the Maze (2022) besteht aus offenen und geschlossenen Winkeln, die an architektonische Fragmente genauso wie an geöffnete Bücher erinnern. Sie können auf unterschiedliche Weise aufgebaut werden – wie ein Labyrinth, in dem Worte und Linien in wechselnden Konstellationen aufeinander treffen.
Text von der Webseite
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19,0x11,5 cm, Auflage: 1.500, ISBN/ISSN 9783962870027
Broschur, Klebebindung
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Buch mit Statements anstelle der wegen Corona 2020 und 2021 ausgefallenen Künstlerbuchmesse Miss Read Berlin.
Editor: Michalis Pichler, Contributing editors: Yaiza Camps, Moritz Grünke, Copy editor: Mark Soo
IDEA POLL collected ideas regarding publishing activities and beyond. IDEA POLL 2020/21 was created through an online query and features about 100 responses from diverse international networks. Historical Note: In 1976, the periodical Art-Rite already conducted and published an IDEA POLL, marking a seminal moment in the state of affairs in the field of art and publishing. A collaboration of Miss Read and Conceptual Poetics Day.
The seven questions were:
Name five #hashtags that best describe your activities
What are you reading?
How do you distribute?
Do you collaborate? If so, with whom and how?
Is publishing economically viable? What would make it viable?
What are the best potentials (or difficulties) of publications?
What would be your utopian library? ...
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[22] S., 29,7x21 cm, keine weiteren Angaben vorhanden
mit transparenter Klemmschiene zusammengehaltene Blätter
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Initiative providing information and networks for Ukrainian and Munich artists, researchers, curators and cultural workers.
Information for visual artists and cultural workers, Portraits of institutions and initiatives and their offers for cultural workers from Ukraine in Munich
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After All Ends: No New Beginnings - Between Vision and Resignation
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[8] S., 29,7x21 cm, 2 Stück. keine weiteren Angaben vorhanden
Faltblatt mit Dreibruchfalz
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Der Rosa Stern Space ist ein Raum sowie ein Netzwerk und eine Plattform für die Auseinandersetzung, sowohl analog als auch digital, mit verschiedenen Diskursen. In den eigenen Räumlichkeiten und auch an verschiedenen Orten in München organisiert Rosa Stern Space verschiedene Veranstaltungen. Hierbei handelt es sich um Programmheft mit Auflistung der verschiedenen Veranstaltungen, die ab dem 26.01.2023 in verschiedenen Lokalitäten in München stattfinden, unter dem Namen "After All Ends: No New Beginnings - Between Vision and Resignation". Das erste Event fand in der Roten Sonne in München statt. Die Inhalte sind vielseitig und bewegen sich von Klang, Tanz und Performances bis hinzu Gesprächen und Vorführungen.
Rosa Stern Space explores social and cultural developments of a present defined by (post-)apocalyptic scenarios, critically questioned and transferred into an aesthetic discussion space. What comes after all ends? Are there new beginnings? Do we persist in the recurrence of the same old? No return to the supposed normality? How do we counter resignation, and what visions emerge from these liminal conditions marked by continuous crises and permanent sensations? Breakdown or breakthrough?
Text von der Webseite.
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Mail art may be the perfect pandemic art form
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5 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farbiger Inkjetausdruck nach PDF einer Webseite der Zeitung vom 24.02.2021 1:00 Uhr
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Learn more about the history of the movement in a retrospective at Winter Park's CFAM. Zur Ausstellung Pushing the Envelope im Rollins College's Cornell Museum, Mail Art aus den Archiven Amerikanischer Kunst, Smithsonian Institution.
Pushing the Envelope is curated by Miriam Kienle, an assistant professor of art history at the University of Kentucky, with the help of some of her intrepid students, with materials sourced from the Smithsonian's extensive holdings. The exhibition has been displayed at the Smithsonian Institute of American Art and other museums, and arrives at Rollins College at an oddly appropriate time.
The New Yorker recently opined that "mail art, which requires neither exhibition space nor Zoom conferencing, is poised for a comeback" — and we agree. During a time when social interactions for most of us are fewer and farther between, taking a peep at the ol' mailbox or getting a package on the doorstep is often the day's highlight. The exhibition's exploration of mail artists' unique ways of creation, collaboration and connection are energizing and inspiring in the present now. ...
Textausschnitt aus dem Artikel
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[20] S., 20,2x13,1 cm, Auflage: 100, numeriert, signiert, keine weiteren Angaben vorhanden
Fadenheftung, handnummeriert
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Büchlein des japanischen Künstlers Sayo Senoo, bestehend aus verfremdeten Bildern, die der Künstler von japanischen Sex-Business-Webseiten heruntergeladen hat. Auflage von 100, die alle nummeriert und signiert sind.
"Bodies that shed tears 3" is a sequel to "Bodies that shed tears" and "Tachinbo". This little book is made from my collection of photos downloaded from various sex related business websites in Japan. I worked in this kind of company to pay for my art studies. These jobs are mentally and physically heavy. But the high pay prevents most of us from quitting before their health is damaged.
The images are transformed through several processes using inkjet printers to make visible these physical and mental damages, the fatigues and the pains, that hide behind the seductive poses and smiles of the people in the photos. The book is printed on an incompatible paper with my printer, so that the images are ephemeral and fragile like as our body.
Text von der Webseite
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How to Start A Revolution – The Musical
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24 S., 29,5x21 cm, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, matt-glänzendes Umschlagpapier, dünne hellgraue Innenseiten, farbiges Beiheft mit Abbildungen, ebenfalls Drahtheftung
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"A musical adaptation of the multifaceted, facetious, ongoing project «How to Start a Revolution» by – Anna McCarthy. It deals with the romanticization and synaesthetic manipulation tactics entailed in depictions – of revolution, rebellion and recent history acted out by an ever-same group of bored rebels. Facts are mixed with fiction, layers are built upon layers, translations occur to create scenarios that manipulate a viewer’s perception of what was and is truly real. 2-D actors and scenarios mix with 3-D action going on onstage. The «How To Start A Revolution» project has thus far manifested itself in the form of arrests, archives, films, photographs, and songs. But now it is time for the ultimate grand romantic gesture: A MUSICAL – singing, dancing, screaming, and laughing at the question ‘what time is it’? It’s a prophecy, it’s a poetic pop spectacle."
Text von der Website
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How to Start A Revolution – The Musical - Edition
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24 S., 29,5x21 cm, Auflage: 50, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Heft in Kunststoffumschlag für Schulhefte, mit Aufkleber drauf, Buntstift mit Schnur angehängt, matt-glänzendes Umschlagpapier, dünne hellgraue Innenseiten, farbiges Beiheft mit Abbildungen, ebenfalls Drahtheftung, mit Originalzeichnungen, vier signierte Riso-Karten und eine CD eingelegt
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A musical adaptation of the multifaceted, facetious, ongoing project «How to Start a Revolution» by – Anna McCarthy. It deals with the romanticization and synaesthetic manipulation tactics entailed in depictions – of revolution, rebellion and recent history acted out by an ever-same group of bored rebels. Facts are mixed with fiction, layers are built upon layers, translations occur to create scenarios that manipulate a viewer’s perception of what was and is truly real. 2-D actors and scenarios mix with 3-D action going on onstage. The «How To Start A Revolution» project has thus far manifested itself in the form of arrests, archives, films, photographs, and songs. But now it is time for the ultimate grand romantic gesture: A MUSICAL – singing, dancing, screaming, and laughing at the question ‘what time is it’? It’s a prophecy, it’s a poetic pop spectacle.
Text von der Website
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NASU 02 - 26 Secret Codes to Brainwash your Neighbour
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in KlappPapphülle, transparenter Kunststoff, mit Infoblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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1 - 26 performed and recorded live by Plastic Doll. Plastik Doll is Stephane Leonard, Claudio Pfeifer. additional sounds by Lars Trimborn
mixed by Stephane Leonard in Bremen, Germany.
26 Secret Codes to Brainwash your Neighbour is a lofi noisy impro album. Wild loops, crackling electronics, analog hiss and glitch, small and quiet, loud and noisy... a record as diverse as the members of this project.
The sound is fresh and direct and completely produced without overdubs
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NASU 01 - Schmalfilmer RMX 2003
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in KlappPapphülle, transparenter Kunststoff, mit Infoblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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written.produced.performed.recorded by Stephane Leonard between 2002 - 2003 in Berlin and Bremen, Germany.
nr 1.1 - 1.8 originally released on Sinnbus in 2003.
nr 2 ´maintain´ (Bonustrack) recorded in 2004 is filmmusic for ´Die Begegnung´- a short film by Claudio Pfeifer and Stephane Leonard.
´Schmalfilmer´ is the first official album (ep) by Stephane Leonard. Tracks 1.1 to 1.8 belong together and can be seen as one song. ´Schmalfilmer´ 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 neighbour´s PC and Fruity Loops, the rest of the sounds are guitar noise, found objects, filter and loop machine
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Monsanto Company Earnings Call Transcript
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36 S., 14,8x10 cm, Auflage: 600, 2 Stück. ISBN/ISSN 978-3-868740066
Broschur
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Taken 100% from reality, this is a full length transcript of the fourth quarter 2009 Monsanto Company Earnings Conference Call, treated, layouted, published and performed as an original theater piece (on occasion of the exhibition & symposion "The apparatus of life and death" at the Museum of Contemporary Art Skopje).
The main acts are "Presentation", "Question-and-Answer Session" and "Copyright Policy", the main characters are Hugh Grant (President & CE), Carl Casale (EVP & CFO), Terrell Crews (EVP, CEO Vegetable Business), Scarlett Foster (VP IR) as well as various Analysts.
As Karsten Schubert puts it "A gulf has sprung between post-Duchampian, postmodern artistic practice and a still Modernist-Romantic interpretation of copyright."
Dies ist eine zu 100% der Realität entnommene Abschrift der Telefonkonferenz der Monsanto Company für das vierte Quartal 2009, die als originelles Theaterstück bearbeitet, gestaltet, veröffentlicht und aufgeführt wurde (anlässlich der Ausstellung und des Symposions „The apparatus of life and death“ im Museum für zeitgenössische Kunst in Skopje).
Die Hauptakte sind „Präsentation“, „Frage-und-Antwort-Sitzung“ und „Copyright Policy“, die Hauptdarsteller sind Hugh Grant (Präsident & CE), Carl Casale (EVP & CFO), Terrell Crews (EVP, CEO Vegetable Business), Scarlett Foster (VP IR) sowie verschiedene Analysten.
Karsten Schubert formuliert es so: „Es ist eine Kluft entstanden zwischen der postduchampianischen, postmodernen künstlerischen Praxis und einer immer noch modernistisch-romantischen Interpretation des Urheberrechts.“
Übersetzt mit DeepL
Text von der Webseite
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Programmbuch 2019 - Type is changing faces - Tyme is on my side
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160 S., 24x16,2 cm, keine weiteren Angaben vorhanden
Broschur, beigelegt ein kleines drahtgeheftetes Notizheft und ein Leporello mit dem Jahresprogramm der tgm
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... In the tgm annual yearbook the different aspects of out self-perception are assigned primary colours. The educational programme is presented in blue. The events (conferences, trips, presentation etc.) and the people on and behind the stage are shown in red, and the yellow notebook in the the middle separating the two topics is an invitation to participate. This strict and simplistic composition is not accidental, but an expression of the impression Milch+Honig want to make. furthermore it indicates the (colour) system of the tgm’s soon to be launched new website. These changes in and through our time are taken into account and prepared for the future in the tgm annual theme ...
... All diese Aktivitäten sind auch in diesem Jahr wieder in einem Buch dokumentiert: Vorsitzende Christina John visualisierte hier all die Aspekte, die die tgm auszeichnet, in gestalterischen Details: »Das Fortbildungsprogramm ist in blau dargestellt. Events wie Konferenzen, Reisen oder Vorträge sowie die Menschen vor und hinter den Kulissen der tgm sind in Rot getaucht und das gelbe Notizbuch, das die beiden Themen teilt, lädt zum Mitmachen ein«, erzählt uns die Kreative. Die im Jahrbuch erreichte strenge und einfache Kompositionen ist also kein Zufallsprodukt, sondern die visuelle Übersetzung des Eindrucks, den die tgm hinterlassen will. Zugleich ist dieses Schema schon der passenden Link zur neu gestalteten Website der tgm ...
Texte von den Webseiten, Foto Milch+Honig
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AFZET Orange Issue 12.12.1984
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signiert, keine weiteren Angaben vorhanden
3 Umschläge je 21x15cm, ("Afzet.4F. dec.12.1984" - 3-teilig), ("PORTRAIT GALLERY AFZET 4.F dec.12.84 5X5 PAGE" - 11-teilig), (48-teilig - "VISITORS 12DEC.1984"), gefüllt mit verschiedenstem Material der Künstlerinnen und Künstler, darunter: Collage, Dia, Siebdruck, Farb-Xerox, Schwarz-Weiß Xerox, Stempel, Künstlerstempel, Esspapier bestempelt, Löschpapier, diverse Tonpapiere, Postkarten, Künstlerbriefmarken, Stoff. Aus dem Kattenstroth Konvolut.
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• 18,5x28cm Brief adressiert an Kattenstroth, Acrylfarbe orange, Stempel
• Briefumschlag transparent, Collage, gefaltetes Papierobjekt, handschriftliche Nachricht
• Kopie Schwarz-Weiß, 21,3x35,7cm, "Orange Issue" Afzet, Buntstift orange, Dezember 1984
• 11.12.1984; "About Afzet's Palmbank", 29x14,9cm, Schwarz-Weiß Xerox auf blauem Tonpapier, Stempel, gelber Aufkleber, zweifach gefaltet
ABOUT AFZET'& PALMBANK
This bimonthly publication is edited and mailed by Sonja van der Burg and Margot van Oosten.
Our alm lo to exchange ideas related to the theme of the Issue, or to your interests of the moment, and to supply information on (mainly mail-art) projects.
TABLE OF CONTENTS
As for now each issue can be divided into the following chapters:
- Afzet's contribution (part of the editora)
- Portraitgallery (work related to your portrait)
- 5 х 5 раgе (advertisements and notes)
-VisitorsPalmbank (works related to the theme, or free).
YOUR CONTRIBUTION
So what to do if you would like to participate...
-Portraitgallary : send 60 copleß or originals that have something to do with your most recent portrait, max, size A5 (74,5 x 20,5 cm).
-5 x 5 page: send a design for your advertisement special note, and we copy 1t (black/white).
-VisitorsPalmbank: send 60 copies or originals concerning the theme, or something you are concerned with, max. size A5/folded A4.
Participants of the PORTRAITGALLERY & VISITORSPALMBANK will receive the edition that contains their contribution automatically.
SUBSCRIPTIONS
If you don't want to participate, but like to receive the publications ...or if you like to support ...:
Please send an International Money Order addressed to :
Sonja van der Burg/Margot Van Oosten (Afzet's Palmbank)
Postbox I4864 , 250I GW the Hague the Netherlands
Subscribera in Holland can transfer directly to our account: Giro 4231869 (addressed as above).
Prize : for one year (6 numbers: Jan-Dec) 60
Dutch Gullders
for one number- I5 Dutch Guilders.
I984-themes and deadlines
Nr. 4a - yellow - Feb. 9
Nr. 4b - green - March 28
Nr. 4c - blue - May 30
Nr. 4d - purple - August I
Nr. 4e - red - Oct.3
Nr.4f - orange - Dec. 5
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Duchamp Journal - Le Mystère de Munich
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[32] S., 47x32 cm, 2 Stück. keine weiteren Angaben vorhanden
Druck auf Zeitungspapier, Blätter lose ineinander gelegt
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Hundert Jahre nach Marcel Duchamps dreimonatigem Besuch in München (1912) wird ... eine ... Lücke ("le mystère") im kunsthistorischen Wissen zu füllen versucht. ... mit einer Ausstellung, gut organisiert vom Lenbachhaus, zwei beachtlichen Publikationen, einem Duchamp Journal und einem seltsam gekippten Wohnungsmodell neben der Alten Pinakothek, das dem Betrachter mit 'kalten' Wänden in etwa Duchamps ehemalige Wohnsituation in der (später ausgebombten) Barerstr. 65 vorführt. Dieses Modell ist das Werk des Bildhauers und promovierten Kunsthistorikers Rudolf Herz, der auch eines der beiden Veröffentlichungen und das Journal verantwortet ...
Text von der Webseite: www.sehepunkte.de
On June 21, 2012, precisely one hundred years will have passed since Marcel Duchamp arrived in Munich. He spent three months in the city, three months that were to radically change his art and turn him into one of the most influential artist of modernism. He is regarded as pioneer of conceptual art influencing numerous artists from Sol LeWitt to Ai Weiwei and still today continuously inspires new generations of artists.
On the anniversary of the French artist’s arrival, Munich’s Architecture Museum is presenting Rudolf Herz’s latest art project “Marcel Duchamp – Le mystère de Munich”, in which the artist investigates the background story of his predecessor’s stay in the Bavarian capital. The project includes a sculpture as well as a new book.
Text von der Webseite duchamp-munich.org
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1 S., 21,5x17 cm, Auflage: 144, numeriert, signiert, 8 Teile. keine weiteren Angaben vorhanden
Bogen mit acht Künstlerbriefmarken, perforiert, gestempelt
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canadian philatelist is compiling comprehensive catalogue and album of artist stamps. Information on known artist stamps and private printings will be accepted in any medium to be used for documentation porpuses only.
Text vom Bogen.
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1 S., 27,8x17,7 cm, signiert, 16 Teile. keine weiteren Angaben vorhanden
Bogen mit 16 Künstlerbriefmarken, perforiert
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canadian philatelist is compiling comprehensive catalogue and album of artist stamps. Information on known artist stamps and private printings will be accepted in any medium to be used for documentation porpuses only.
Text vom Bogen.
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[20] S., 14,8x10,5 cm, keine weiteren Angaben vorhanden
Drahtheftung. In Briefumschlag
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Thema des Lieferprogramms: Stephen Willats.
Our new catalogue is dedicated to the diverse and prolific publishing practice of artist Stephem Willats whose engagement with the book form runs from 1965 to the present. Willats uses printed matter in three distinctive ways: a book may function as a manifesto, an artwork in its own right or as a tool within an artwork. The items included in this catalogue span artist's books, ephemera, exhibition catalogues and scare manuals relating to participatory artworks self-published by the artist in very limited number.
Text aus dem Lieferprogramm.
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Artist Lecture Series Vienna Conversations - Dan Devening, Rainer Spangl
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28 S., 21x14,8 cm, ISBN/ISSN 978-3-903288072
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Dan Devening and Rainer Spangl spoke together as part of the Artist Lecture Series Vienna Conversation program at Antwerp Art Weekend 2019 where Devening Projects exhibited works by Rainer Spangl, Sean Sullivan and Dagmar Varady.
Text aus dem Heft.
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96 S., 17,3x11 cm, Auflage: 600, ISBN/ISSN 9789490629083
Wendebuch, Wendebuch
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The publication I'm On Your Side is the fourth part of a project conceived by Heman Chong for Kunstverein (Milano). After the three-fold project of the same name, presented in Milan in November 2010 the publication is understood as a compendium of the entire enterprise.
I'm On Your Side developed out of a series of conversations with the artist on the formation of Kunstverein (Milano). Upon invitation of the artist Alessandra Poggianti, Katia Anguelova and Andrea Wiarda, co-directors and founders of Kunstverein (Milano), contributed individual toughts and reflections on the introduction of a node into the cultural landscape of Milan.
Text von der Webseite
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Die Chronologie der Zelle
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[106] S., 31x22 cm, Auflage: 200, numeriert, signiert, 2 Stück. keine weiteren Angaben vorhanden
Hartpappeeinband mit Siebdruck, Text von Leo Lencsés und Matthias Glas, eingelegt eine Originalzeichnung. Ein Exemplar mit beigelegtem Anschreibener Version des Textes, einmal ein
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Erschienen zur Debütantenausstellung in der Akademie der Bildenden Künste in München am 8.04.2014
The artist‘s book “Die Chronologie der Zelle“ shows and analyzes the cyclic working process of sculptor Matthias Glas. 80 pages covering a photo spread of art works are completed by a text section which takes up the preceding flow of images based on a chain of the artist`s thoughts. Additional meta text passages structure the workflow into chapters and give further information on the artistic practice. Each book has an individual screen-printed cover and includes an original drawing by Matthias Glas
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Artist's Book Yearbook 2014-2015
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296 S., 29,6x20,8 cm, ISBN/ISSN 978-1-906501075
Softcover, design by Tom Sowden
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Over 600 artist’s book listings from 207 national and international artists. Reference listings of: collections, libraries, archives, bookshops, galleries, centres, design print & bind, publishers, dealers, presses, studios, competitions, fairs, festivals and exhibitions, journals, reference books, organisations, societies, websites, academic projects, touring programmes and courses.
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Subliming Vessel - The Drawings of Matthew Barney
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244 S., 29,4x22,2 cm, ISBN/ISSN 9780847839766
Schweizer Broschur mit Hardcover,
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Katalog zur Ausstellung der The Morgan Library & Museum, New York, 10.05.- 08.09.2013 und der Bibliothèque Nationale de France, Paris, 08.10.2013-05.01.2014.
Drawing has always been an incredibly important part of Matthew Barney's practice: his first major work completed while still at Yale Art School involved him creating a wall drawing while harnessed to the ceiling of his studio. In this exhibition and accompanying catalogue, one hundred of the artist's most important drawings are presented from his major series of works including "The Cremaster Cycle," "The Drawing Restraint" series, and most notably "Ancient Evenings," the body of work that has occupied the artist in the last few years (and is based on Norman Mailer's ancient Egyptian-inspired novel of the same name).
Text von der Website
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27,8x21,5 cm, 100 Teile. keine weiteren Angaben vorhanden
Ein Bogen mit 100 Künstlerbriefmarken, OffSet-Lithographie, perforiert, rückseitig gummiert
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In 1961, Robert Watts designed a perforated sheet of fifteen stamps combining popular and erotic imagery. In so doing, he became the first artist to create a sheet of postage stamps within a fine art context. In 1964, Watts published his fourth postage stamp sheet in four years. His former experience with the medium culminated in producing one of the masterpieces of his career, the stampsheet Fluxpost/17-17.
There is a singular border design common to the hundred postage stamps, all with different images, a pleasing mix of the abstract and figurative, from sources as diverse as photography, drawing, and engraving, arranged in a sheet of ten rows each containing ten stamps.
Fluxpost/17-17 was often included, in whole or in part, in the 1966/67 George Maciunas flux-kit multiple, Flux Post Kit 7.
Text von der Website.
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240 S., 30,2x21,6 cm, Auflage: 400, ISBN/ISSN 9780894390838
Hardcover, Leineneinband, geprägte Zeichnung, Papier: Lessebo Nature 115 g
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Published on occasion of the traveling exhibiton Michalis Pichler Greatest Hits, 05.06.-31.06.2015, printed matter, New York, and 22.10.-19.11.2015, Kunstverein Mailand.
This book is the first monograph focused on the practice of artist/author Michalis Pichler. Featuring eleven critical essays, an extensively illustrated catalogue, a conversation with John Stezaker, and selected writings by the artist, the book delivers a solid introduction into conceptual poetics.
Text von der Webseite
Auflage: Broschur 2000, Hardcover 400
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr.050 aus der Reihe 100for10
GhalamDAR (“the writer” in Farsi) born in 1994, is an UK based Emerging artist working primarily as a graffiti artist and illustrator since 2006. He is an active member of Calligraffiti ambassadors’ community and one of the artists who’s playing a key role in the graffiti scene of his country, Iran. He is counted between the four major and most recognized Iranian street artists by “Art Radar Journal” in 2015.
Text von der Webseite.
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Artist Lecture Series Vienna Opinion - Adriana Lara
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24 S., 21x14,8 cm, ISBN/ISSN 978-3-903288010
Drahtheftung
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The art world is not a perfect one. This text is thus a reflection, triggered by a personal experience that concerns language, politics, and art. Through it, I hope to bring to light another perspective on how the language and terms we use within institutional discourses and beyond shape our experience.
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[48] S., 17,5x12,5 cm, Auflage: 143, numeriert, keine weiteren Angaben vorhanden
Drahtheftung
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mehrfarbiger Risodruck, gedruckt bei Department of Volxvergnuegen.
Ch!ps is an artist book created by Infinite Livez using the riso printing process. Made in conjunction with department of volxvergnuegen (Munich) it continues to chronicle his investigation into automatic and digital art. This investigation is in every way the perfect compliment to his music but rather than a blend of sonic free association we see depictions of other worldly chimeras and mutations staged in landscapes of ambiguity and layered distortion.
Text von der Webseite
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16,5x22,5 cm, Auflage: 20, numeriert, 20 Teile. keine weiteren Angaben vorhanden
Kartonbox mit Siebdruck, Konvolut aus 19 Zines mit Drahtheftung, ein Faltblatt
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Sammlung von Zines aus Hongkong bezüglich der Proteste 2019/20, zusammengestellt von dem Kollektiv Zine Coop
Thanks to the artist researcher and activist Joanna Wong, I have been well informed of the situation in Hong Kong since the beginning of the movement. So when I saw the Hyperallergic article about the protest zines gathered and distributed by the artist collective Zine Coop, I thought people in Paris should know about this. The exhibition Freedom Hi! happened in many places in the world, I welcomed it at 本 \hon\ books. To cover the cost production of the exhibition, I decided to make a catalogue box set of 19 zines, with an index of all them and an interview of one of ZineCoop founders Forrest Lau.
Dank der Forscherin und Aktivistin Joanna Wong bin ich über die Situation in Hongkong seit dem Beginn der Bewegung gut informiert. Als ich also den Hyperallergic-Artikel über die vom Künstlerkollektiv Zine Coop gesammelten und verteilten Protest-Zines sah, dachte ich, dass die Menschen in Paris davon wissen sollten. Die Ausstellung Freedom Hi! fand an vielen Orten der Welt statt, ich begrüßte sie bei 本 \on\ books. Um die Produktionskosten der Ausstellung zu decken, beschloss ich, einen Katalog mit 19 Zines zu erstellen, mit einem Verzeichnis aller Zines und einem Interview mit Forrest Lau, einem der Gründer von Zine Coop.
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MONO.KULTUR #17 Pawel Althamer: Play-Grounded - My path just seems to have gone where others’ don’t.
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16 S., 20x15 cm, ISBN/ISSN 18617085
Heft in gefaltetem beidseitig bedrucktem Plakat eingewickelt, Drahtheftung,
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60 S., 23,6x16,5 cm, Auflage: 1.000, keine weiteren Angaben vorhanden
Drahtheftung
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Everyone collects something. There are some people who collect frequent-flier miles, others collect stray single gloves. Even if you collect things just for the pleasure of it, the whole collection – just like its items – will always “come in handy” in some situation.
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2 S., 21x14,8 cm, keine weiteren Angaben vorhanden
Karte
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Zur Ausstellung Solid Currents 07.09.-19.10.2024, Im Rahmen von Various Others 2024 als eine gemeinsame Ausstellung von Lennart Lahuis und Paul Valentin in Zusammenarbeit mit Dürst Britt & Mayhew, Den Haag.
In der Archäologie werden vergangene Zivilisationen anhand materieller Überreste untersucht. Die sorgsam geborgenen Funde werden vermessen, kartiert und dokumentiert. Das Ziel dieser wissenschaftlichen Betrachtung ist es, ein umfassendes Bild vergangener Kulturen zu rekonstruieren und zu verstehen, wie diese zur Entwicklung der heutigen Gesellschaft beigetragen haben. Doch was passiert, wenn die Funde sich nicht einordnen lassen und aus der Zeit gefallen scheinen? Der niederländische Künstler Lennart Lahuis und der Münchner Künstler Paul Valentin gehen in ihrer ersten gemeinsamen Ausstellung „Solid Currents“ Fragen von Zeitlichkeit nach und untersuchen dabei die Rekontextualisierung von Gegenständen. ...
Text von der Webseite
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The School of Narrative Dance
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2 S., 21x14,8 cm, 2 Stück. keine weiteren Angaben vorhanden
Einzelblatt
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Infoblatt zur Parade in München am 23.07.2023 im Rahmen der Ausstellung in der Villa Stuck, We Rise by Lifting Others mit allen Teilnehmern.
Am 23. Juli hat „The School of Narrative Dance“ mit allen Beteiligten eine Straßenparade gestaltet, die sich vom Museum über die Prinzregentenstraße bis zum Odeonsplatz erstreckt hat. Die Helfer*innen und Ordner*innen hatten gelbe T-Shirts an und eine Armbinde.
Die Parade sollte bewusst zentrale Stadtachsen besetzen, die von den Nazis für ihre propagandistischen Märsche genutzt wurden. Bei Marinella Senatore treten die Stimmen und die Körper mit ihrem Wissen, ihren Erinnerungen, Erfahrungen und ihren Geschichten in den öffentlichen Raum. Auf diese Weise entsteht eine Prozession in München, die den Spuren der Nazi-Geschichte und den post-nazistischen Einschreibungen in die Stadt folgt – eine antifaschistische Parade im 21. Jahrhundert.
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The School of Narrative Dance
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34x27 cm, 3 Teile. keine weiteren Angaben vorhanden
Ablaufplan, farbiger Inkjetdruck, T-Shirt, Ordner*in-Armbinde
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Materialien zur Parade in München am 23.07.2023 im Rahmen der Ausstellung in der Villa Stuck, We Rise by Lifting Others.
Am 23. Juli hat „The School of Narrative Dance“ mit allen Beteiligten eine Straßenparade gestaltet, die sich vom Museum über die Prinzregentenstraße bis zum Odeonsplatz erstreckt hat. Die Helfer*innen und Ordner*innen hatten gelbe T-Shirts an und eine Armbinde.
Die Parade sollte bewusst zentrale Stadtachsen besetzen, die von den Nazis für ihre propagandistischen Märsche genutzt wurden. Bei Marinella Senatore treten die Stimmen und die Körper mit ihrem Wissen, ihren Erinnerungen, Erfahrungen und ihren Geschichten in den öffentlichen Raum. Auf diese Weise entsteht eine Prozession in München, die den Spuren der Nazi-Geschichte und den post-nazistischen Einschreibungen in die Stadt folgt – eine antifaschistische Parade im 21. Jahrhundert.
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Vespertilii Nocturnae y Collegas / Rare Bats & others
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[8] S., 21x15 cm, keine weiteren Angaben vorhanden
Drahtheftung, mit losem Umschlag aus Transparentpapier von Hand beschriftet
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Tierzeichnungen von Bear Boy
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6 S., 23,5x12,9 cm, 2 Teile. keine weiteren Angaben vorhanden
Faltkarten mit eingelegtem Blatt
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Infokarten zur Ausstellung JET LEG – Biennale d’Arte e Cultura, Edition 2, 09.09-25.09.2022 als Gastprojekt in der Lothringer 13 Studio.
JET LEG initiiert einen Prozess des nachhaltigen künstlerischen Austauschs und der Überwindung kultureller, sozialer und kreativer Grenzen. Als offene Plattform und dynamisches Netzwerk bietet das Projekt vielfältige Möglichkeiten der Reflexion und Erforschung künstlerischer Prozesse sowie der Verhandlung drängender aktueller Themen im direkten Austausch mit der Gesellschaft.
JET LEG, Biennale d’Arte e Cultura – das bilaterale Projekt, initiiert vom neapolitanisch-münchnerischen Künstler Danilo Bastione und erstmalig durchgeführt 2021 in Neapel, kommt am 25. August für seine zweite Ausgabe nach München. Das Projekt basiert auf einem einmonatigen Künstler*innenaufenthalt und weitet sich in ein drei wöchiges Rahmenprogramm mit öffentlichen Aktionen und einer Ausstellung als Höhepunkt, die am 09. September eröffnet wird aus.
Im Rahmen von JET LEG entwickeln die süditalienischen Künstler*innen Pennacchio Argentato, Clarissa Baldassarri, Paolo Puddu, Maria Positano de Vincentiis, Ambra Viviani und Diego Miedo Werke vor Ort, die in verschiedenen Ausstellungsräumen, OFF-Spaces und im öffentlichen Raum gezeigt werden. Die Präsentationen suchen die offene Auseinandersetzung mit der lokalen Kulturszene und der Stadtbevölkerung.
Der partizipative Geist der Biennale wird auch im Vorfeld der Ausstellung in der ganzen Stadt zu spüren sein: In Form von öffentlichen Interventionen, Künstler*innengesprächen, Workshops aber auch Konzerten im Rahmen eines „Museo Mobile“ fordern die Künstler*innen an jedem Ort zur Diskussion und zur Mitgestaltung auf.
Ausstellungs- und Aktionsorte: Lothringer 13 Studio/ lokal, öffentlicher Raum Au-Haidhausen, Bogenhausen, Cafebar Mona (Monacensia München), OFF Space Schumannstraße, uvm.
Die Ausstellung im Lothringer 13 Studio wird im Rahmen von Various Others präsentiert.
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A Big Announcement - Bernd Kuchenbeiser zeigt Bücher und Schallplatten
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16,1x11,4 cm, 2 Stück. keine weiteren Angaben vorhanden
Braune Versandtasche, bedruckt. eingelegt 4 Karten mit abgerundeten Ecken, ein Programmheft von Various Others
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Ausstellung in der Villa Stuck 08.10.2022-15.01.2023.
Ausgehend von eigenen Projekten zu Buch und Schallplatte, entwickelt Bernd Kuchenbeiser für ‚A Big Announcement‘ einen „kaleidoskopischen“ Ausstellungsrundgang. „Kaleidoskop“ darf auch im Wortsinn verstanden werden: „schöne Formen sehen“.
Die Ausstellung wird in Themen und Farben durch ein Gedicht von John Baldessari strukturiert. In Buch- und Schallplattensequenzen werden die Betrachter*innen zur Erforschung von Sprache und Ausdruck eingeladen und angeregt persönliche Assoziationen und Interpretationen zu finden.
In der Ausstellung, ebenso wie in seiner Arbeit, lotet Bernd Kuchenbeiser die Möglichkeit aus, Inhalte so zu durchdringen, dass sie im Entwurf aus eigener Kraft für sich sprechen. Ganz so, als ob Gestaltung selbstverständlich und der Gestalter unwichtig wären. Nicht zuletzt geht es also darum, eine Deutung von Buch und Schallplatte als politisch-demokratische Medien zurückzubringen: im Sinne von Neugier, von Bildung, von Solidarität.
Text von der Webseite
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Open Call - The School of Narrative Dance - 40 Jahre Rupertinum ...
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21x14,8 cm, 2 Stück. keine weiteren Angaben vorhanden
Karte zu Senatores The School of Narrative Dance, und 2 Karten zu 40 Jahre Rupertinum
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Call zur Parade in Salzburg in Kooperation mit Szene Salzburg am 24.06.2023 im Rahmen der Ausstellung im Museum der Moderne, We Rise by Lifting Others.
Wir suchen Menschen, die neugierig sind und Teil eines gemeinschaftlichen Erlebnisses sein möchten: Amateur*innen und Profis aus den Bereichen Musik, Tanz, Gesang, Sport, Akrobatik, Vereine, Initiativen, Clubs etc.
Jede und jeder ist willkommen an der School of Narrative Dance teilzunehmen!
Eine Stadt in Bewegung: In dem Community-Projekt The School of Narrative DanceThe Dance lädt die viel beachtete italienische Künstlerin Marinella Senatore die Bewohner*innen von Salzburg ein, an einer Stadtchoreographie mitzuwirken. Senatore geht es dabei nicht nur um das Initiieren sozialer Prozesse, sondern auch darum, Begriffe wie Öffentlichkeit und soziale Verantwortung zu hinterfragen, alternative Formen des Erzählens zu finden und letztlich durch das gemeinschaftliche Handeln ein kollektives Gedächtnis zu generieren. Das kreative Potenzial aller Mitwirkenden mündet in seiner Gesamtheit in einem vitalen Porträt von Salzburg. Die individuellen Ideen werden von Senatore in enger Zusammenarbeit mit lokalen Choreograph*innen in Form einer großen Parade durch die Stadt inszeniert.
Text von der Webseite
Call zu 40 Jahre Rupertinum - der Beginn des Museums der Moderne Salzburg. Teilen Sie Ihre Geschichte.
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We Rise by Lifting Others
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[40] S., 21x14,8 cm, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, mit Ösen, Schwarz-Weiß-Druck
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Begleitheft zur Ausstellung 04.05.-10.09.2023, mit Aufruf zur Parade The School of Narrative Dance am 23.07.2023 und Kurzbeschreibungen der ausgestellten Arbeiten
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Places 2023 May-Aug Munich Art Map
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18x10,5 cm, keine weiteren Angaben vorhanden
Faltblatt mit Stadtplan
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Veranstaltungen der Vereinsmitglieder und von Münchner Institutionen, im Vorfeld von Various Others im September 2023
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The School of Narrative Dance
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136x200 cm, 3 Teile. keine weiteren Angaben vorhanden
Streckenplan, original Zeichnung auf Karton
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Plan zur Parade in München am 23.07.2023 im Rahmen der Ausstellung in der Villa Stuck, We Rise by Lifting Others.
Am 23. Juli hat „The School of Narrative Dance“ mit allen Beteiligten eine Straßenparade gestaltet, die sich vom Museum über die Prinzregentenstraße bis zum Odeonsplatz erstreckt hat. Die Helfer*innen und Ordner*innen hatten gelbe T-Shirts an und eine Armbinde.
Die Parade sollte bewusst zentrale Stadtachsen besetzen, die von den Nazis für ihre propagandistischen Märsche genutzt wurden. Bei Marinella Senatore treten die Stimmen und die Körper mit ihrem Wissen, ihren Erinnerungen, Erfahrungen und ihren Geschichten in den öffentlichen Raum. Auf diese Weise entsteht eine Prozession in München, die den Spuren der Nazi-Geschichte und den post-nazistischen Einschreibungen in die Stadt folgt – eine antifaschistische Parade im 21. Jahrhundert.
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Two Years space nn - Making Of - ausstellungen 2023/24
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112 S., 29,7x22 cm, Auflage: 300, 2 Stück. ISBN/ISSN 987-3-68919-054-5
Gefaltete Bögen lose ineinandergelegt, mit lila Gummiband zusammengehalten, gelocht, mit Kette verbunden, Schlüsselanhänger aus gelbem Plexiglas und Booklet (Drahtheftung) mit Kette befestigt,
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Zwei Jahre, dreiundzwanzig Ausstellungen, einhundertsiebenundfünfzig Künstler*innen und sechzehn Kurator*innen. Nomen Nominadum - ein noch zu nennender Name. Eine offene Bezeichnung, ein Platzhalter, der sich nicht festlegt. Und genau das ist space n.n.: ein Raum, der sich nicht in eine feste Form pressen lässt, sondern mit jeder Ausstellung, jeder Veranstaltung, jeder Begegnung neu definiert. Vor zwei Jahren haben wir diesen Offspace in München Gegründet - als Experimentierfeld, als Ort des Austauschs, als Möglichkeit für junge Kunst, abseits etablierter Strukturen.
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Art Metropole Catalogue 1994, Number 17
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90 S., 28x21,5 cm, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung,
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Lieferprogramm. Art Metropole is an artist directed non-profit organization specializing in materials related to the avant-garde practice, particularly multiple format and media-related works. Art Metropole operates a bookshop and mail order operation which stocks artists' books, exhibition catalogues, critical writings, audio works, videotapes and multiples. Both current and out-of-print titles are available offering an in-depht source of international contemporary art over the last twenty years.
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[32] S., 41,5x30 cm, 2 Stück. keine weiteren Angaben vorhanden
Rotations-Druck auf rosa Zeitungspapier, Blätter lose ineinander gelegt
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They say print and newspaper are an obsolete and dying form of media. This Week is an art paper reanimating elements of the press. Reflecting on the conditions of this traditional industry 'This Week' uses and abuses form and function of newspapers. Each issue is made by a different artist.
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Toiletpaper 02 January 2011
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44 S., 29x22,5 cm, ISBN/ISSN 978-1-935202592
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Brought to you by the aberrant, animated mind of Italian-born provocateur, mischief-maker, and macabre witness to our times Maurizio Cattelan, Toilet Paper 2 follows closely on the heels of the inaugural issue of Cattelan's most recent print extravaganza. "The magazine springs from a passion/obsession that Maurizio and I have in common," collaborator photographer Pierpaolo Ferrari said in an interview in Vogue Italia. "Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst." Published by Deste, this part magazine, part artist's book blends commercial photography with warped narratives and surrealistic imagery, creating a series of powerful images that are as appropriate for the coffee table as they are for the WC
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44 S., 29x22,5 cm, ISBN/ISSN 978-1-935202608
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Brought to you by the aberrant, animated mind of Italian-born provocateur, mischief-maker, and macabre witness to our times Maurizio Cattelan, Toilet Paper 2 follows closely on the heels of the inaugural issue of Cattelan's most recent print extravaganza. "The magazine springs from a passion/obsession that Maurizio and I have in common," collaborator photographer Pierpaolo Ferrari said in an interview in Vogue Italia. "Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst." Published by Deste, this part magazine, part artist's book blends commercial photography with warped narratives and surrealistic imagery, creating a series of powerful images that are as appropriate for the coffee table as they are for the WC
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Ping Pong - a book of duels and duets
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204 S., 29,7x21 cm, ISBN/ISSN 978-1-908452146
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The artists Claudio Wichert & Clemens Wilhelm spend 90 days in a house to make a book. Each day they produce one page. Like in a match of ping-pong, each page is a reaction to the other artist's work from the day before. The two resulting storylines are presented in this book full of duels and duets. The media mix and only one thing is for certain: it's all or nothing.
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Garry Neill Kennedy - Printed Matter/Imprimés 1971-2009
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214 S., 25,4x19 cm, ISBN/ISSN 9780888849028
Hardcover, . Visitenkarte liegt bei,
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Produced in consultation with Garry Neill Kennedy, this publication includes printed matter designed by, or in collaboration with, the artist and incorporates formats such as books, pamphlets, leaflets, sheets, cards, pageworks, posters, and wallpaper. Each entry, arranged chronologically, includes a photograph of the item and a physical description with the title, date, format, binding (where applicable), printing method, pagination, dimensions, publisher, and place of publication.
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The Source Issue #4: On and On (SRF-017)
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6 S., 28x21,5 cm, keine weiteren Angaben vorhanden
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Source code for “On and on” bot printed with archival inks and paper, footnoted with artist txt, writing, poetry, whatevz, etc, etc, etc.
related code: On and On, , 2012
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[44] S., 27,6x19,6 cm, Auflage: 330, keine weiteren Angaben vorhanden
Fadengeheftet. Mehrfarbiger Risographie und Ricoh
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This publication is the result of a book-residency of 14 days Gijs Deddens did at Knust, Extrapool. It’s part of Art Prison, an ongoing project in which an artist gets invited to come and make a stencilprinted book at Knust, Extrapool. Som is filled with very detailed and hatched drawings of animals, structures/patterns, landscapes and other nature subjects with a hazy, yet a bit dark and pleasant feel.
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[102] S., 21x14,8 cm, Auflage: 100, 2 Stück. ISBN/ISSN 9789963213702
Broschur, Titel auf Vorderseite geprägt,
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Maria†Maria†.doxc is a book documenting a two-year online conversation between Maria Toumazou and Marysia Gacek consisting of a visual collection of different materials such as photographs, notes, and miscellaneous references. The photographic and literary components of Maria†Maria†.doxc are interwoven into a dialogue in which the whole is far greater than the sum of its parts. It is a record of a series of connections, hyperaware observations, and faith in another artist's line of thought parallel with the universal alignment. Maria†Maria†.doxc is accompanied with a specially commissioned text by John Ryan.
Supported by the Glasgow School of Art as part of the Glasgow Master Series 2014.
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158 S., 29,3x23 cm, ISBN/ISSN 9780976164197
Broschur, diverse Papiere, teilweise zum Ausklappen, mit eingelegter CD und eingestecktem Heft von Kay Rosen
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As usual, the magazine contains a multidisciplinary mix of contemporary artists’ projects, critical writing, creative nonfiction, visual essays, and a themed CD of brand-new music. Some highlights include projects by Kay Rosen, Charlie White, and Sarah Malakoff, and a deconstruction of crossword-puzzle science by New York Times crossword genius David Quarfoot, as well as new installments in the magazine's regular series.
For our 9th CD, “Dreams,” readers submitted transcripts of their dreams, which were then passed along to musicians, each of whom picked one to serve as the basis for a song. The 11 musical acts, including White Whale, Ida, Dirty Projectors, Califone, and Paavoharju, chose from over 100 submissions. Transcripts of the selected dreams appear in Esopus 9 alongside five illustrations by New York–based artist Daniel Gordon.
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Unshelfmarked - Reconceiving the artist's book
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180 S., 23,3x14,1 cm, ISBN/ISSN 978-1-910010068
Klappbroschur,
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Post-Deweyed, these works form an entirely new corpus, showcasing the artists’ book not as a by-product of the book per se, but both its antecedent and post-digital flowering, many salient twentieth-century features proleptically flickering here and there through time, its epigenetic influence finally come to permeate mainstream book design everywhere, the manifold traits and studio processes inherent to the artists’ book bursting from their stitched sheath, cheerfully pollinating the whole gamut of reading impedimenta and spaces.
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130 S., 20x14 cm, Auflage: 300, ISBN/ISSN 9788679240798
Broschur, Wendebuch, (Kyrillische Schrift)
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This paper was realized as a part of the project studying climate change and its influence on the enviroment: impacts, adaption and migration financed by the Ministry of Education and Science of the Republic of Serbia within the framework of integrated and interdisciplinary research for the period 2011-2014.
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[48] S., 27,8x20,2 cm, Auflage: 25, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Softcover, Risographie, zwei Seiten aus Pergaminpapier
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Bonjour! en goedemorgen! Having made an indefinite amount of trips from Brussels to Gent every academic year, and while barely having any time to spare whilst hurrying to and from the station, I have time and again managed to stop for an eat on the move. Eat on the Move compiles one year of receipts from the railway station's bakery and includes an original croissant bag as end pages.
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218 S., 24,5x17 cm, ISBN/ISSN 978-3-775731768
Fadengeheftet, Hardcover geprägt, eingelegt Werbekarte des Verlags
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Richard Prince: Collected Writings gathers together for the first time a selection of short works of fiction by highly regarded visual artist Richard Prince. Produced between 1974 and 2009, the thirty-five prose pieces compiled here explore everything from Franz Kline to Woodstock, and include revealing musings on the revolutionary approach to photography that's been central to Prince's art-making practice. Edited and with an introduction by Kristine McKenna, Richard Prince: Collected Writings features a fictional essay by Jonathan Lethem. The publication includes a limited edition of 50 sets of three joke greeting cards hand-written and signed by Prince.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 016 der Reihe 100for10.
Myla DalBesio is an American multi-disciplinary visual and performance artist. Born in Harrisburg, Pennsylvania in 1987, she studied Fine Arts at the University of Wisconsin-Madison and is currently based in New York City. Her work is greatly influenced by the examination of traditional and sexual femininity, mystical nature, and the place where the two meet.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
monoperro is a self-taught artist as he has no academic education in art. In addition to being an illustrator, he is a writer, and, as an important part of his artistic activity, he performs Tarot readings created by him called Tarot del Espejo (Tarot of the Mirror). He also offers artistic and vital services such as workshops and talks, under the name ‘Ultralkymia’. In 2015 he published his first book ‘Gran Fin’ (in the publishing house jekyll and jill (jekyllandjill.com). He also has another publication ‘Dibujo Mágico’ which is a guide to the practice of drawing as self-knowledge. You can follow his daily activity on his instagram account: @monoperro
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Based in a quiet undisclosed studio a short train ride outside of downtown Berlin, artist Peter Aurisch creates some of the most original tattoos in the city — and in a place with an estimated 2,000 tattoo artists, that’s saying something. To keep his ideas fresh and original, he may only begin planning a new piece when the client first arrives. He tends to work freehand without sketches or source imagery, and instead draws inspiration from stories and details provided by his customers. Aurisch’s studio is called Johnny Nevada, he takes only a single appointment daily.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Stijn Jonckheere (°1989) recieved his MA in explorative architectural development in 2012. While working as an architect his personal work gained traction, sparking his career as a visual artist. Monochrome yet visually tense, his work revolves around the themes of memory and alternative reality. Contrasting their minimalistic composition, his drawings often contain a more complex message, presenting a critical look at social behaviour within our built environment. Exhibited throughout Europe and featured in publications worldwide, Jonckheere subsequently ventured into teaching by means of his digital design masterclass and lectures given across architecture universities. He has lent his creative vision to a wide spectrum of projects, ranging from architecture to advertisement for both start-ups and high-profile clients. Jonckheere currently resides in Munich, where he is Art Director at a leading brand activation agency.
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Collected Lyrics, 1970-2015
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320 S., 24x16,5 cm, ISBN/ISSN 978-1-408863008
Hardcover, Schutzumschlag
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An American original, Patti Smith is a multi-disciplined artist and performer. Her work is rooted in poetry, which infused her 1975 landmark album, Horses. A declaration of existence, Horses was described as `three chords merged with the power of the word'. it was graced with the now iconic portrait by Robert Mapplethorpe, the subject of her award-winning memoir Just Kids. Initially published in 1998, Patti Smith's Complete Lyrics was a testimony to her uncompromising poetic power. Now, on the fortieth anniversary of the release of Smith's groundbreaking album, Collected Lyrics has been revised and expanded with more than thirty-five additional songs, including her first, 'Work Song', written for Janis Joplin in 1970, and her most current, 'Writer's Song', to be recorded in 2015. The collection is liberally illustrated with original manuscripts of lyrics from Smith's extensive archive. Patti Smith's work continues to retain its relevance, whether controversial, political, romantic or spiritual. Collected Lyrics offers forty-five years of song, an enduring commemoration of Smith's unique contribution to the canon of rock and roll.
Klappentext
2. Auflage
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The Shadowland newsletter #93
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[50] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserkopie nach PDF, Blätter lose ineinandner gelegt,
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#93.1. A visit to Archive Artist Publications and its exhibition in Haus der Kunst (München)
#93.2. The [next] century of the archive
#93.3. Two Mā.ori learn the printing arts in Wien, 1859/60
#93.4. Journal für Druckgeschichte, NF 24 (2018) 3
#93.5. The “Gutenberg Modern”
#93.6. Newsletter (New Australian Bookplate Society), 51 (2018)
#93.7. Gollin Graphics on Commercial printing machinery (Out of the Book Ark . 17)
#93.8. The perils of private printing in Wellington, 1951
#93.9. A mélange of miscellaneous books (1) (Brandywine ‘boekwinkel’ . 29)
#93.10. Justifying a realia collection
#93.11. The incunabula period of Australian and New Zealand private printing
#93.12. History in the bag (SLV as reported in Graphix)
#93.13. Mainz, international city of Gutenberg. But there is so much more to see
#93.14. An early and rare Wimbles ephemeron
#93.15. Now it’s 25 years of Cheese fog polka!
#93.16. For our colleagues, who serve (Gebr. Klingspor)
#93.17. A crop of private press cards, 2018
#93.18. Andreĭ. Tarkovskiĭ.’s З.е.р.к.а.л.о. (1974)
#93.19. Yang Zhichao’s Chinese Bible exhibition (AGNSW)
#93.20. Biblionews and Australian notes & queries, 400 (2019)
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-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 children’s 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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21x14,8 cm, keine weiteren Angaben vorhanden
Karte
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Erscheint zur Ausstellung in der Galerie Esther Schipper, 17.01.-22.02.2020
Esther Schipper is pleased to announce Ku Lak, Matti Braun's sixth solo exhibition with the gallery. The exhibition will include 16 works from a new series of silk paintings and approximately 25 new glass works, the latter presented on three circular plinths designed by the artist. Matti Braun's practice is characterized by a constant negotiation between concrete references and general allusions, between poetic ephemerality and an uncanny sense of visceral immediacy. His work investigates the unexpected, often little known, effects of cross-cultural dynamics, making visible patterns of artistic migrations and cultural misrecognitions.
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DIE SCHLANTZ, DIE KURED, DIE KON
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19x19 cm, Auflage: 200, ISBN/ISSN 978-3-948200022
Schallplatte (7 inch) in Hülle mit Umschlag und Beiheft, geklammert, in Klarsichthülle. Mit beigelegten Zetteln mit aufgedrucktem Downloadlink
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”Hhhh Minne, off you go, she’s coming! The deadline is in 5 minuties. If the Mayonnage hears that I’m only just starting. Woah my heart is catching fire. Close the curtain, yes.“ As the mayonnage approaches, the excitement grows. Without ever taking on a tangible form, her presence in Verena Buttmann‘s audio piece „Die Schlantz, die Kured, die Kon” (The Slutch, The Khored, The Quee) lies above everyday events. The mayonnage is many things: the object of fear, the last salvation, the state of oppression, the bridge to a remote world or a dreamlike projection. On her record, the artist Verena Buttmann creates a social cosmos between theatre-like staging and private space. A dialogical poem and a scenic piece of music reveal a narrative that follows a peculiar temporal dimension and linguistic logic. Verena Buttmann takes language to the edge of meaning, where its musical quality unfolds. The publication contains a 7‘ inch vinyl record, a brochure with the original text in German and the English translation, as well as a download link.
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Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)
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40 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserkopien, mit einem Gummiband zusammengehalten
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Kapitel 11 aus: Whose Book is it Anyway? A View From Elsewhere on Publishing, Copyright and Creativity.
This chapter is written from the perspective of an artist who develops models of practice founded on the fundamental assumption that knowledge is socially constructed. Knowledge, according to this understanding, builds on imitation and dialogue and is therefore based on a collective endeavour. Although collective forms of knowledge production are common in the sciences, such modes of working constitute a distinct shift for artistic practice, which has been conceived as individual and isolated or subjective. ....
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about National Geographic, Shadows, and Romance
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30 S., 20,6x14,7 cm, Auflage: 30, numeriert, signiert, keine weiteren Angaben vorhanden
Klebebindung mit Leinenstreifen zusammen mit Heft Heimatkunde - Geschichte aus Braunkachel von Franke Kaßner in Klarsichthülle. Ursprünglich vakuumiert
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ABOUT NATIONAL GEOGRAPHIC, SHADOWS, AND ROMANCE is a social, political and romantic artist‘s picture book published in 2014 in cooperation with the VistVunkVerlag, Munich (Benedikt Gahl/Veit Kowald). The presentation took place in the Kunstraum München, together with Franka Kassners gloomy HEIMATKUNDE picture book „Geschichte aus Braunkachel“.
ABOUT NATIONAL GEOGRAPHIC, SHADOWS, AND ROMANCE ist ein soziales, politisches und romantisches Künstlerbilderbuch, das 2014 in Zusammenarbeit mit dem VistVunkVerlag, München (Benedikt Gahl/Veit Kowald) erschienen ist. Die Präsentation fand im Kunstraum München statt, zusammen mit Franka Kassners düsterem HEIMATKUNDE-Bilderbuch "Geschichte aus Braunkachel".
Text von der Webseite, Übersetzung mit DeepL
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How to Prepare Yourself for the Collapse of the Industrial Publishing System
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[8] S., 21,6x13,9 cm, Auflage: 248, keine weiteren Angaben vorhanden
Drahtheftung, Risodruck
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Das Heft besteht ins Englische übersetzte Essay "How to Prepare Yourself for the Collapse of the Industrial Publishing System" des argentinischen Künstlers Eric Schierloh. Der Text wurde zusammen mit Paul Holzman übersetzt.
This publication is the result of a warm exchange between Public Collectors and Eric Schierloh of the press Barba de Abejas, (Beard of Bees).
In 2020 Eric wrote this essay that he translated into English with an American friend, Paul Paul Holzman, who also lives in Buenos Aires. In December 2021, Eric reached out to me to share his enthusiasm for my text “Towards a Self Sustaining Publishing Model.” Eric proposed making a Spanish translation and publishing my writing as a cheap edition in Argentina. He felt my text had similarities to his own words; the two works share a similar spirit of encouraging publishing experimentation outside of typically limiting market constraints.
Though Eric’s text had already been published in English in World Literature Today magazine and translated into French by the cardboard press La Liebre Dorada, we agreed that it could still be worthwhile to make a US edition that stood alone. So, in a celebration of artist publishing exchanges, Public Collectors is happy to share Eric Schierloh’s inspiring writing. It provides many potential creative paths forward for people with access to any form of printing, and any materials that could be used to make a book.
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28 S., 14,8x14,8 cm, ISBN/ISSN 978-3-940548-23-8
Drahtheftung, in Transparenthülle
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´heed´ shows us a selection of collages made of colored paper and found footage photography by the chilean artist Virginia Echeverria.
The free floating forms and objects interact with the rather harmonic photographs creating small magical moments and hallucinating new landscapes and interiors
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240 S., 29,7x21 cm, Auflage: 500, 2 Stück. keine weiteren Angaben vorhanden
Broschur, Schwarz-Weiß-Druck
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VECTOR Artists Journal publishes a collection of essays by contemporary artists. Each issue focuses on a different city from around the world and compiles a collection of written works by 25 Artists who are based in the specific city. The form, length, and theme is up to each artist. Essays range from 1-10 pages, are unedited, and arranged in alphabetical order. Each edition averages 200 pages and is printed in black & white, 500 bound copies are made.
Lounched on 11.12.2019, Kunstverein München e.V..
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Addenda: Just between you and me. There was no other. Who does our past belong to tonight? We understand at last. And while we slept, we vanished. The walls of the world fell in on us. We claimed always to abide by terms. Shattered mirrors and sliding panels. Always. Except when we choose not to. One must keep alert to all possibilities. The old Indian pearl diver clambered onto the dock, grinning and shaking the water from our body. At night we could hear our mind ticking like some cheap alarm clock. Radio broadcasts played on tribal feelings. Our voice trailed off. Truth was delay. A heavy splash followed many ripples. Food, batteries and water-purifying chemicals arrived over the week-end.
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29,2x22,6 cm, Auflage: 1.000, keine weiteren Angaben vorhanden
Broschur
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zweite Auflage. In 1983, Larry Clark self-published his second photo book, Teenage Lust. A survey of adolescent sexuality and a retrospective of Clark's work, the book consists of family portraits and photographs from his hometown of Tulsa and from his life in New York City. Clark’s photography for the book documents the lives of American youth: junkies, prostitutes, and thieves and suburbanites.
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80 S., 24,5x17,5 cm, 2 Stück. ISBN/ISSN 978-3-866785397
Hardcover, Fadenheftung
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Albert Coers’ objects, room-sized installations and photographs are presented as multi-layered, often symbolic and always evocative thought-constructions. This publication provides a review of his works from 2008 to 2010, where certain themes re-occur, like interest in collections, archives and the book as medium, as well as the expansion of artistic media and the occasionally ironic reflection on these themes. The documentation of Coers’ art practice is accompanied specially written texts that focus specifically on the individual works and place them within a narrative or critical context.
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Made in Munich. Editionen von 1986 bis 2008
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368 S., 24,8x19,5 cm, ISBN/ISSN 978-3-865606624
Katalog zur Ausstellung im Haus der Kunst 2009, mit Installationsansichten von Wilfried Petzi und Objektfotografien von Jann Averwerser, Schutzumschlag aus gefaltetem Plakat
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Vorwort von Chris Dercon. Essay von Julienne Lorz.
"Ich bin interessiert an der Verbreitung von physischen Vehikeln in Form von Editionen, weil ich an der Verbreitung von Ideen interessiert bin." Joseph Beuys, München gilt als heimliche Hauptstadt von Editionen und Multiples. "Made in Munich. Editionen von 1968 bis 2008" bietet einen anderen Blick auf die Geschichte des Münchner Kunsthandels. Im Vordergrund stehen die Produzenten von Multiples und Editionen, die über einen Zeitraum von 40 Jahren in und um München entstanden sind. Darunter sind Editeure wie die Galerie Heiner Friedrich, Galerie Fred Jahn, Galerie Bernd Klüser, Sabine Knust und ihr Maximilian Verlag, Galerie van de Loo und Edition Schellmann, sowie Aktionsraum A1, ECM Records, edition x, Kunstraum München, P.A.P. Kunstagentur Karlheinz & Renate Hein, s press tonband verlag und zehn neun. Neben Druckgraphiken finden sich Editionen und Multiples verschiedenster Art nebeneinander: von fotografischen Mappenwerken, Plattencover Skulpturen, Videos und Tonkassetten, 16 mm-Filme, bis hin zu eigens an den Raum angepassten Kunstwerken.
"I am interested in the circulation of physical vehicles in the form of editions, because i am interested in the circulation of ideas." Joseph Beuys, Since the beginning of the 1970s, Munich along with New York and London, was leading with regards to editions and multiples. This catalogue shows works from 1968 to today, which were initiated and produced by a.o. dedicated munich galleries and "editeurs". "Made in Munich" shows outstanding works by international as well as german artists a.o. by Georg Baselitz, Joseph Beuys, Marcel Broodthaers, Dan Flavin, Lucio Fontana, Richard Hamilton, Carsten Höller, Jeff Koons, Hermann Nitsch, Blinky Palermo, Gerhard Richter, Dieter Roth and Andy Warhol.
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260 S., 16x11,5 cm, Auflage: 750, ISBN/ISSN 978-2-953934700
Softcover Klappeinband
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Das Buch basiert auf einem Gespräch von Christoph Schifferli, Christophe Daviet-Thery and Jérôme Saint-Loubert Bié über 12 Künstlerbücher.
The same year, in december 2009, Christophe Daviet-Thery asked to Jérôme Saint-Loubert Bié to take care of the catalog even if this book works independently from the exhibition. He invited Jonathan Monk and Yann Sérandour to have a conversation about 12 books: Bruce Nauman, Burning Small Fires, 1968 – Richard Prince, American English, London: Sadie Coles HQ and Cologne: Verlag der Buchhandlung Walther König, 2003 – Wade Guyton, Zeichnungen für ein grosse Bild, Cologne: Verlag der Buchhandlung Walther König, 2010 – Jonathan Monk, Cover Version, London: Book Works, 2004 – Mike Kelley, Reconstructed History, New York: Thea Weistreich and Cologne: Gisela Capitain, 1990 – Allen Ruppersberg, The New Five-Foot Shelf of Books, Brussels: Editions Micheline Szwajcer & Michèle Didier and Ljubljana: International Centre of Graphic Arts, 2003 – Claude Closky, Vacances à Arcachon, Paris: Editions Galerie Jennifer Flay, 2000 – Alejandro Cesarco, Dedications, New York: A.R.T Press, 2003 – Martin Kippenberger, The Happy End of Franz Kafka’s Amerika. Tisch Nr 3, Sankt Georgen: Sammlung Grässling, 1993 – Matt Mullican, Matt Mullican, Valenvia: IVAM Instituto Valenciano de Arte Moderno, 1995 – Batia Suter, Parallel Encyclopedia, Amsterdam: Roma Publications, 2009 – Yann Sérandour, Inside the White Cube: Overprinted Edition, Zurich : JRP Ringier, 2009.
Von der Webseite des Verlegers
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1 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Emailrundbrief, Laserausdruck
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múltiplos is
an independent structure for the dissemination and distribution of artists’ publications.
múltiplos’ actions include the opening of a bookshop in Barcelona, in July
2011, which stocks a national and international catalogue. a distributor of
publications produced in Spain, Portugal and South America. and the conception
and production of projects related to artists’ publications, in collaboration
with other related initiatives.
von der Webseite
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40 S., 28,5x20,5 cm, Auflage: 2.600, numeriert, ISBN/ISSN 20148542
Drahtheftung, Fanzine Deluxe Limited Edition Number
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This is an innovating project with personality..!
Box1466 concept is directly related to new tendencies, being music and visual arts in general the leitmotiv of each issue.
Photography, music, fashion, illustration, drawing, words and fantasies…!
Seeing, looking, reading, watching, listening..
Thanks to all those QR codes you will find in the magazine, you will be directly guided to more information online..!
The new concept of Box1466 is in its interactivity, that made it totally fresh and different to any other publication.
A new endless way to discover, to learn, to find out..
The aim of Box1466 is to transmit and divulge from an original point of view, its contents of interviews and visual proposal of fashion.
Box1466 is an Arty numbered deluxe limited edition independent publication.
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Back Cover #01 graphic design, typography, etc.
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58 S., 28x19,5 cm, ISBN/ISSN 19645392
Drahtheftung. Text
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Back Cover is a French magazine about graphic design and typography. Back Cover is an open place for personalities from all countries who make or analyse our visual environment. Back Cover does not deal with news and does not present portfolios. It contains thoughts, critical or historical analysis and individual or collective experiences in graphic design, typography, illustration and visual arts. Each issue brings together contributions by international actors in the mentioned areas: graphic designers, typographers, art critics and historians, journalists, under different shapes: interviews, diaries, theoretical articles, transcripts of lectures…
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Atlas Issue Number 1 June 2012
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60 S., 29x21,8 cm, Auflage: 100, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Second Edition
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Atlas is the result of many night and days, kilometres and conversations. It's a route along a vast territory through images and words under very personal views. Atlas is the opening of a whole series of publications which pretend to show the things we really like and that call our attention. We welcome you to start this journey and to accompany us as long as this keeps on going.
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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 anlässlich 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 — belonging to different ages — 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 — a human being and an inanimate element — that are capable of a relationship even if they speak a different language. The photographs capture the moment of these encounters, and this is what their distinctive feature consists in. Of course we are not able to listen to the dialogues, but we can still imagine them.
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34 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Verkaufsprospekt, Farbloserkopien nach PDF, Blätter lose ineinander gelegt
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Zur Ausstellung Guy Schraenen Editeur 13 Mars 2014.
Guy Schraenen is the founder of the publishing house Guy Schraenen éditeur and the Archive for Small Press & Communication (A.S.P.C.) and an international known curator, publisher and advisor. Furthermore he is the author of essays and various publications. His many activities are mainly focused on Artists' publications of the various international Avant-garde and independent art movements from the late 1950s until the 1980s. mehr auf der Webseite der Buchhandlung
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Revista de la Fundación Juan March 431
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34 S., 21x14,8 cm, ISBN/ISSN 02104148
Drahtheftung
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Mit einem Beitrag über eine Ausstellung von Künstlerbüchern: Artists’ (Books and Other Publications), 1947-2013, July 23, 2014 – August 30, 2014 (S. 9).
The exhibit also consciously interweaves representative examples of collaborations between visual artists and poets, such as Joan Brossa and Antoni Tàpies’ Novel.la (Sala Gaspar, Barcelona, 1965) and Rafael Alberti and Manuel Millares’ Mutilados de paz (Madrid, 1965).
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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. Artists’ books, ephemera and documents was designed as an addendum to the permanent exhibition of Museu Coleção Berardo, and presents a selection of artists’ books, posters and other ephemera from the Teixeira de Freitas Collection. The exhibition illustrates the range of thought and process that surrounds art making and shows the various forms 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 weißem Papier, Drahtheftung, ein Exemplar ohne Numerierung
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a variation of a SONNET written by Rossetti in 1871, re-written by Carrión in 1972 and subsequently re-written by Pichler since 2009.
It is exploring the materiality of language, how books travel into the world, 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.
Text von der Webseite
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Smell of tiger precedes tiger
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220 S., 25x20 cm, Auflage: 1.000, ISBN/ISSN 9789899776319
Hardcover,
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André Príncipe travelled from Lisbon to Tokyo by land and by sea, with a desire to escape, to go places far away. The initial feelings of uneasiness and alienation fade as empty bars and hotel rooms give place to windows of trains and the vastness of the desert, and return as we approach the Asian big cities. The strongly cinematic sequence was designed to be read from right to left as well as from left to right, expressing the circular aspect of the journey.
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192 S., 24x17 cm, Auflage: 500, keine weiteren Angaben vorhanden
Broschur
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A Nice Magazine is a collaborative platform for emerging and established talent, including work from a group of friends, and names such as Tyrone and Mark Lebon. A space that aims to define a counter culture through imagery and humour, A Nice Magazine rejects seriousness, whilst celebrating collaboration and being young!
Abschlussarbeit bei Central Saint Martins
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144 S., 30x22 cm, Auflage: 350, ISBN/ISSN 978-1-907468209
Broschur mit Klappeinband
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The Nabokov Paper is an experiment in novel-reading. The project takes as its starting point a now famous class taught during the 1950s by Vladimir Nabokov at Cornell University, New York State, entitled Literature 311-312: Masters of European Fiction. Nabokov’s approach to teaching literary reading was notoriously idiosyncratic. Convinced that one must teach the books themselves, not ideas or generalities, Nabokov would make diagrams of the floor plans of fictional buildings, map the routes taken by characters through the spaces of the novel, and draw items of clothing or furniture, he would also propose to track the course of a single letter, offer a visual representation of a stylistic device, and uncover what he called the mysteries of literary structures. His methods are striking for the range of gestures they call for in the name of good reading. The published Lectures on Literature (New York: Harcourt, 1980) concludes with an appendix of sample exam questions. Responding to those questions some sixty years after the fact offers a means to explore what Nabokov’s take on how to read might have to teach us today: about the novel, about how reading works across practices and disciplines, and about the past, present and future forms of literary criticism.
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American Dreaming - The War Years - Ignition 1991-1995
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23x23 cm, ISBN/ISSN 978-3-869303079
Hardcover
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Der 1956 in New York geborene Jerry Spagnoli ist einer der bedeutendsten praktizierenden Künstler der Daguerreotypie und hält über dieses Verfahren regelmäßig Vorträge. Seine Arbeiten wurden bereits in die Bestände des Whitney Museum of American Art in New York, des Museum of Fine Arts in Boston und der National Portrait Gallery in Washington DC aufgenommen.
American Dreaming presents a vision of America from 1990 to 1995. Spagnoli took these photographs with a small Leica camera in the classic manner of street photography and then selected small details from the negatives. The resulting images of gestures, signs, faces and objects are freed from their original contexts and reconfigured. Spagnoli’s subject is the build-up to the First Gulf War, but we see these social and political events at best obliquely as Spagnoli’s version of history is primarily subjective and fragmentary. American Dreaming is the second of Spagnoli’s books in atrilogy about the personal experience of history, the first being Daguerreotypes.
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A Narrow Scene of Hypothetical Circumstances
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[84] S., 29.7x21 cm, Auflage: 600, ISBN/ISSN 9788299789448
Broschur, Hardcover. Persönliches Anschreiben von Sveinn Fannar Johannsson inneliegend
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In the book project A Narrow Scene of Hypothetical Circumstances we access a visual universe revolving around dismembered pieces of familiar objects. Sketches, pictures and materials are united into a steady flow of everyday examination, in which apparent contradictions — painstaking exactitude and violence, empathy and calculation — bubble away beneath the surface. Rearrangement, representation and repression melt together on the border between construction and collapse, with an elegant sense of seriousness.
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OWK 1 - Oi Wraioi Kypraioi. (Die wunderbaren Zyprioten) Culturally aroused art & design dialogues
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16 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, ein Sticker eingelegt. Cover mit Prägedruck. Risographie. In braunem Papierumschlag mit Aufkleber
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OWK is an independent visual library for words and images that create linear or abstract stories providing a structure for publishing and archiving projects. We focus on graphic design, illustration, photography, art and creative writing.
OWK is a Riso print project, meaning that color will fail to present photographs in its purest form. Registration too will fail and colors will be imperfect. It is what it is. An experimental electronic single drum screenprint with its own unique aesthetic and feel.
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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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14 S., 29x13,6 cm, Auflage: 300, keine weiteren Angaben vorhanden
Kunststoff-Heftstreifen, Siebdruck. Einzelblätter und gefaltetes Plakat
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DIY is a timeline of the history of the space occupied by W139. In the form of reportage, replete with interviews, maps, and images from the archive, it takes as its starting point the renovation of the gallery space that was proposed in 2003 and from there reflects on the architecture of the building itself and its changing role within the city of Amsterdam over the years. DIY takes the ostensible form of a calendar and in its design and production embodies the do-it-yourself ethos that is so characteristic of W139. A fold-out map shows where a series of art objects were buried during a performance held before the previous renovation, in 1991.
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4 S., 21x14,9 cm, 2 Stück. keine weiteren Angaben vorhanden
Einladungsflyer, beiliegend ein beidseitig bedrucktes Informationsschreiben zur Ausstellung
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zur Ausstellung vom 21.05.-04.06.2016 im Neo Toum - Neoterismoi Toumazou, Nikosia, Zypern.
He was dancing steadily. He could see the backs of people’s heads moving in the darkness and was aware of the shifting spaces between their bodies. He did not register the music except as a sort of vibration. He felt as if he was dancing in perfect silence. He saw the already dim room growing ever darker around him. He became less conscious of his surroundings and more aware of himself. His introspection grew but his body was now moving automatically, softly cycling through a short loop of set motions. He noticed dust under his feet, and soon the realisation reached him that he was slowly wearing a shallow hole in the wooden floor. His body was locked in an efficient cycle. Before too long he was six inches below floor level, his head parallel with some of the shorter dancers. Yet he could not stop. Gradually he sank deeper into the ground until his face was level with people’s waists. No one noticed, below the eye level of the crowd, he was almost invisible. Presently his eyes came level with the soles of dancing shoes. He could see shards of coloured light flashing through a forest of legs casting jagged shapes across the floor. There were points where soft reflected light shone through looming figures like sunlight into a clearing. Eventually he was entirely submerged. He could look up through the hole and see foreshortened bodies moving above him oblivious to his plight. Still his feet moved, wearing away damp, pungent earth. The vibrations from the music lessened until the dull thump of the kick drum was all that he could feel. When it stopped he realised he too was still, and looking up he saw the sphere of light was gone.
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B.L.A.D. NO. 08 - MUSCLE TEMPLE
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620672
Drahtheftung, Rückseite mit Metallfolienprägung, in transparenter Kunststoffhülle mit beigelegtem Blatt, Aufkleber
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Devoted to body and muscles, this issue of BLAD will explore the fascinating world of bodybuilding. Pictures, articles, ads and other good stuff about a strong and perfect body filled with rock-hard muscles. "Imagine walking through your local beach or neighborhood swimming area… Friends noticing your titanic legs, your manly shoulder, rock hard stomach muscles, and last but not least, your full high-peaked biceps that attract second glances from all." With other words, this issue is for strong and heavy readers!
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CHASM - A BRAND-NEW SEQUENTIAL COLLAGE!!!
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[12] S., 32x21 cm, 2 Teile. keine weiteren Angaben vorhanden
Drahtheftung, Heft und Abfall-Fundobjekte zusammengesteckt und in verschließbarer Plastikhülle, beides in Plastikhülle,
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Die Publikation beinhaltet Collagen, zusammengestellt aus verschiedenem Material, wie Comics, Filme sowie fiktionale und theoretische Schriften. Die einzelnen Seiten können als eigenständige Collagen oder zusammenhängend gelesen werden.
Text aus der Publikation
Erschienen zu einer Veranstaltung bei Circuits 30.10.-31.10.2015: Circuits and Currents is run by students of the Athens School of Fine Arts.
It hosts exhibitions, talks and workshops, bringing together artists , theoreticians and people from other fields. Supported by DAAD Programme: Partnerships with Greek Institutions of Higher Education 2014 – 2016, A Cooperation between the Academy of Fine Art Munich (ADBK) and the Athens School of Fine Arts (ASFA)
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Vinyl - records and covers by artists
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276 S., 26,8x19 cm, ISBN/ISSN 39288761684
Broschur mit Schutzumschlag
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Anlässlich der gleichnamigen Ausstellung im Neuen Museum Weserburg, Bremen, 21.08.-27.11.2005, Museu D'art Contemporani de Barcelona, 17.05.-03.09.2006, Museu Serralves, Porto, Frühjahr 2008.
As creative talents began to design record sleeves, the standard 30 x 30 cm album cover came to be an especially attractive object. Now vinyl has an almost mythic character and real historical value. 'Vinyl' is a detailed catalogue of the collection held by the Archive for Small Press and Communication in the Neues Museum Weserburg in Bremen, which includes not only records and CDs but also books, posters and other objects.
Text von amzn.to/2odxfUv
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Whose Heritage? - Floorplan Papers
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252 S., 19x13,5 cm, Auflage: 500, ISBN/ISSN 978-3-931184087
Broschur
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Whose heritage are we dealing with? With this one-day conference, we want to create an overview of the contemporary discussions on museums dealing with old and new formats of heritage. The morning session has been set up as an informal “World Café”. In this interactive format, the guests are invited to address pertinent topics such as transnationality, transculturality, shared heritage, intellectual property, “Deutungshoheit”, restitution, museological concepts & categorisations and the management of meaning in art and culture. In the afternoon, the conference will bring together honourable guests from the academic and practical museum-fields. The podium is not only dedicated to aspects of how to deal with/handle/encounter so called “other” cultures but also in addressing questions of our own cultural and intellectual heritage. We would like to encourage the audience to participate in the debate.
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dncht #16 - Magazine for Photography, Design und Subculture
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128 S., 18x15 cm, Auflage: 1.000, numeriert, ISBN/ISSN 18681506
Klebebindung
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So, here we are again. dienacht is not just a portfolio magazine, but also a personal project. That's why some personal circumstances lead to the fact that this issue is released much later as it should have been – but now it's here, on the last days of the year 2014!
We have, once again, outstanding photographers and artists, like Birgit Krause and her out-of-this-world-series "Pláně.tes", Jean-Marc Caimi showing a selection from "Daily Bread", Zhe Chen and her painfully intimate diary "The Bearable", the funny childhood memories translated into photography by Vendula Knopová, Magdalena Sawicka's raw but precise illustrations, Elena Montemurro's "Coming of Age" (which is also this issue's cover story) and many more incredible photographers and photobook reviews.
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Experi-MENTAL Festival 7 - An Exploration In Sound and Video
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15,2x10,1 cm, keine weiteren Angaben vorhanden
Karte
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Werbekarte zum Festival vom 01.-04.09.2016 in New York. The festival is run by the Brooklyn based experimental audio/video project Pas Musique and Alrealon Musique. The festival focuses on new and innovative techniques of sound technique and performance. We are focused in developing a network of experimental arts that are supportive of their peers. It is not about ego but about community.
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[56] S., 21x21 cm, Auflage: 1.000, keine weiteren Angaben vorhanden
Drahtheftung
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Ausstellungsprojekt in München, Mostar und Belgrad. Erste Station 12.09.–18.10.2014 "UNDER (DE)CONSRUCTION", Kreativquartier München, kuratiert von Laura Sánchez Serrano. 29.09. - 02.10.2014 "Corovica cuca", Mostar, kuratiert von Anton Bosnjak. 06.10.- 08.10.2014 "ROTONDA", Belgrade Design District, Belgrad, kuratiert von Sandra Filic.
COLLABORATION was a kind of journey of 8 Munich based artists. They made a "tour" from Munich to Mostar and later on to Belgrade and after back again to Munich. In August 2013 and March 2014 they made research in both cities. In May 2015 Iva Kontic and Mihael Milunovic had a one month residdency in Munich and made a project at MaximiliansForum.
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[168] S., 33,5x26,8 cm, ISBN/ISSN 3865211925
Hardcover mit Leineneinband und geprägtem Cover.
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Thirty years ago Bailey decided he wanted to do something un-cast, un-posed and organic. Finally realised over the last three years, Bailey’s Democracy represents the culmination of this vision. Studio visitors were asked if they would agree to be photographed naked. Abandoning issues of framing, composition, backdrop and lighting, each volunteer (mostly strangers and non-celebrities) was treated in exactly the same way. No digital manipulation was applied. This is what Bailey calls his “imposed democracy’. These are naked people – old, young, model perfect, ordinary looking. Naked not nude as Bailey is keen to emphasise. Nude photography is all about the photographer and what he brings to the shot – lighting, prejudices and aesthetics. In contrast naked photography is only about the subject. These are undirected, un-cast images where the sitters chose their own pose.
Text von faggionato.com
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Tupi, or not tupi. Anthropophagische Poesie
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2 S., 9,8x21 cm, keine weiteren Angaben vorhanden
Einladungskarte
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zur Austellung vom 02.03.-15.04.2018 im Kunsttempel, Kassel.
Anthropophagische Poesie ist eine Sprachkunst, die vorhandenes Text- und Bildmaterial verschlingt und anders und neu wieder hervorbringt. Die Ausstellung ist nicht zuletzt eine Hommage an den nordhessischen Seefahrer und Autor Hans Staden (1525-1576), der in Brasilien fast vom Volk der Tupinambá verspeist wurde. Die Zürcher Gruppe and-or mit René Bauer, Beat Suter und Mirjam Weder präsentiert eine Online-Anwendung, mit der sich Tweets durch Buchstaben anfressen lassen, um neue Texte auszuspucken. Jürgen O. Olbrich verkehrt ins Negative, was ihn in jungen Jahren mit Text und Bild gut genährt und belehrt hat. Gregor Weichbrodt schreibt Texte, die Texte aus anderen Texten schreiben. Carola Ruf hat buchstäblich Bücher durchbohrt und die Bohrkerne in Reagenzglasröhren gefüllt. Steffi Jünglingpräsentiert in der Tradition der Schluckbildchen neue Varianten der Esszettel. Und Dagmara Kraus, die am 3. März mit dem Förderpreis Komische Literatur ausgezeichnet wird, zeigt einen Ikonenklon.
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44x30,5 cm, 10 Teile. keine weiteren Angaben vorhanden
Mappe aus Graupappe, 2 Laschen vernäht, eingelegt Druckmuster der geplanten Veröffentlichung, Buchdaten auf Karton, 2 Seiten Informationstext zur Edition, Infoblatt zum Verlag und Zettel mit handschriftlichem Gruß der Verlegerin, alles in Pergaminhülle
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Infomappe zur mehrteiligen Publikation, mit Original-Druckseiten.
Jan von Holleben has constructed a kosmos of six planets with little more than a box of props, a team of willing humans, some clippings from the garden, and his camera. Click, click, click and strange things happen, right before the camera, with no digital manipulation: Ghosts flash through the Berlin cityscape. Plants cast shadows on the sky. Many places gather in the same place at once. The monsters imitate the flowers (or is it the other way around?). Each planet is an optical riddle. The only clues are visual. No answers are provided. This is a book for intrepid discoverers.
Note: the inventor of these planets avoids all references to god and to the cosmos. His kosmos is spelled with a K and is something quite different.
Six variably-sized softcover books housed in a printed and folded portfolio box.
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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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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 architect’s 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 Ishigami’s 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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[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 “paper” for her own text. The room becomes a “written room”. 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 – as an “incomprehensible” 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 Künstlerin.
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The Bermuda Love-Triangle
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[48] S., 8,9x12,2 cm, 2 Stück. ISBN/ISSN 0930257065
Softcover, fadengeheftet, Offset-Druck
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The Bermuda Love-Triangle, from 1988, is Tom Grothus's most elaborate production. The printing is all offset-lithography on quality stock. The black, red, and yellow cover includes some spot varnish highlights. The 24 leaves inside are printed in blue and black ink, for 48 pages of content. Interspersed among the pen-and-ink drawings are several beautiful duotones of pencil and ball-point-pen drawings. Some of the images in this book are like those of a dream that haunts you with an elusive meaning. The common literary thread throughout is a list of various proposed freedoms, such as the "Freedom to Obey Puppets." These may fill in some of the gaps left in the U.S. Constitution by that nation's founding fathers. Editor's Note: Gripping, lovely, haunted, serene, and impeccably surreal, this book of gentle hallucinations defies categorization. You might call them cartoons, but they will make you laugh silently for weeks. This is one of the nicest books we have ever held.
Text von der Website.
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Pussies, Patterns and Portraits
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 011 aus der Reihe 100for10.
David Leitner is a painter and illustrator based in Vienna. Over the last years he has worked with and for various brands and agencies, such as Jung von Matt, Absolut Vodka, Makava, Faux Fox etc. His work has been shown in group and solo shows all over Europe.
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106 S., Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 017 aus der Reihe 100for10.
Tokyo-based photographer born in the south of Brazil. Moved to England as a child and back to Brazil in his teenage years. Started to photograph the things around him from an early age. At the age of 18 left Brazil again to see and experience the world and to find a place he could feel at home. Traveling has always been a strong source of inspiration. Tokyo/Japan has been his current base since 2009. Besides his film photography he is also an art director, production designer and owner and editor-in-chief of the independent JAGR web-magazine.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 024 aus der Reihe 100for10.
Alexander Branczyk, born 1959, studied visual communication at HfG Offenbach in Germany. From 1988 until 1994, he was project manager at Erik Spiekermann’s MetaDesign. Since 1994 Alexander is partner and managing director of xplicit Gesellschaft für visuelle Kommunikation mbH based in Frankfurt/Main and Berlin. In addition he is art director emeritus of the 1990s cult magazine “Frontpage” and founding member of the collaborative type’n’typo project Face2Face. Alexander Branczyk was from 2003 until 2005 professor for typography at the Bauhaus University Weimar and since 2012 at FH Dortmund, University of Applied Sciences and Arts.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-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.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
I am an illustrator, born in Berlin. Now I live and work in small and peaceful Saarbrücken, where I also studied visual communication and teach illustration classes. To draw twisted thoughts in the most simple way, is what I love most. I often draw for magazines, newspapers and musicians. And for fun, of course.
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Coffee, socks and dark matter
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Coffee, socks and dark matter: three answers to a question the author is wondering about since a long time. It is the question which made Faust sign a pact with the devil and which motivated Heisenberg to do research on quantum physics: What holds the world together in it‘s innermost? This book contains a lot of different answers, no matter if they are based on scientific recognition or personal experience. It is all about the world and it‘s wonderful and strange elements.
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100for10 Nr. 082 - 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
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Schwarz-Weiß-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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76 S., 23x16 cm, ISBN/ISSN 978-3-943514865
Broschur, Einband Chromkarton
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This book is published on the occasion of the project Dandilands at Troodos, Cyprus, August 2014 to October 2015. This publication is the unfolding of the first part of Dandilands, an art project in collaboration with visual artists, Marc Bijl, Mustafa Hulusi, Mahony, Jumana Manna, Michelle Padeli, Liliana Porter, Kevin Schmidt, Socratis Socratous, Kostis Velonis, and Carla Zaccagnini, which took place between autumn of 2014-15. A random audience could walk along a circular trail of 7km through a rocky path overlooking wild trees with a view beyond the forest and over the island of Cyprus, and come into contact with a standing sign exhibiting the artists’ work. A sign as both site and object. a place of intention and image. a setting of the social.
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64 S., 21x12,5 cm, ISBN/ISSN 9789072076625
Broschur, Klappumschlag
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The inflationary practice of disclosing personal information both professionally and privately, e.g. in interviews, castings, confessions and psychoanalysis, also has a structural influence on the way in which people present themselves publicly, and the range of formats available for such presentations. Return to Inquiry assembles corresponding scenes from art and theory and proposes a model of confession as cultural technique.
Includes conversations in collaboration with Stephan Geene, Emma Hedditch, Marina Vishmidt.
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OWK 9 - Oi oraioi Kypraioi. (Die wunderbaren Zyprioten) - Engaged objectivity of street life mobility -
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20 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, Prägedruck rechts unten, Risographie.
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Nr. 9, November 2018. Gedruckte Korrektur neben Jahreszahl 2019 in Pink.
OWK is an independent visual library for words and images that create linear or abstract stories providing a structure for publishing and archiving projects. We focus on graphic design, illustration, photography, art and creative writing.
OWK is a Riso print project, meaning that color will fail to present photographs in its purest form. Registration too will fail and colors will be imperfect. It is what it is. An experimental electronic single drum screenprint with its own unique aesthetic and feel.
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Aphroditi i Armonia kai to Asullipto - Aphrodite, l’harmonie et l’inconcevable
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164 S., 28x20,5 cm, Auflage: 2.000, ISBN/ISSN 9602354038
Hardcover, Fadenheftung, mit Schutzumschlag, bedrucktes Cover
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Erscheint anlässlich der Ausstellung Aphrodite, l’harmonie et l’inconcevable, Famagusta Gate in Nikosia, 10.09-28.09.1990.
Aphrodite: Harmony and the Inconceivable and its accompanying symposium (with the particiaption of Xavier Bordes, Demosthenes Davvetas, Michel Deguy, Manos Eleftheriou, Jean-Luc Nancy) create a kind of extended banquet where artists, poets, and philosophers participate in a series of dialogues on the theme of aesthetics and beauty, in what many consider to be the birthplace of Aphrodite.
Organized by the DESTE Foundation in collaboration with the Cypriot Ministry of Education and the Laiki Bank Cultural Center, the project was restaged two months later at the Musée d’Art Moderne, Réfectoire des Jacobins, Toulouse, France.
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968 S., 24x17 cm, ISBN/ISSN 9788837085667
Hardcover, Titel mit partieller Lackierung
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Erscheint anlässlich der Ausstellung “Joseph Beuys – Difesa della Natura”, 13.05.-14.08.2011, Kunsthaus Zürich, herausgegeben von der Züricher Kunstgesellschaft/ Kunsthaus Zürich. 3 Ausgaben, italienisch, deutsch, englisch.
12 May 2011 is the 90th anniversary of the birth of Joseph Beuys (1921-1986), one of the key figures in the artistic scenario of the last century. The Kunsthaus in Zurich is paying tribute to the German master by staging an important international event that forms an integral part of the exhibition entitled “Joseph Beuys – Difesa della Natura” (Joseph Beuys – Defense of Nature), curated by Lucrezia De Domizio Durini and Tobia Bezzola. This book marking the birthday of this German painter and sculptor, who was one of the most authoritative and innovative voices of post-war society, is also being published in English and German. The book, about 1,000 pages long, containing more than 200 illustrations from the historical archive of De Domizio Durini, describes the Living Sculpture which made Beuys famous, together with the historical background that is fundamental to comprehending his thinking and work.
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MONO.KULTUR #36 Ricardo Bofill - The Future of the Past
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48 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, gedruckt auf verschiedenen Papieren
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where to begin with an architect as over the top as Ricardo Bofill, notorious since the 1970s for his vast city-like housing estates that look like surreal experiments in crossbreeding desert caves with Star Wars. an architect who has designed over 1000 projects in the space of five decades, from perfume bottles to city plans, and pretty much everything in between. who has worked in a style – or a hundred styles – that is as unique as it is impossible to describe. who founded a leftist collective that would eventually end up building airport terminals. whose life reads somewhat like a fairytale itself, taking us from fascist Spain under Franco’s rule to the celebrity frenzy of our modern times, with the Bofill clan holding a somewhat unique position among Spanish tabloids? To add any more is to inevitably leave out too much. With mono.kultur, Ricardo Bofill talked about fifty years of architecture, the vagaries of ambition and how Modernism killed the city. Visually, the issue offers a disorienting journey of architectural splendour with plenty of previously unpublished images from the archives of Ricardo Bofill (as well as the odd film still of naked bodies). Using partial high gloss varnish throughout, it is a pleasing juxtaposition of the natural and the artificial, the intellectual and the sexual, the disciplined and the decadent.
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MONO.KULTUR #45 Richard Price - New York A.M.
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52 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, Titel in Silberprägung auf dem Cover, Text und Fotografien auf verschiedenem Papier gedruckt
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When it comes to research, Richard Price adopts a hands-on approach: hanging out in different neighbourhoods, talking to strangers and going for ride-alongs with cops to see a darker side of the city. In many ways, it is this wide-eyed curiosity that allows his books to be read as time capsules of a New York in constant flux, revealing an uncanny understanding for knowing exactly what people want, need, envy and resent about the cities they inhabit. In a conversation peppered with anecdotes and bebop, Richard Price talked to mono.kultur about the need to live in order to write, working for Hollywood, and why hanging out is a professional matter. Visually, the conversation with Richard Price found its perfect sparring partner in a selection of images by cab driver turned photographer Joseph Rodriguez. And, just between us, we are proud to feature our very first ever foil embossed cover, in the honourable tradition of pulp novels.
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[84] S., 21x14,8 cm, Auflage: 150, numeriert, keine weiteren Angaben vorhanden
Spiralbindung, Cover aus roter transparenter Folie
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Fassade Parade is a collection of lost souls of modern aesthetics compiled by Tobias Faisst that stand in strong contrast to pixel-perfect designs and high-end photography.
Tobias Faisst is a photographer and graphic designer. He studied at the FH Potsdam. His photographs create the balancing act between hyperrealism and banality, between surrealism and the overwritten now. Tobias currently lives and works in Berlin.
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SMIS DEAR - Miss Read - The Berlin Art Book Fair 2019 - Conceptual Poetics Day
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82 S., 24x17 cm, Auflage: 2.000, 2 Stück. 4 Teile. ISBN/ISSN 978-3-868741056
Broschur. Mit eingelegtem Programm des Conceptual Poetics Day, von Natalie Czech, Ausstellerverzeichnis und -plan, Postkarte.
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zur Veranstaltung vom 03.-05.05.2019 im Haus der Kulturen der Welt. Gestaltung des Kataloges Moritz Grünke. MISS READ: The Berlin Art Book Fair 2019 will take place on May 3th to 5th at Haus der Kulturen der Welt and will bring together a wide selection of publishers, art periodicals and artists/authors (267+ exhibitors for 2018). In conjunction, the seventh Conceptual Poetics Day will explore the imaginary border between visual art and literature. Founded in 2009, MISS READ is Europe’s major Art Book Festival, dedicated to community-building and creating a public meeting place for discourse around artists’ books, conceptual publications and publishing as practice.
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Spike Art Magazine #16 Summer 2008
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132 S., 28x22,4 cm, ISBN/ISSN 18136281
Softcover, Broschur, Flyer von Monopol eingelegt
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AA Bronson on his “School for Young Shamans” and Joachim Bessing on fashion magazines, collector’s items, and multiples. We show John Bock’s art collection, ask if Berlin needs a kunsthalle, and present Tirdad Zolghadr’s new novel “Softcore”. Franz West talks about the artistic process of creation. Musician Ursula Rucker and the duo “Schnee” discuss the poetical and political in music.
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[72] S., 29,7x22,5 cm, Auflage: 500, ISBN/ISSN 978-3-864851704
Hardcover, fadengeheftet, Cover schwarzer Prägedruck auf blauem Leinen
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he King’s Beards or Hair. As a tribute to Elvis Presley on the occasion of the 40th anniversary of his death, Volker Renner stages the King as a collectible silhouette complete with the beard he never wore. The lips and famous hip swing are missing, but the hairline and above all the forelock are unmistakable. Elvis’s haircut is an early example of the pop icon trademark feature; many other heads would follow. Yet he, too, may have emulated earlier stars—the quiff bears a dangerous resemblance to that sported by Captain Marvel, Jr., an eternally youthful superhero, exactly what Elvis wanted to become and became. Conscious of the fact that Elvis was actually blond, making his hair just as fake as a fake beard, Renner’s game of mistaken identities plays out in color and black-and-white.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 035 aus der Reihe 100for10
Johannes was born, will die in Hamburg/Germany. After graduating at the Musthesius Kunsthochschule in Kiel he designed for several studios (Lo Breier, Neville Brody, Meta Design) before he co-founded FACTOR DESIGN in 1993. Erler stood there for 18 years as partner and creative director. After the breakup in 2010 he co-founded EST (ErlerSkibbeTönsmann) in Hamburg. In 2012 he relaunched famous german magazine STERN and stood there as the art director for three years. Since 2014 he’s back at EST. For his work in corporate design and editorial design Erler received numerous national and international awards. He also is a type designer and an author.
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[50] S., 28x21,5 cm, Auflage: 100 ca., signiert, keine weiteren Angaben vorhanden
geklammerte Fotokopien, ein Blatt als Sticker eingebunden. Kopiert im August 2019
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... If you know me at all, then you know I like to operate where I see vacuums in the culture. Zine El-Arab came about precisely for that reason. This was 2011, a time of great revolutionary upheaval that started in Tunisia, spilled over into Egypt, and kind of spread from there not just in the region but halfway across the world.
By late 2011, there was really no denying the ripples of change pulsating through Cairo. It was evident on the streets, in music, conversations, at art galleries, on television, it was everywhere. But I was growing frustrated that there didn’t seem to be any regular publication that featured the voices of dissent that were otherwise all around you. It felt like there was a rift between everyday voices and what was being published, and how cool would it be if there were at least one? Especially if it were a crude one. ...
... Die Formel war scheinbar ganz einfach. Das Titelbild (von mir erstellt) wurde auf Social Media veröffentlicht und lud Mitwirkende aus dem arabischsprachigen Raum ein, darauf entweder mit Text oder Bild zu antworten (nur S/W). Entsprechende Einreichungen werden ausgewählt und zu einem digitalen Zine zusammengestellt, der als PDF mit detaillierten Anweisungen für Druck und Montage hochgeladen wird. Die Idee war, nicht nur den Inhalt, sondern auch die physische Produktion des Zine zu dezentralisieren, wodurch Mitwirkende und Leser ihre eigenen Kopien drucken und organisch unter ihren Gemeinschaften verbreiten konnten. In Wirklichkeit hatten beide Ausgaben ihre "Launchparties", Ausgabe eins in Makan in Jordanien und Ausgabe zwei in der Townhouse Gallery in Kairo, was bedeutete, dass für jeden Start etwa 100 Exemplare gedruckt und zusammengestellt werden mussten.
Eine Sache, die ich tun wollte, war, die Tatsache zu nutzen, dass jedes Exemplar technisch individuell gedruckt und gebunden wurde. So gab es beispielsweise für die Ausgabe #1 Anweisungen, den Blutfleck manuell auf das Cover zu malen, und im Inneren befand sich eine Seite (mit mehreren Bildern verziert), die für den Druck auf Klebepapier bestimmt war, auf der die Leser ausschneiden und als Aufkleber verwenden konnten.
Es sollte beachtet werden, dass es im Namen der Zine ein kleines Wortspiel gibt. Das Wort "zine" in arabischer Sprache ist die gleiche genaue Schreibweise wie das Wort "zain", was in etwa "das Beste" bedeutet. So schlägt Zine El-Arab nicht nur "die Zine des Arabers" vor, sondern wird gleichzeitig als "das Beste vom Araber" gelesen. ...
Übersetzt mit DeepL
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Foto Innenteil von Ganzeer
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256 S., 24x16 cm, ISBN/ISSN 18676510
Klappbroschur. Cover zum Teil drucklackiert. Verschiedene Papiere.
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Last year, Slanted editor in chief Lars Harmsen visited the Venice Biennale with his students from the Dortmund University of Applied Sciences and Arts, together with students from universities in ltaly, Spain, and Turkey. They worked on the theme Behind the Scene-with the aim of directing the observer's gaze to "the foreign" and "the other," to better define one's own positions, and to breakdown prejudices. ...
For this issue, we invited over 300 designers, authors, and activists from all over Europe. As Jonny Leya (Traumnovelle) says, we "really don't
want to imagine a Europe divided again, even if it's the direction being taken everywhere ... So let's try to be more involved."
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7,5x7,5 cm, keine weiteren Angaben vorhanden
Button
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MOON NOT WAR (founded in February 2018) are Anna McCarthy, Antenne Danger, Ruben Granados-Hughes and Shino Plum. In M.N.W McCarthy writes and sings texts about borderline sexual experiences accompanied by a humming and creaky bass, while Danger‘s hypnotic choral singing with an epic keyboard sound reminds of Morricone and Beak, Granados hits the drums as if it was a piece of meat and Plum underscores it all with minimal guitar, giving goose bumps.
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Small Publishers Fair 2019 - Key to Publishers
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[2] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Einzelblatt
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Ausstellerliste und Hallenplan mit den Ständen zur Messe vom 15.-16.11.2019 in der Conway Hall, Red Lion Square, London WC1R 4RL.
The Small Publishers Fair is the annual gathering of small press publishers, writers, artists, poets and book designers. 65 publishers from across the UK and around the world together with a featured exhibition, readings and talks in the historic Conway Hall, the centre of humanism and literary Bloomsbury. FREE ENTRY
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Small Publishers Fair 2019
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16 S., 21x14,7 cm, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung
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Katalog zur Messe vom 15.-16.11.2019 in der Conway Hall, Red Lion Square, London WC1R 4RL.
The Small Publishers Fair is the annual gathering of small press publishers, writers, artists, poets and book designers. 65 publishers from across the UK and around the world together with a featured exhibition, readings and talks in the historic Conway Hall, the centre of humanism and literary Bloomsbury. FREE ENTRY
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Small Publishers Fair 2019
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[2] S., 14,8x21 cm, 2 Stück. keine weiteren Angaben vorhanden
Postkarte
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Werbekarte zur Messe vom 15.-16.11.2019 in der Conway Hall, Red Lion Square, London WC1R 4RL.
The Small Publishers Fair is the annual gathering of small press publishers, writers, artists, poets and book designers. 65 publishers from across the UK and around the world together with a featured exhibition, readings and talks in the historic Conway Hall, the centre of humanism and literary Bloomsbury. FREE ENTRY
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Reflections on Art. A source book of writings by artists, critics, & philosophers
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364 S., 20x13,3 cm, keine weiteren Angaben vorhanden
Broschur, ehem. Bibliotheksexemplar, Aufkleber am Rücken
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1. Auflage 1958, Johns Hopkins Press;
"The purpose of this book is to bring together some of the many significant essays on art that have appeared within the last five or six decades, in widely scattered publications, and make them available to readers of English, especially readers who have no great library at their disposal. This is not an anthology intended to give students a survey of trends and schools in aesthetics; it does not offer representative statements of current views. It is a source book to serve independent study on the part of scholars and fairly advanced students in philosophy of art, and those excellent teachers of the arts -- of painting and sculpture, music, dance, literature, or whatever else -- who do their own thinking about basic principles." (Introduction)
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The Artists' Colouring Book of ABCs
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[60] S., 36,3x26,4 cm, ISBN/ISSN 9780957156012
Broschur, Softcover, Aufkleber auf dem Cover
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The Artists Colouring Book Of ABCs is the brainchild of Charlotte Colbert, Alix Janta and Lauren Jones. Born of the desire to introduce a new audience to main figures of contemporary art and create a dialogue between artists and a younger generation, it opens up the world of creativity, allowing all to re-visit and reinvent our ABC’s. A fun way for anywone to subvert, re-imagine and enter a conversation with leading artists of our generation, this book is yours to make.
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Arts of the Working Class No. 05 - Unchain change
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56 S., 35,2x25,8 cm, 2 Stück. keine weiteren Angaben vorhanden
Lose ineinander gelegte Blätter, Druck auf Zeitungspapier.
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With UNCHAIN CHANGE we seek to develop awareness of presences and practices beyond the hegemonic, and this is how our body turns against the contours of its shadow that distresses the world with its opacities. The issue at hand contains academic texts, activist manifestos, Creole stories, fables of millennials, internet manuals, and once again welcomes the cacophony of styles, convictions and vibrations on which our movement is grounded. We aim, above all, to heal the abyss between art and society.
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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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Die Notwendigkeit der Notwendigkeit
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31,2x31,4 cm, keine weiteren Angaben vorhanden
Schallplatte in schwarzer Papierhülle und beidseitig bedrucktes gefaltetes Poster mit Liedtexten in LP-Hülle
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Running by the name of PAAR, three German artists forged their public personae to one sonic canvas to paint their musical visions in sound. Soaked in layers of New Wave and post-punk, swathed by modern electronic sounds and experimental punk, PAAR have created a musical body consisting of beats and synths, refined with steady textures of guitar and bass, sanded with distinctive lyrics and vocals.
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Cry Minami - Mechanical Brides - The 9th Most Popular Tweet
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[100 ca.] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, drei Hefte, Banderole
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The title of series ‹Mechanical Brides› refers to an early book by Marshall McLuhan with the same title. It deals with questions about newspapers, comics, and advertisements and also reflects the role of women in popular culture. With the camera I was taking lots of photos from billboards showing portraits of women in Japan, America and Europe. These image are interesting as these models become role models for a lot of women. I worked on some of these images and produced stickers which I put back into the streets — to react on advertising companies putting into the streets and public spaces to claim back these spaces.
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[48] S., 32x22 cm, Auflage: 500, 5 Teile. ISBN/ISSN 9788461723997
Klappumschlag, Fadenheftung. Buchlaufkarte eingelegt. Zwei Seiten sind aufklappbar. Vier Werbekarten zum Buch beiliegend.
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I have always thought that arriving to a certain age, we become invisible, towards ourselves and towards the rest of the people. The project Viv(r)e la vie! pays homage to those who decide not to become invisible, to those who continue to live “in the moment”. With curiosity, being the main character of their lives and surrounded by family or friends.
Photographs of couples in profile before a wide coniferous landscape in three planes: landscape representing the power of vital force, of immortality.
Couples of a certain age, people barely seen socially, but who have not stopped living life fully and whose close relation is photographed in the outing dances of their area. The photographs give visibility to people that, for a certain time, have lacked such visibility. This series, at the same time, documents the cultural diversity that exists between different cities and countries: Guadalajara, Spain; Philadelphia, USA; Pirkanmaa, Finland and Leyte, Philippines. This project would like to honor those that live life fully, those people that are reaching a mature age, but remain active.
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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. That’s probably the only reason why I didn’t 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 wasn’t that. I mean, it’s 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 he’d drag me out of any decent party if he found scenty sticks near the toilet. That kind of thing drove him nuts. It’s 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 didn’t 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. It’s 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 “role model” in France?) is the only text you can make out other than mine. You’re 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. It’s an awareness of being sloppy that is so aware, it’s no longer sloppy. A man standing with his fist held high. He’s 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 there’s the picture abutting it of a woman holding out her bra. We are meant to take it. She’s offering it to us. Go ahead. She wants you to.
And then there’s the spooning bodies with their tube socks in a wad next to… a bed. A solar bed. You got it? This book is brown sugar. Stinky Swiss cheese. Bad, bad, good, good.
April von Stauffenberg
Text von der Verlagsseite
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Persimone - Ein Melodrama in zehn Akten.
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21,5x13,9 cm, 2 Teile. keine weiteren Angaben vorhanden
Musikkassette mit Papphülle (Büroklammer) und Kärtchen mit Downloadcode in gelblichem Seidenpapier eingewickelt. Karte
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Zur Ausstellung und installativen Soundarbeit im Kunstpavillon 10.-26.06.2022
Persimone, the fog princess, stringing up sounds, like beads on a thread. Her cheeks are flushed and her hair is dampened by the mist as she climbs through crevices of confusion. Melodrama cut up, rearranged and glued into roughly packaged collages. Unmixed and raw, the sounds guide her endeavors, like soft April sneezes. The pollen girls are awakened by the winds, sadness slivers its way through organ patches and sex appeal crawls up all six strings. Alas, the night, in two brackets, holding time and place together, keeping her safe.
Text von der Webseite
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colophon No. 03 - Journalbild
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36 S., 29,7x21 cm, Auflage: 300, numeriert, ISBN/ISSN 9783947250486
Fadenheftung, mehrfarbiger Risodruck
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Publikation der Akademie der Bildenden Künste München und des Kunsthistorischen Instituts der LMU München
The starting point is a cooperative seminar between the Academy of Fine Arts Munich and the Institute for Art History at the LMU Munich. Focused on the use of photography in newspapers and magazines, participants asked questions such as: Which photographs are published in newspapers and magazines? What is the status of the images in each case? How are they arranged and classified, how do they relate to the text? What has changed in comparison to (the very) past, and what is the significance of digitization in this context? In addition to these questions the seminar also examined artistic works that focus on the field of print media.
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28 S., 14,8x14,8 cm, ISBN/ISSN 978-3-940548-30-6
Drahtheftung, in Transparenthülle
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Macro visions, abstract objects, alien and utopian worlds, every day material, densed and loose structures, dots and lines, as well as the drawing process in itself make one bounce back and forth between a narrative coherence and a journey into the unknow
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NASU 08 - La Lude / La Sonde
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13x13 cm, keine weiteren Angaben vorhanden
Musik-CD in gefalteter Papphülle mit Beiblatt in transparenter Kunststoffhülle, cover art: Claudio Pfeifer
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music by Christophe Bailleau and friends.
La Lude, La Sonde was composed for the performance ´La Sonde´ by Christophe Bailleau and Martine Viale. The performance was held at the city sonics festival 2006 (Mons, Belgium) and at Le festival d'avignon from July 10th to 20th 2006.
Martine Viale lives and works in Montreal, Canada. His work is mainly inspired by traditional Butoh dance. Mixed with his very own style his shows are a new and fresh vision in contemporary dance.
Each performance is a unique improvisation, since the body perceives it´s surrounding differently every time
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1 S., 9x13,7 cm, keine weiteren Angaben vorhanden
Postkarte, beidseitig bedruckt, mit Künstlerbriefmarke
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Einsendeaufruf. Please send 100 of your own artist's postage stamps along with a dismounted rubber stamp cancellation and if you desire, a statement concerning your involvement with artist's stamps. Each participant will receive a copy of the compilation.
Text von der Postkarte.
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368 S., 225x140 cm, Auflage: 365, numeriert, signiert, keine weiteren Angaben vorhanden
Broschur, innen Schwarz-Weiß-Druck, Malbuch
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Jeppe’s idea is an interactive diary. The artist's daily ritual of using water color to express his daily moods has translated into an interactive artist book that encourages the reader to express their feelings. Interact upon 365 pages for a year in this diaristic artist book, reveal your feelings, desires and expressions that illustrate you best.
Text von der Webseite
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Artist Books for a Global World
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96 S., 33,7x22,6 cm, ISBN/ISSN 978-3-775717373
Hardcover
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Edited by Chapin Library of Williams College, Williamstown, texts by Robert L. Volz, Wayne G. Hammond.
The books from the Kaldewey Press are important documents of contemporary bookmaking that have been featured in exhibitions all over the world. Since the 1985 founding of his handpress, which Gunnar A. Kaldewey set up in Poestenkill, in upstate New York, over sixty unique artist books have been produced in cooperation with artists such as Jonathan Lasker, Mischa Kuball, or Richard Tuttle. Among the authors are famous names such as Samuel Beckett, Paul Celan, Marguerite Duras, and James Joyce. Published in small limited editions, the books are produced according to the highest level of craftsmanship. Kaldewey does the typesetting and prints the books, sometimes making the paper himself, too. The bookbinding is done by renowned workshops such as Christian Zwang's in Hamburg, or Jean de Gonet's in Paris.
This bibliophilic book is a catalogue raisonné of the books published to date by the press
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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 weißer Schrift auf dem Buchrücken. 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.
Text von der Webseite
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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 artists’ books activity includes: collections, courses, dealers, publishers, galleries, centres, bookshops, libraries, artist-led projects, organisations, societies, print studios, fairs, festivals and competitions.
In the Artists’ Books Listings section you can also find 537 examples of new artists’ 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.
Text von der Webseite
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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 poem’s 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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Beyond Beat 2018 Mailart Exhibition
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28x43,2 cm, 18 Teile. keine weiteren Angaben vorhanden
Briefumschlag, mehrfach gestempelt, ein Bogen mit 16 Künstlerbriefmarken, perforiert, gestempelt, ein Plakat, beidseitig bedruckt
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Material zur Mailart Ausstellung 2018. Mailart exhibition celebrating the Beat Generation and Beat culture past, present and beyond. Beyond Baroque Literary Arts Center, Venice, CA, 08.03.-12.03.2018.
Text vom Plakat.
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Artist Lecture Series Vienna Conversations - Chadwick Rantanen with Ezara Spangl and Rainer Spangl, 14. September 2017
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24 S., 21x14,8 cm, ISBN/ISSN 978-3-950449945
Drahtheftung
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On the occasion of his exhibition "Ward" Chadwick Rantanen spoke with Ezara Spangl and Rainer Spangl at the Secession on September 14, 2017.
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Lehren und lernen als Auffuehrungskünste - Teaching and learning as performing arts
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231 S., 21x27 cm, keine weiteren Angaben vorhanden
Softcover mit Spiralbindung aus Metall. Mit Anstreichungen in Schwarz u. Rot und (Kinder?)zeichnungen mit blauem Filzstift. S. 17/18 lose
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Long out-of-print since its first edition in 1970, Robert Filliou's 'work in continuous progress' remains an essential primer to the artist's still radical ideas on participatory art making and teaching. Along with extensive writing by Filliou, the book includes interviews with numerous artists close to him, such as Joseph Beuys, George Brecht, John Cage, Dorothy Iannone, Allan Kaprow and Diter Rot.
(Text von der Webseite)
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Lehren und Lernen als Auffuehrungskünste - Teaching and learning as performing arts
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231 S., 21x27 cm, 2 Stück. keine weiteren Angaben vorhanden
Softcover mit Spiralbindung aus Metall
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Long out-of-print since its first edition in 1970, Robert Filliou's 'work in continuous progress' remains an essential primer to the artist's still radical ideas on participatory art making and teaching. Along with extensive writing by Filliou, the book includes interviews with numerous artists close to him, such as Joseph Beuys, George Brecht, John Cage, Dorothy Iannone, Allan Kaprow and Diter Rot.
(Text von der Webseite)
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32 S., 21x14,8 cm, Auflage: 11 + 33, numeriert, ISBN/ISSN 2223845X
Drahtheftung
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PANEL is an artist magazine from Vienna. Our intent is to have a platform for young artists who work in different disciplines, and bring them together. Instead of heaving a showroom, we ask people in our surrounding, who interest us, for their contribution.
Each issue presents around 13 works, in an edition of 100 copies, printed in colour in A5. New releases are published 2 to 3 times a year and sold in selected bookshops around Europe and the US
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Young, Fresh and Relevant Issue 2
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32 S., 21x14,8 cm, Auflage: 200, keine weiteren Angaben vorhanden
Laserprint, Drahtheftung, material 314
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'Young, Fresh and Relevant' is an ongoing, open submission journal exploring the concept of artist writing. The journal is in English and is partly translated into German
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Toiletpaper 04 November 2011
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44 S., 29x22,5 cm, ISBN/ISSN 978-1-935202783
Softcover Drahtheftung
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Specially created by Maurizio Cattelan in collaboration with fellow countryman Pierpaolo Ferrari for Cattelan's major retrospective at the Guggenheim Museum in New York City, Toilet Paper 4 is a brilliant new creation from the aberrant, animated mind of the Italian-born provocateur, mischief-maker and macabre witness to our times. Published by Deste, this part artist's book, part magazine contains no text. only full spreads of color photographs with imagery that often appropriates the slick production values of commercial photography to deliver dreamlike (or nightmarish) images that are as appropriate for the coffee table as they are for the WC. In an interview with Vogue Italia, Ferrari said that "the magazine springs from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst."
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Toiletpaper 05 February 2012
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44 S., 29x22,5 cm, ISBN/ISSN 978-2-840665311
Softcover Drahtheftung
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Made by Maurizio Cattelan in collaboration with fellow countryman Pierpaolo Ferrari, Toilet Paper 5 is a brilliant new creation from the aberrant, animated mind of the Italian-born provocateur, mischief-maker and macabre witness to our times. Published by Le Dictateur, this part artist's book, part magazine contains no text. only full spreads of color photographs with imagery that often appropriates the slick production values of commercial photography to deliver dreamlike (or nightmarish) images that are as appropriate for the coffee table as they are for the WC. In an interview with Vogue Italia, Ferrari said that "the magazine is born of a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, often a simple one, and through a complex orchestration of people becomes the materialization of the artists' mental outburst."
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