Dorothee Böhm, Petra Lange-Berndt, Dietmar Rübel (Eds.)A World of Wild Doubt
Contributions by Dorothee Böhm, Joachim Koester, Petra Lange-Berndt,
Dietmar Rübel, Suzanne Treister, Florian Waldvogel, Slavoj Žižek
The starting point of this exhibition and subsequent publication is the novel The Man Who Was Thursday
by British poet G. K. Chesterton from 1908. This mysterious crime story
about a seven-headed anarchist council, which consists of spies from
the London secret police, addresses a world in a permanent state of
emergency. Yet in the end, the real danger emanates from artists and
intellectuals. The text weaves an unsettling web out of surveillance and
anxieties, takes unexpected metaphysical turns and ends in utter chaos.
Nothing less than the question of what constitutes genuine anarchy is
negotiated. Are the policemen who defend law and order the real
anarchists? Is the law necessarily based on the act of its
transgression?
The atmospheres conjured up in the book, ranging
from discomfort to paranoia, resonate in many ways with the present. In a
time when the German intelligence service enables assassinations by
neo-Nazis, or criminal banksters loot globalized financial markets,
political-philosophical ambiguity, as described by Chesterton with its
causes and consequences, is as red hot as the question of whether a
system can be reformed from within or has to be detonated by a coming
insurrection. Thus, the exhibition and book fuse the skepticism of
classical modernity toward absolute freedom with contemporary attitudes.
Additionally, the curators and editors have formulated a criticism of
the dominance of neoliberal and plutocratic models of society. But The Man Who Was Thursday is also a defense of nonsense. And this denial of logic is taken very seriously, considering that the novel’s subtitle reads: A Nightmare. This pessimistic, anti-modernist tenor is countered by the liberating forces of artistic practices without being escapist.
The catalogue is published on the occasion of the eponymous exhibition at Kunstverein Hamburg, January 26–April 14, 2013.
With
works by Thomas Bechinger, Robert Crumb, Jeremy Deller, James Ensor,
Tessa Farmer, Andreas Fischer, Gilbert & George, Rodney Graham, Mike
Kelley, Joachim Koester, Mark Lombardi, Cildo Meireles, Olaf Metzel,
Wilhelm Mundt, Bruce Nauman, Tony Oursler, Gregor Schneider, Marten
Schech, Max Schulze, Andreas Slominski, Rolf Stieger, Suzanne Treister,
Félix Vallotton, Lawrence Weiner, Stephen Willats, et al.
Copublished with Kunstverein Hamburg; in collaboration with Michael Liebelt & The London Thursday Institute
Design by Christoph Steinegger/Interkool
March 2013, English/German
16 x 23 cm, 216 pages, 182 color ills., softcover
ISBN 978-3-943365-66-5
€22.00
Charlotte Birnbaum On the Table
Pies, Pâtés, and Pastries
Pies,
pâtés, and pastries are the noblest of foods. Their inner life is always
a secret; their outer form, a sculpture. No other dishes are so well
suited to surprises and culinary amusements. In her enchanting and
historically enlightening little book, Charlotte Birnbaum traces the
life of such delicacies through diverse cultures and traditions. Here,
wondrous anecdotes of noblemen and farmers alike are woven together,
each accompanied by toothsome recipes.
With illustrations by Christa Näher
Translated by Nicholas Grindell
Design by Harald Pridgar
February 2013, English
11 x 18 cm, 132 pages, 10 color and 5 b/w ill., hardcover
ISBN 978-3-943365-31-3
€18.00
T. J. Demos Return to the Postcolony
Specters of Colonialism in Contemporary Art
In the wake of failed states, growing economic and political
inequality, and the ongoing US- and NATO-led wars for resources,
security, and economic dominance worldwide, contemporary artists are
revisiting former European colonies, considering past injustices as they
haunt the living yet remain repressed in European consciousness. With
great timeliness, projects by Sven Augustijnen, Vincent Meessen, Zarina
Bhimji, Renzo Martens, and Pieter Hugo have emerged during the fiftieth
anniversary of independence for many African countries, inspiring a kind
of “reverse migration”—a return to the postcolony, which drives an
ethico-political as well as aesthetic set of imperatives: to learn to
live with ghosts, and to do so more justly.
T. J. Demos
places contemporary art within the context of neoliberal globalization
and what scholars have referred to as the “colonial present.” The
analysis is complex and provocative, both for an understanding of the
historical material as well as for the contemporary theoretical
discourse. Return to the Postcolony is one of the most ambitious,
intelligent, and readable texts on contemporary art related to the
African context that I have read.
—Alexander Alberro, author of Conceptual Art and the Politics of Publicity
The
specters of colonialism continue to haunt the current global order. Far
removed from universalist and ultimately empty demands for a “global
art history,” T. J. Demos uses particular cases to explore the false
universality of “globalization” as we know it. This is art writing at
its best: determinate and determined.
—Sven Lütticken, author of Idols of the Market: Modern Iconoclasm and the Fundamentalist SpectacleDesign by Kummer & Herrman
February 2013, English
14 x 21 cm, 176 pages, 53 color ill., softcover
ISBN 978-3-943365-42-9
€19.00
Jos de Gruyter & Harald Thys Optimundus
M HKA 08 02 13 - 19 05 13
Edited by Nav Haq
With texts by Nav Haq, Jennifer Krasinski, Dieter Roelstraete, Michael Van den Abeele, Peter Wächtler
Jos
de Gruyter & Harald Thys’s art casts a merciless perspective on
reality. Through their numerous artistic approaches—including
installations, video, drawing, sculpture, performance, and
photographs—the artist duo visualize their imaginings of the parallel
world inherent within the modern human psyche, along with how it
manifests itself in the everyday aspects of life and civic conformity.
Everything from work, leisure, and family, to social class, masculinity,
and marginalization are envisaged through convening an unlikely cast of
nonprofessional actors, family members, friends, beards, objects, and
mannequins alike, often in banal, homespun settings rife with awkward
power dynamics.
This book accompanies their major exhibition at M
HKA of the same title—the term they use for their particular conception
of the parallel world. Narratives and criticism by Michael Van den
Abeele, Nav Haq, Jennifer Krasinksi, Dieter Roelstraete, and artist
Peter Wächtler are presented along with photos, drawings, and text
illustrating the unsteady barriers and tense contact between
“Optimundus” and the real world.
Copublished with M HKA and Kunsthalle Wien
February 2013, English
18 x 24 cm, 68 pages, 6 b/w and 17 color ills., softcover
ISBN 978-3-943365-53-5
€19.00
Marcel Duchamp/Ulf LindeDe ou par Marcel Duchamp par Ulf Linde
Edited by Jan Åman and Daniel Birnbaum
Contributions by Jan Åman, Daniel Birnbaum, Marcel Duchamp, Ulf Linde, Henrik Samuelsson, Susanna Slöör
In 1961, Ulf Linde produced the first authorized copy of Marcel Duchamp’s monumental piece, The Bride Stripped Bare by her Bachelors, Even
(1915–23), and Linde is without doubt one of the world’s most important
interpreters of Marcel Duchamp’s art. For more than half a century, he
has pursued intense studies of Duchamp’s entire oeuvre and has made
perfect replicas of all his major works. Like no one else, he knows the
works in minute detail.
Linde’s replicas and his early texts on
Duchamp were essential to the international reception of the artist’s
work and played a key role in such major exhibitions as Walter Hopps’s
1963 Duchamp retrospective at the Pasadena Art Museum, and the Centre
Pompidou’s opening exhibition in 1977. Linde, who is still as active as
ever, is the author of numerous books and essays on Duchamp. His as-yet
unpublished manuscript scrutinizing the mathematical principles behind
Duchamp’s art reveals what Linde claims to be the key to Marcel
Duchamp’s poetic universe.
Produced by Academie Anartiste as an
extension of the eponymous exhibition organized by the Royal Swedish
Academy of Fine Arts and Moderna Museet in 2011.
Design by Oskar Svensson/Pjadad, Atelier Slice
February 2013, English
21 x 28 cm, 276 pages, 59 color and 151 b/w ill., hardcover, cloth binding
ISBN 978-3-943365-46-7
€40.00
Mai Abu ElDahab (Ed.) Behave Like an Audience
With
lyrics by Guy Ben-Ner, Mariana Castillo Deball, Dexter Sinister,
Patricia Esquivias, Sharon Hayes, Hassan Khan, and Michael Portnoy
All songs composed and performed by Concert (Chris Evans, Morten Norbye Halvorsen, and Benjamin Seror)
Intimate
late night conversations among friends often find drunken answers to
everything, and are replaced in the morning by a hazy joyful mist where
the specifics are all forgotten. Throughout my five years at Objectif
Exhibitions, I shared many of those nights with the artists I’ve
commissioned here to write and perform the songs on this record, and it
is this mix of desire and enthusiasm we’ve put into making this record.
Adding one final adventure to those moments, Behave Like an Audience is another last last drink...
—Mai Abu ElDahab
Design by Will Holder
January 2013, English
25.4 x 25.4 cm, 10“ LP
ISBN 978-3-943365-56-6
€29.00
Apolonija Šušteršič Selected Projects, 1995–2012
Edited by Peio Aguirre
With texts by Peio Aguirre, Jane Rendell, Apolonija Šušteršič, and a contribution by Dan Graham
Published
on the occasion of her project at MUSAC Museo de Arte Contemporáneo in
León (January–June 2013), this publication offers the first
comprehensive survey on the work of Slovenian artist/architect Apolonija
Šušteršič. Through a selection of projects spanning from 1995 to 2012,
this monograph shows the methodologies and strategies of an artist whose
practice touches on different aesthetical and political tendencies such
as Conceptual art, Contextualism, institutional critique, and
relational aesthetics. As an architect and artist, her work engages
processes from both fields as well as applied design and other social
sciences. Šušteršič’s project can be described as putting into practice a
“politics in space.” A “transdisciplinary,” collaborative approach as
such, it is absolutely indispensable when analyzing contexts as
variegated as urban life, art museums, and other institutions and social
spaces. Apolonija Šušteršič’s artistic research combines theory and
practice to pursue a method of reflection in which a momentary situation
of critique leads to activate constructive alternatives and spaces for
hope.
Design by Maite Zabaleta
January 2013, English/Spanish
20 x 27 cm, 152 pages, 161 color ill., softcover
ISBN 978-3-943365-54-2
€29.00
Clara Meister (Ed.)Compilation of Translations: One Year at Ludlow 38
Texts by Andrew Berardini, Jean-Baptiste Decavèle, Isobel
Harbison, Lucy Ives, Graham Parker, Barry Schwabsky, Helena
Sidiropoulos, Antje Stahl, Paul Stephens; interviews with Bo Christian
Larsson, some of the members of A Dog Republic, Maria Loboda
The publication gives an overview of the 2012 curatorial year at MINI/Goethe-Institut Curatorial Residencies Ludlow 38. Curatorial
resident Clara Meister’s program focused on different concepts of
translation, bringing together an interdisciplinary exhibition program
based on the assumption that artistic ideas can be translated into
disparate forms and therefore can take varying modes of expression. Four
solo exhibitions with Natalie Czech, Bo Christian Larsson, Saâdane
Afif, and Maria Loboda, as well as a collaborative project with A
Dog Republic (Jean-Baptiste Decavèle, Nico Dockx, Yona Friedman, Helena
Sidiropoulos, Krist Torfs) were accompanied by small poster
publications, which constitute the individual chapters of the book.
Writers, artists, and thinkers were invited to contribute playful essays
that were either a source of inspiration for the exhibition or linked
to its ideas.
Design by Quentin Walesch
December 2012, English
11 x 17.5 cm, 298 pages, 43 b/w, 57 color ill., softcover
ISBN 978-3-943365-57-3
€15.00
Jorge Pardo Tecoh
Edited by Alex Coles
With texts by Alex Coles, Michael Govan, Claudia Madrazo
Tecoh
is a sprawling series of buildings designed by the artist Jorge Pardo
deep in the Yucatán jungle. Taking over six years to fabricate, and
engaging existing ruins of a nineteenth-century hacienda, the project is
by far the artist’s most ambitious work to date. This book offers the
only available glimpse of the project, as it was primarily conceived as a
private residence. Over 100 color images choreograph the reader around
the myriad buildings and landscaping that constitute Tecoh—from
subterranean concrete forms peaking out of the wild jungle grasses to
quiet details of tiles and furniture to Pardo’s iconic bulbous lamps.
Michael Govan, director of LACMA, provides an introduction and sets Tecoh
within a deeper history of his dialogue with the artist, beginning in
2000 with Pardo’s installation at Dia:Chelsea. Alex Coles describes a
critical framework in which to interpret the project, while Claudia
Madrazo, the work’s commissioner, contextualizes the project in her
afterword. A series of three extended conversations between Pardo and
Coles explores the issues of site, historical precedents, and reception
that Tecoh brings into focus.
Design by Surface, Frankfurt am Main/Berlin
December 2012, English/Spanish
22.5 x 28.8 cm, 184 pages, 119 color ills., hardcover
ISBN 978-3-943365-44-3
€39.00
Beatrice Gibson The Tiger's Mind
In
2010, a production process was instigated by filmmaker Beatrice Gibson
and typographer Will Holder, with the intention of using British
composer Cornelius Cardew’s musical score The Tiger’s Mind as a
means of producing speech. Since the score concerns the changing
relations between six characters in production, practitioners from other
fields (musicians and visual artists) were invited to three
conversations at Künstlerhaus Stuttgart, Kunstverein in Amsterdam, and
CAC Brétigny.
After each conversation, a printed document was
made and distributed amongst the characters, to serve as a score for
subsequent conversations. Any other ends would be found in conversation.
After some time it became clear that a film would be made: Beatrice
Gibson’s The Tiger’s Mind. This book is a document of its making.
December 2012, English
20.5 x 26.8 cm, 144 pages, 63 b/w ills., softcover
ISBN 978-3-943365-50-4
€22.00
Sharon Lockhart Sharon Lockhart | Noa Eshkol
Edited by Eva Wilson, Daniela Zyman
Texts
by Walead Beshty, Ramsay Burt, Ifat Finkelman, Martina Leeker, Steve
Paxton, Howard Singerman, Noémie Solomon, Eva Wilson, Daniela Zyman
The catalog Sharon Lockhart | Noa Eshkol
accompanies the eponymous exhibition at TBA21 – Augarten in Vienna by
Sharon Lockhart (November 23, 2012–February 24, 2013) which consists of a
complex installation of videos, photographs, and archival material,
composing a subtle and sensuous portrait of the Israeli choreographer,
dancer, researcher, and textile artist Noa Eshkol (1924–2007). The book
features nine essays, installation photographs of the works on show,
film stills, archival material from the Noa Eshkol Foundation
(notations, journals, notes), and wall carpets by Noa Eshkol.
Copublished with Thyssen-Bornemisza Art Contemporary
Design by Sara Hartman, John McCusker
December 2012, English
23 x 29.5 cm, 176 pages, 65 color and 36 b/w ill., softcover
ISBN 978-3-943365-55-9
€35.00
Stuart Bailey, Angie Keefer, David Reinfurt (Eds.) Bulletins of the Serving Library #4
Contributions by Albert Angelo, Mark Beasley, Rhea Dall and
Charlotte Johannesson, Dexter Bang Sinister, Diedrich Diederichsen, The
Digital Theatre, Hollis Frampton, Lars Bang Larsen, Francis McKee,
Malcolm Mooney and Jan Verwoert, Rob Giampietro
This bulletin annotates a projected wall text (shown on the cover)
that introduced the research program “Dexter Bang Sinister” at Kunsthal
Charlottenborg, Copenhagen. Devised by Stuart Bailey, Lars Bang Larsen,
Angie Keefer, and David Reinfurt, the program, like this bulletin, was
based on Larsen’s just-completed PhD dissertation at the University of
Copenhagen, A History of Irritated Material: Psychedelic Concepts in Neo-Avantgarde Art. The idea was to contrive a popular version of his academic thesis by editing it psychedelically.
This
might sound simple, or at least simple-minded, as a textual exercise in
psychedelia’s familiar imperatives: Jimi Hendrix’s “Are you
experienced?,” Ken Kesey’s “Did you pass the Acid Test?,” or Timothy
Leary’s “Turn on, tune in, drop out.” But the irony of psychedelic
essences and injunctions should be lost on no one. It’s the
self-contradictory voice of the psychedelic police, and on this beat
you’ll always find a policeman who enforces a multicolored patriarchal
law: “LSD ID, please—we need to check how free you really are ...” This
is hardly a new nor a very profound observation, just transgression’s
age-old contradiction: the necessity of invoking the law in order to sin
against it.
The real irony, though, is how the law
returns to psychedelia in the form of categorical imperatives,
platitudes, and pigeonholes. If we strip away the usual clichés of
psychedelic representation—excess, overload, rainbows, tie-dye—what’s
left? What’s worth keeping? What does a hollowed-out, desaturated,
low-grade, root-level, emphatically black-and-white psychedelia
look and feel like? The closer we looked, the more it became apparent
that such austere gears had been the psychedelic movement’s means all
along—and so black and white seemed an even more pertinent point of
return from which to usefully depart once more. From this vantage, how
might that look and feel be put to proper use—that’s to say, transformed—artistically
and socially today? This brings us back to the immediate question: what
could it mean to edit a thesis on psychedelia psychedelically, without recourse to drugs? How does the TRIP translate to METHOD?
December 2012, English
16.5 x 23.5 cm, 200 pages, softcover
ISBN 978-3-943365-58-0
€15.00
Futurefarmers A Variation on Powers of Ten
Edited by Futurefarmers with Elizabeth Thomas
With
contributions by Amy Franceschini, Peter Galison, Owen Gingerich,
Walton Green, Jake Kosek, Abena Dove Osseo-Asare, Rick and Meagan Shaw
Prelinger, Arthur Shapiro, Sara Seager, Michael Swaine, Elizabeth
Thomas, Ignacio Valero
A Variation on Powers of Ten uses the opening picnic scene of Charles and Ray Eames’s film Powers of Ten
as score to guide ten discussions. The result of a research-based
residency at the University of California Berkeley Art Museum and
Pacific Film Archive, the publication includes four essays and ten
interviews with researchers whose work relates to one of the magnitudes
of ten of the 1968 IBM-commissioned film. Like the stage of a
microscope, the blanket becomes a stage where the act of inventorying
and recording becomes the content of the work. Books, journals, food,
and objects are recast and serve as cues pointing back to the film and
forward to each researcher’s own work. Powers of Ten is a
short documentary film that depicts the relative scale of the universe
in factors of ten. It illustrates the universe as an arena of both
continuity and change, of everyday picnics and cosmic mystery. One
iconic image from the film depicts a couple picnicking on a blanket,
serving as a human-scale grounding for the macro- and micro-explorations
in the film. Looking back at the film, Futurefarmers became entranced
by the presence of the narrator, Philip Morrison, the production of the
film, and the short amount of time the film spends at the human scale.
In
ten picnics, Futurefarmers journeys through fields of inquiry ranging
from philosophy to ecology, microbiology, astrobiology, environmental
science, geography, and urban studies. Comparing today’s practices with
those in 1968, researchers discuss the changing landscape of their field
and the tools they use or invent to gather, quantify, and measure their
research.
www.futurefarmers.com
Copublished with Bildmuseet, Umeå University, Sweden
Design by Geoff Kaplan, General Working Group
November 2012, English
21.6 x 23.5 cm, 168 pages, 33 b/w and 33 color ill., hardcover with dust jacket
ISBN 978-3-943365-43-6
€26.00
Ruth Buchanan The weather, a building
With texts by Ruth Buchanan and Ian White
Libraries are generally perceived as storehouses,
spaces of stable accumulation and containment. While the architecture
may attempt to operate in this stable tone, the material contained
within them is often far wilder. Histories, biographies, loose thoughts,
detailed notations, bodies, and objects are all temporarily suspended,
cataloged, and organized, creating relationships where perhaps
previously there was none. An example of where the tension between what
is contained in libraries and how it is contained emerges in a highly
palpable way in the trajectory of the Staatsbibliothek Berlin. This new
artist book by Ruth Buchanan charts three narratives associated with the
life of this particular library. The anecdotes become both concrete
examples and metaphors through which to interrogate the production,
situating, and sharing of meaning.
Design by David Bennewith
November 2012, English
19.5 x 14.5 cm, 82 pages, 1 color ill., 10 b/w ill., softcover
ISBN 978-3-943365-36-8
€18.00
|
| Ruth BuchananThe weather, a building
This
new artist book by Ruth Buchanan charts three narratives associated
with the life of the Staatsbibliothek Berlin, which acts as an example
of the tension between what is contained in libraries and how it is
contained.
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| Markus Miessen, Chantal MouffeCritical Spatial Practice 2
The Space of Agonism
The second
volume in the Critical Spatial Practice series presents a selection of
conversations between Markus Miessen and political philosopher Chantal
Mouffe. The dialogues attempt to unpack current dilemmas and popular
mobilizations in terms of consensus-driven formats of political decision
making.
|
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| Lene BergLene Berg
“The
work of Lene Berg probes questions about the difference between truth
and falsehood, between reality and fantasy, between veracity and
mendacity. Berg crafts short, witty, incisive, and often humorous filmic
stories, using lo-fi means such as drawing, photocopies, collage, and
her own as well as found footage, to interrogate the question of
history and historiography,” so states Katerina Gregos. These themes,
among others, are explored in Berg’s latest film, Kopfkino (2012),
which was filmed over the course of two days in Berlin and focuses on
eight women as they exchange stories about their line of work—the
fulfillment of sexual fantasies.
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| Katja Gretzinger (Ed.)In a Manner of Reading Design
If
design aims at taking a critical stance, it needs to change its
acquaintance with knowledge and develop its own discourse to understand
the underlying conceptions that are at play. The metaphor of the "blind
spot" proposes the perspective of looking at what is implicit or
unnoticed in our perception. By doing so, it seeks to open up common
readings of what design is and can do. In a Manner of Reading Design
features different texts and artistic contributions, opening up a
debate that reminds us of our dependence on the other in any
conception—and any project design might aspire to.
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| Maria Fusco, Ursula MayerGonda
Gonda,
a new book by Ursula Mayer and Maria Fusco, experiments in cinematic
and linguistic registers through polyphonic monologue. Taking the form
of a ciné-roman, the book is based on Mayer’s 16mm film of the
same name, with a screenplay written by Maria Fusco and commissioned by
Film London.
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| Jessica WarboysVanelephant
In
the fall of 2010, Jessica Warboys discovered photographic portraits of
dancer Hélène Vanel in the disused Bibliothèque Smith-Lesouëf,
Nogent-sur-Marne. Warboys later discovered an unpublished manuscript by
Vanel in the adjoining archives of the Maison nationale des artistes, a
retirement home for elderly artists.The artist then translated the
texts herself and condensed the drama, and thus shifted Vanel’s role
from manuscript to script.
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| Zak KyesZak Kyes Working With...
To
accompany his exhibition at the Museum of Contemporary Art Leipzig,
this book presents the work of the Swiss-American graphic designer Zak
Kyes. In collaboration with the curator, Barbara Steiner, the exhibition
and publication bring together a range of works by Kyes, as well as
works by a host of collaborators that includes architects, artists,
writers, curators, editors, and graphic designers, presenting
contemporary graphic design as a practice that mediates, and is
mediated by, its allied disciplines.
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| Steve RushtonMasters of Reality
Masters of Reality
brings together the first collection of texts by Steve Rushton
exploring the interrelations between art, anthropology, social sciences,
psychology, media, politics, and economy. Central to Rushton’s research
is an investigation into the conception of feedback, social control,
and the culture of “self-performance.”
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| Omer Fast5,000 Feet Is the Best
This publication focuses on a single work of art: 5,000 Feet is the Best (2011) by artist Omer Fast. With
this cinematic video work, Fast has entered into a discussion about
one of the most pressing issues today, namely drone surveillance and
warfare—that is, the use of unmanned planes operated by “pilots” on the
ground.
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| Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)Thinking through Painting
Reflexivity and Agency beyond the Canvas
Painting
has demonstrated remarkable perseverance in the expanding field of
contemporary art and the surrounding ecology of media images. It
appears, however, to have dispelled its own once-uncontested material
basis: no longer confined to being synonymous with a flat picture plane
hung on the wall, today, painting instead tends to emphasize the
apparatus of its appearance and the conduits of its circulation.
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| Tirdad ZolghadrPlot
A
speculative, existentialist fiction on the melancholia of revolutionary
politics and good intentions, Tirdad Zolghadr’s novel is composed of
the logorrhea of online communication and unpublished manuscripts. At
the start of the New Zion Empire in 2016—a time of unprecedented
dystopic stability with superpower coalitions, generous drone regiments,
awesome capital investments, and more soft-power propaganda than ever
employed in modern history—Sergeant Jim of the United States is taken
hostage in Yazd, once the proud seat of the Persian Empire, and becomes a
wildly popular mouthpiece for Third World rhetoric, postcolonial
jingles, anti-imperial anecdotes, and anti-Zionist mottos.
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| Tom McCarthy, Simon Critchley, et al.The Mattering of Matter
Documents from the Archive of the International Necronautical Society
On
August 7, 1999, Tom McCarthy founded the International Necronautical
Society (INS) with a public presentation of the "Founding Manifesto," a
touchstone that would inform the organization’s proceedings for years to
come. Composed of official committee members and illicit “agents,” the
INS harks back to early twentieth-century avant-gardes, producing
declarations, reports, public hearings, broadcasts, and research
documents, as well as orchestrating more covert media infiltrations, all
governed by the objective, set out in the "Founding Manifesto," of
mapping, entering, and occupying the space of death through literature,
philosophy, culture, and technology.
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| Valérie Knoll, Hannes Loichinger, Magnus Schäfer (Eds.)Dealing with—Some Texts, Images, and Thoughts Related to American Fine Arts, Co.
The
New York gallery American Fine Arts, Co.—whose name today is largely
synonymous with that of its gallerist, Colin de Land
(1955–2003)—represents a gallery practice in which a decided deviation
from conventional models overlaps with successful activities within the
framework of the art market. Faced with the obvious risk of
romanticization, it appears all the more important to pursue an
understanding of how American Fine Arts, Co. functioned as a gallery.
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| Hito Steyerle-flux journal
The Wretched of the Screen
In
Hito Steyerl’s writing we begin to see how, even if the hopes and
desires for coherent collective political projects have been displaced
onto images and screens, it is precisely here that we must look frankly
at the technology that seals them in.
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| Nikolaus Hirsch, Markus Miessen (Eds.)Critical Spatial Practice 1
What Is Critical Spatial Practice?
In
September 2011, Nikolaus Hirsch and Markus Miessen invited protagonists
from the fields of architecture, art, philosophy, and literature to
reflect on the single question of what, today, can be understood as a
critical modality of spatial practice.
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| Fabian Marti, Cristina Ricupero (Eds.)Cosmic Laughter No. 1
Beyond
the lunatic fringe views regarding the end of the world, a more
constructive reading of the phenomenon is found in new age circles
claiming that 2012 might be the beginning of a higher consciousness in
humanity, coming to the realization that, in fact, Western systems have
not brought prosperity and fulfillment to everybody as once imagined.
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| Triple Canopy (Ed.)Invalid Format
An Anthology of Triple Canopy, Vol. 2
Invalid Format is
an archive of the widespread publishing activities of Triple Canopy,
the editorial collective and online magazine based in New York, Los
Angeles, and Berlin. The book explores how works produced for the screen
might be transposed to the codex in a way that recalls that former
context while also fully inhabiting the page.
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| Beatrice von Bismarck, Jörn Schafaff, Thomas Weski (Eds.)Cultures of the Curatorial
Cultures of the Curatorial assumes a curatorial turn in contemporary cultural practice and discourse.
Coming from a variety of disciplines and professional backgrounds, the
contributors exemplify the entanglement of theory and practice,
consider recent developments within the curatorial field, allow
self-reflexive analysis, and explore the conditions—disciplinary,
institutional, economic, political, and regional—under which art and
culture become public.
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| Stuart Bailey, Angie Keefer, David Reinfurt (Eds.)Bulletins of The Serving Library #3
This issue of Bulletins of the Serving Library
doubles as a catalog of sorts to "Ecstatic Alphabets/Heaps of
Language," a group exhibition curated by Laura Hoptman at the Museum
of Modern Art, New York.
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| Mai Abu ElDahab (Ed.)After Berkeley
Objectif Exhibitions, 2010–2011
Following From Berkeley to Berkeley: Objectif Exhibitions, 2008–2010,
this publication is the second in a two-part series of interviews with
artists who exhibited at Objectif Exhibitions, Antwerp, between 2010 and
2011. The interviews are accompanied by a collection of secondary and
parallel material produced in collaboration with each artist.
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| Keren CytterD.I.E. Now
The True Story of John Webber and His Endless Struggle with the Table of Content
Published on the occasion of the performance of Show Real Drama,
this monographic publication concentrates on a performance Keren
Cytter developed for If I Can’t Dance, I Don’t Want to be Part of Your
Revolution’s edition on Masquerade (2008–10).
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| Jonatan Habib Engqvist, Annika Enqvist, Michele Masucci, Lisa Rosendahl, Cecilia Widenheim (Eds.)Work, Work, Work
A Reader on Art and Labour
What
is “work” today and what is its relation to art? What is the position of
the artist if “creativity” has become a commodity? How can the artist’s
conditions of production be described, and what role can art and
architecture play in societal change?
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| Akram ZaatariA Conversation with an Imagined Israeli Filmmaker Named Avi Mograbi
In
April 2010, during his residency at Les Laboratoires d’Aubervilliers,
Akram Zaatari attempted to write, improvise, and deliver a conversation
with an imagined Israeli filmmaker, giving him the name Avi Mograbi. In
this conversation, Zaatari revisits photographs he made in his teenage
years during the Israeli occupation of his hometown, Saida, in 1982,
and imagines what an Israeli filmmaker could have experienced in the
same period.
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| Erik Niedling with Ingo NiermannThe Future of Art: A Diary
The Future of Art: A Diary is the sequel to The Future of Art: A Manual (2011),
in which Niedling joined Niermann on his search for a new, epic
artwork. The book is published on the occasion of the exhibition
“18.10.1973–29.02.2012” at the Neues Museum Weimar.
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| Boris Groys (Ed.)e-flux journal
Moscow Symposium
Conceptualism Revisited
Could it
be that the Moscow Conceptualists were so elusive or saturated with the
particularities of life in a specific economic and intellectual culture
that they precluded integration into a broader art historical
narrative? If so, then their simultaneously modest and radical approach
to form may present a key to understanding the resilience and
flexibility of a more general sphere of global conceptualisms that
anticipate, surpass, or even bend around their purported origins in
canonical European and American regimes of representation, as well as
what we currently understand to be the horizon of artistic practice.
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| Johanna Burton, Lynne Cooke, Josiah McElheny (Eds.)CCS Readers: Perspectives on Art and Culture
Interiors
Encounters with art
engage various conditions of interiority—whether through psychic spaces
or specific physical environments, such as museums and private
residences. Through diverse discursive modes—commissioned essays,
conversations and talks, historical writings, and artistic
projects—this anthology, the first CCS Readers volume, examines the
poetics and politics of interior experience within the frame of
contemporary art.
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| Juliane RebentischAesthetics of Installation Art
In recent years, debates surrounding the concept of art have
focused in particular on installation art, as its diverse manifestations
have proven to be incompatible with the modern idea of aesthetic
autonomy. Here, Juliane Rebentisch asserts that installation art does
not, as is often assumed, dispute aesthetic autonomy per se, and rather
should be understood as calling for a fundamental revision of this
very concept.
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| Maria Lind (Ed.)Performing the Curatorial
With and Beyond Art
Because the
curatorial has clear performative sides, ones that seek to challenge
the status quo, it also includes elements of choreography,
orchestration, and administrative logistics—like all practices working
with defining, preserving, and mediating cultural heritage in a wider
sense. Is curating therefore essentially an act of translation? If so,
with what purpose, and can it be performed elsewhere?
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| Actors, Agents and AttendantsSocial Housing—Housing the Social: Art, Property and Spatial Justice
Social Housing—Housing the Social: Art, Property and Spatial Justice is the second volume in the Actors, Agents and Attendants
series of publications and symposia initiated by SKOR | Foundation for
Art and Public Domain to investigate the role of cultural practice in
the organization of the public domain.
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| Maria LobodaOh, Wilderness
“Verbal
sculptures” and “strange archaeologies”—Maria Loboda’s recent works
expose prior events through sparse details of entangled secrets,
material contradictions, and masked collusions. Oh, Wilderness
demonstrates the artist’s aesthetic equation between language and
materiality as it works the other way around, translating materials
expressive of a certain weak semiotics to language.
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| Simon Starling / SuperflexReprototypes, Triangulations and Road Tests
Reprototypes, Triangulations and Road Tests brings
together seven seminal works by Simon Starling and Superflex in a
dialogical setting. These works “collapse” as unstable complexes around
pertinent themes whose triangulated speculations are articulated by undisciplined objects, piercing through the layers of time and history and revisiting long-held certainties.
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| Paul Sietsemainterviews on films and works
Published on the occasion of his solo exhibition at Kunsthalle
Basel (June–August 2012), this publication includes interviews and
images of the work of the Los Angeles-based artist Paul Sietsema.
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| Nikolaus Hirsch, Shveta Sarda (Eds.)Cybermohalla Hub
Cybermohalla
Hub, a hybrid of studio, school, archive, community center, library,
and gallery is a structure that moves between Delhi and diverse art
contexts. The Cybermohalla project, which takes on the meaning of the
Hindi word mohalla (neighborhood), has been engaged in rethinking
urban life, and reimagining and reanimating the infrastructure of
cultural and intellectual life in contemporary cities.
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| Martin BeckThe Aspen Complex
Martin
Beck’s exhibition “Panel 2—‘Nothing better than a touch of ecology and
catastrophe to unite the social classes…’” draws on the events of the
1970 International Design Conference in Aspen and the development of the
Aspen Movie Map to form a visual environment that reflects the
interrelations between art, architecture, design, ecology, and social
movements. The Aspen Complex documents two versions of Beck’s
exhibition, and brings together yet unpublished archival material and
new research on the 1970 IDCA and the Aspen Movie Map.
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| Matthias Ulrich (Ed.)Playing the City: Interviews
In Playing the City: Interviews,
Matthias Ulrich, curator of the Schirn project, asks fifty-one of the
involved artists ten central questions about the participatory and
collaborative art context. Their answers and comments provide a telling
picture of the multiple forms of interactive, cooperative, and
interdisciplinary practices in contemporary art.
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| Yorgos SapountzisA statue has remembered me / Eine Statue hat sich an mich erinnert
Yorgos
Sapountzis's work appropriates public space and the statues, monuments,
and memorials that inhabit it. The Athens-born artist concentrates less
on their historical-political meanings and much more on their function
as a medium of recollection. Sapountzis consciously tries to ignore
historical information about the sculptures and instead allows them to
“speak” through their gestures, poses, and ornaments.
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| Marianne HeierSurplus
Although Marianne Heier abandons the traditional exhibition
spaces in connection with her projects, Art with a capital A is still
always measured against other social constructs. At this point of
intersection, Heier looks at the typical features of the various
economies or values of given fields and how they overlap and collide.
This project renders visible societal structures and consequences of
such structures—of which we are not always aware. By shifting the
perspective slightly, we can perhaps glimpse distinct values and new
outcomes.
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| Alex ColesThe Transdisciplinary Studio
We
have entered a post-post-studio age, and find ourselves with a new
studio model: the transdisciplinary. This volume delves into four
pioneering transdisciplinary studios—Jorge Pardo Sculpture, Konstantin
Grcic Industrial Design, Studio Olafur Eliasson, and Åbäke—by observing
and interviewing the practitioners and their assistants.
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| Tobias SpichtigBlue, Red, and Green
The artist book Blue, Red, and Green
by Tobias Spichtig is published on the occasion of the exhibition at
Ursula Blickle Stiftung, “the blue, the red, the green, the cuboid, and
the pyramid.”
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| Eva GrubingerDecoy
Decoy
documents the eponymous exhibition at Landesgalerie Linz in 2011 in
which Grubinger presented large-scale sculptural works, all of which
referenced the fishing—lures, mooring rings, a dock—and both subtly and
explicitly engaged a vocabulary of the alluring.
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| bankleerfinger in the pie
This
monograph features in depth essays on the collective’s work as well as
an annotated image section, which highlights bankleer’s recent projects
and deployments.
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| Thomas Keenan, Eyal WeizmanMengele's Skull: The Advent of a Forensic Aesthetics
In
1985, the body of Josef Mengele, one of the last Nazi war criminals
still at large, was unearthed in Brazil. The ensuing process of
identifying the bones in question opened up what can now be seen as a
third narrative in war crime investigations—not that of the document or the witness but rather the birth of a forensic approach to understanding war crimes and crimes against humanity.
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| Charlotte Birnbaum (Ed.)On the Table
The Beauty of the Fold: A Conversation with Joan Sallas
Joan
Sallas, a virtuoso of the fold, has meticulously researched and
mastered the history and techniques of the art of the fold. With the
banquet table as setting, his expertise and philosophy pour forth in the
form of splendid, folded linen.
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| Raimundas MalašauskasPaper Exhibition
Selected Writings by Raimundas Malašauskas
Paper Exhibition is an anthology of writings by curator and writer Raimundas Malašauskas.
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| Carson Chan, Nadim Samman (Eds.)Higher Atlas/Au-delà de l’Atlas
The Marrakech Biennale [4] in Context
The catalogue Higher Atlas/Au-delà de l’Atlas, published on the occasion of the Marrakech Biennale [4], frames the biennial in a historical and theoretical context.
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| Charlotte MothBleckede 2009 / Rochechouart 2011
Charlotte Moth conceived this book as a further elaboration of her
artistic practice, linking different projects that have been realized
since 2009.
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| Stuart Bailey, Angie Keefer, David Reinfurt (Eds.) Bulletins of The Serving Library #2
The second issue of Bulletins of The Serving Library
includes contributions by Dimmi Davidoff, Július Koller, David Fischli
& Peter Weiss, Rob Giampietro, Anthony Huberman, Junior Aspirin
Records, Perri MacKenzie, David Senior, and Jan Verwoert.
|
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| Maria Lind, Olav Velthuis (Eds.)Contemporary Art and Its Commercial Markets
A Report on Current Conditions and Future Scenarios
Contemporary Art and Its Commercial Markets maps and analyzes the complex and contested entanglements of contemporary art and its commercial markets.
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| Flaca / Tom Humphreys
Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007.
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| Tariq RamadanOn Super-Diversity
Invited to reflect on the notion of “super-diversity,” the
acclaimed scholar Tariq Ramadan sets out an argument that foregrounds
universalism as a necessary, if devalued, horizon, and offers a
critique of the uses and limits of dialogue and discourse within the
day-to-day practice of diversity.
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| Eva Grubinger, Jörg Heiser (Eds.)Sculpture Unlimited
Against
the historical backdrop of expansions of the notion of sculpture—from
Auguste Rodin to Rosalind Krauss and beyond—one could think that the
sculptural discipline has become defined by its near arbitrary
malleability, since practically anything can be construed as sculpture.
Yet interest in the history of sculpture seems to be experiencing a
revival, including traditional techniques and production methods, which
often appear appealing, even radical, in the age of the Internet and
social media.
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| Hassan KhanThe Agreement
Five Stories by Hassan Khan
Artist,
writer, and musician Hassan Khan explores the margins at which a
vernacular, be it linguistic or formal, attains its stature. Through a
series of narrative portraits and accompanying images of his recent
sculptures, Khan’s seemingly ubiquitous tales are in fact an attempt to
let a story tell itself.
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| Design ActSocially and Politically Engaged Design Today—Critical Roles and Emerging Tactics
Design Act: Socially and Politically Engaged Design Today—Critical Roles and Emerging Tactics is a project that presents and discusses contemporary design practices that engage with political and societal issues.
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| Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)Art and Subjecthood
The Return of the Human Figure in Semiocapitalism
This book brings together contributions from the eponymous
conference, all of which seek to speculate on the reasons as to why,
since the turn of the millennium, we have encountered so many artworks
that tend to reconcile Minimalism with suggestions of the human figure.
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| Markus Miessen, Andrea Phillips (Eds.)Actors, Agents and Attendants
Caring Culture: Art, Architecture and the Politics of Health
Caring Culture: Art, Architecture and the Politics of Public Health examines
changing political uses of the concept of care in neoliberal
democracies and asks how artists, architects, and designers both
contribute to and attempt to critique its social manifestations.
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| Synne Bull, Marit Paasche (Eds.)Urban Images
Unruly Desires in Film and Architecture
Cinema was the single medium capable of capturing what Alexander
Kluge describes as the “the impossible moment”—a moment we couldn’t
think of beforehand, and which cannot be repeated later. Thus cinema
leads the way to what later becomes reality: to cities, bridges, ideas,
gestures, skyscrapers, literature, and art. This anthology traces some
of the paths of this “becoming.”
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| Tauba AuerbachFolds
In connection with Tauba Auerbach’s exhibition “Tetrachromat” at Bergen Kunsthall, Folds
presents Auerbach’s eponymous painting series for the first time in
book form. In these paintings Auerbach twists and folds the canvas
before applying the paint. Transferred to the medium of the book, the
paintings are presented here in a new and unexpected way alongside
mathematical diagrams and three texts.
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| Martti Kalliala with Jenna Sutela and Tuomas ToivonenSolution 239–246
Finland: The Welfare Game
Welcome to Finland, a young land of rapid aging, where newly
founded institutions are already outmoded and geographic impediments are
a constant crippling agent. As part of Ingo Niermann’s Solution Series,
Solution Finland: The Welfare Game by architect Martti Kalliala
with writer and curator Jenna Sutela and architect Tuomas Toivonen,
addresses the Nordic country’s numerous predicaments.
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| Chris EvansGoofy Audit
The
work of artist Chris Evans evolves through conversations with people
from various walks of life, selected in relation to their public
position or symbolic role—resulting in sculptures, letters, drawings,
film scripts, and unwieldy social situations. To all intents and
purposes, this publication is a comprehensive survey of his work,
isolating and documenting the formalities of objects and situations.
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| Binna Choi, Axel Wieder (Eds.)Casco Issues XII: Generous Structures
Casco Issues
is a magazine published by Casco – Office for Art, Design and Theory,
which explores recurring issues that emerge from Casco’s program. The
twelfth edition of Casco Issues, Generous Structures, is a
playful enquiry into "playfulness" as a value in critical cultural
practice. It positions alternative notions of playing against the grain
of neoliberal ideologies of "lifelong learning" and "work as play."
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| Mai Abu ElDahab, Binna Choi, Emily Pethick (Eds.)Circular Facts
Circular
Facts is a collaborative endeavor between three European contemporary
art organizations: Casco – Office for Art, Design and Theory, Utrecht;
Objectif Exhibitions, Antwerp; and The Showroom, London, which acted as
an informal think tank and a mutual support structure for the production
and dissemination of artistic projects. The publication aims to gather a
spectrum of perspectives to explore the roles of specific initiatives
within their particular localities.
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| Antje MajewskiThe World of Gimel
How to Make Objects Talk
The alchemy of things is at the core of Antje Majewski’s multimedia
project, which aims at rethinking the representation and meaning of
objects in the form of a highly personal and quasi-surreal collection.
Based on the investigation of various museums and collections Majewski
presents a utopian and subversive take on how to make objects talk.
A German-language version of this publication is also available!
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| Juan A. Gaitán, Nicolaus Schafhausen, Monika Szewczyk (Eds.)Cornerstones
This publication compiles a series of essays on contemporary art
written by leading art historians and experts. First presented in
lecture format at Witte de With, Center for Contemporary Art, these
essays reflect the wealth of the exchange that exists between
theoretical writing and artistic thinking, sharing the fascination that
each of these authors has with both the work of an artist and how this
work functions in relation to larger contexts and broader ideas.
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| Ingo Niermann with Erik NiedlingThe Future of Art: A Manual
In 1831 Honoré de Balzac wrote a short story, “The Unknown
Masterpiece,” in which he invented the abstract painting. Almost 200
years later, writer Ingo Niermann tries to follow in his footsteps to
imagine a new epoch-making artwork. Together with the artist Erik
Niedling he starts searching for the future of art and, seeking advice,
meets key figures of the art world.
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| Mai Abu ElDahab (Ed.)From Berkeley to Berkeley
Objectif Exhibitions, 2008-2010
The publication includes a series of interviews with artists who
exhibited at Objectif Exhibitions, Antwerp, over a two-year period,
along with a collection of secondary and parallel material produced in
collaboration with each artist. Ranging from the humorous to the
pseudo-scientific, the artists discuss the methods by which their
research is transformed into practice. Both the artists and the
interviewers constitute a community of active and concerned arts
practitioners who, through art-making, writing, curation and teaching,
deal with issues of representation, behavioral patterns and historical
legacy.
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| Marit Paasche, Judy Radul (Eds.)A Thousand Eyes
Media Technology, Law, and Aesthetics
Through
the contribution of internationally renowned artists and scholars, this
anthology explores how the aesthetics of new media technology and its
spatial implementations affect the judicial system in relation to
fundamental concepts such as truth and representation.
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| Pauline J. Yao, Rania Ho, Wang Wei (Eds.)3 Years: Arrow Factory
Arrow
Factory is an independently run art space located in a narrow 200-year
old alleyway in the center of Beijing. This publication provides a
valuable look into the uniqueness of our contemporary situation, and
captures for posterity the fleeting connections that situate Arrow
Factory in China’s larger economic, intellectual, and artistic
zeitgeist.
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| Merlin CarpenterThe Opening
This book presents the work of London-based artist Merlin Carpenter.
Focused on a series of exhibitions entitled, The Opening—marked by the
fact that all the paintings presented were produced at the galleries
during the exhibition openings—the book documents all six events via
text and snapshot-like images.
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| Mark von SchlegellNew Dystopia
New Dystopia
is contemporary author Mark von Schlegell’s illustrated
screenplay-as-science fiction novel. In conjunction with the curator
Alexis Vaillant, von Schlegell curated an exhibition of contemporary art
at CAPC musée d'art contemporain de Bordeaux, “Dystopia,” based on his
novel’s dystopian-present.
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| Charlotte Birnbaum (Ed.)On the Table
Three Banquets for a Queen
In
1668, Queen Christina of Sweden was greeted in Rome with three
spectacular banquets that surpass all historical precedents and
successors in the register of extravagant gastronomy. As the first
publication of her series, On the Table, Charlotte Birnbaum presents
Antonio degli Effetti’s newly translated seventeenth-century text, which
elaborately describes the three feasts in all their sumptuous and
performative glory.
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| R. H. QuaytmanSpine
Spine resembles
a catalogue raisonné of R. H. Quaytman’s work produced since 2001, the
year the artist began organizing paintings in what are called
“Chapters.” Conceived and written by Quaytman, this more than 400-page
volume presents a full decade’s output.
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| Brice DellspergerBrice Dellsperger’s Body Double
Brice Dellsperger's Body Double
is the first monograph ever published on the artist's already cult film
productions, with a long essay by art historian Marie Canet that
addresses filmic remake, but also issues of models, gender politics, and
representational chaos.
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| tranzit.hu (Ed.)Art Always Has Its Consequences
Artists’ Texts from Croatia, Hungary, Poland, Serbia, 1947–2009
Art Always Has Its Consequences
is a collection of manifestos, critical texts, and writings addressing
public issues written by artists and artist groups from Eastern Europe
between 1947 and 2009.
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| Julieta Aranda, Anton Vidokle, Brian Kuan Wood (Eds.)e-flux journal
Are You Working Too Much?
Post-Fordism, Precarity, and the Labor of Art
When
the flexibility, certainty, and freedom promised by being part of a
critical outside are considered as extensions of recent advances in
economic exploitation, does the field of art then become the uncritical,
complicit inside of something far more compelling?
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| Stuart Bailey, Angie Keefer, David Reinfurt (Eds.)Bulletins of The Serving Library #1
Bulletins of The Serving Library is the new biannual publication from Dexter Sinister, which continues where the final issue of their previous house journal DOT DOT DOT left off.
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| Ewa Lajer-BurcharthChardin Material
Adapted
from the lecture she delivered at the Institut für Kunstkritik,
Städelschule in Frankfurt am Main, Ewa Lajer-Burcharth’s essay explores
the dimension of self-reflexivity in the work of eighteenth-century
French painter, Jean-Siméon Chardin.
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| Sebastian Cichocki, Galit Eilat (Eds.)A Cookbook for Political Imagination
The publication A Cookbook for Political Imagination
accompanies the exhibition “… and Europe will be stunned” for the
Polish Pavilion at the 54th Biennale of Art in Venice. This is not a
traditional exhibition catalogue but rather a manual of political
instructions and recipes, delivered by more than forty international
authors.
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| Birgit MegerleBirgit Megerle
Birgit Megerle’s figurative and abstract paintings are characterized by
an artificial, rigid, and stage-like atmosphere. This exhibition
catalogue accompanied Megerle’s exhibition at Kunsthalle Lingen in the
fall of 2010.
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| Andreas ErikssonNordic Pavilion
54th Venice Biennale, 2011
Andreas
Eriksson employs a variety of techniques and media, including painting,
sculpture, photography, installation art and, more recently,
film. Trivial events and observations from everyday life and nature set
off his metaphorical and existential contemplations.
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| Dora GarciaMad Marginal
Cahier #2: The Inadequate
The Inadequate
is the second cahier of the Mad Marginal project started by artist Dora
García in November 2009. It is presented as the publication for the
Spanish Pavilion at the 54th Venice Biennale 2011.
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| Zin TaylorGrowth
Zin
Taylor has become known internationally for his elaborate
installations encompassing elements of performance and sculpture along
with drawing, printing, and video. This artist book is published on the
occasion of the exhibition at the Ursula Blickle Stiftung, “The Units,”
from May 29 to July 10, 2011.
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| Brian DillonSanctuary
Sanctuary
is a fiction set in the ruins of a Modernist building on the outskirts
of a city in Northern Europe. The structure, a Catholic seminary built
in the 1960s and abandoned twenty years later, embodies the failure of
certain ambitions: architectural, civic, and spiritual.
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| Sung Hwan KimKi-Da Rilke
The artist’s book Ki-da Rilke
evolved in relation to the exhibition “Line Wall” by Sung Hwan Kim. In
the book, Kim engages with the work of the Prague born poet Rainer Maria
Rilke (1875–1926).
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| Christoph SchlingensiefGerman Pavilion
54th Venice Biennale, 2011
This
catalogue pays tribute to one of Germany’s most radical, experimental,
and progressive voices. With contributions from over thirty
internationally renowned curators, artists, critics, theorists,
directors, and practitioners.
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| Armen Avanessian, Luke Skrebowski (Eds.)Aesthetics and Contemporary Art
This
inter- and transdisciplinary collection of essays by philosophers,
artists, critics, and art historians, reconsiders the place of the
aesthetic in contemporary art, with reference to four main themes:
aesthetics as “sensate thinking”; the dissolution of artistic limits;
post-autonomous practices; and exhibition-values in a global artworld.
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| MomusSolution 214–238
The Book of Japans
As part of Ingo Niermann’s Solution Series, Solution Japan, or The Book of Japans, makes a case for the rehabilitation of the idea of the “far.” The Book of Japans restores
a sense of wonder—along with a plethora of imagination-triggering
inaccuracies—by taking the reader on a trip not just through space but
also time.
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| Libia Castro & Ólafur ÓlafsonUnder Deconstruction
Icelandic Pavilion
54th Venice Biennale, 2011
The
publication by Libia Castro and Ólafur Ólafsson is conceived as a first
comprehensive overview / in depth analysis of more than ten years of
their artistic practice—leading up to their most current works.
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| Fia BackströmNordic Pavilion
54th Venice Biennale, 2011
Fia
Backström produces events, environments, and projects, which challenge
our habitual notions of what constitutes an exhibition—its institutional
context, the dialogue with the audience, and even the works of art that
are presented.
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| Markus WeisbeckSurface
For
the last decade, Markus Weisbeck has been redefining this prevailing
client-designer relationship and subsequently challenging what
constitutes a graphic design practice today. This pocket book presents a
selection of seminal graphic design projects developed by Weisbeck and
his firm, Surface, over the last ten years; projects that strongly
reveal Surface’s experimental approach and conceptual dexterity,
contributing to and informing contemporary graphic design.
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|
| Anton VidokleNew York Conversations
New York Conversations
is a text film. Shot in a Chinatown storefront converted for this
occasion into an improvised kitchen/restaurant, the film documents three
days of public conversations between artists, critics, curators, and a
free floating public.
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| Hans Dickel and Lisa Puyplat (Eds.)Reading Susanne Kriemann
The
book is comprised of texts on Susanne Kriemann’s practice and its
relation to the concept of Reading in a wider sense: reading
photographs, archives, and texts and transforming these into new
compositions with photography, urban space, and historiography.
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| Wendelien van OldenborghA Well Respected Man, or Book of Echoes
The publication unfolds and draws an open-ended connection
between individual and collective struggles and (emotional) conflicts
intertwined with the colonial and decolonizing histories of Indonesia
and the Netherlands by taking two film works by artist Wendelien van
Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure.
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|
| Joshua Simon (Ed.)Solution 196–213
United States of Palestine-Israel
Solution 196–213: United States of Palestine-Israel
is an anthology of texts proposing a doable solution for the region.
With contributors based in Ramallah and Tel Aviv-Jaffa, Beirut and
Jerusalem, New York and Bethlehem, Nazareth and Warsaw, the book offers
solutions that will make life better, and proposes ways to do it.
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| April Lamm (Ed.)Hans Ulrich Obrist
Everything You Always Wanted to Know About Curating*
*But Were Afraid to Ask
Everything
you ever wanted to know about Hans Ulrich Obrist but were afraid to ask
has been asked by the sixteen practitioners in this book.
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| Miki Kratsmanall about us
Miki Kratsman’s photographs show the complex reality of everyday Israeli life and its many different guises and narratives.
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| Martin Ebner, Florian Zeyfang (Eds.)Poor Man’s Expression
Technology, Experimental Film, Conceptual Art
A Compendium in Texts and Images
Poor Man's Expression
examines the relationship between film, video, technology, and art,
with a particular focus on the reciprocal influences between conceptual
art and experimental film.
|
|
| Valérie MannaertsAn Exhibition—Another Exhibition
An Exhibition—Another Exhibition
is the first monograph of the work of Belgian artist Valérie Mannaerts.
The book catalogues two solo exhibitions that took place in 2010—“Blood
Flow” at Extra City Kunsthal Antwerpen, and “Diamond Dancer” at de
Appel arts centre.
|
|
| Alexis Vaillant (Ed.)BigMinis
Fetishes of Crisis
This mini,
compact catalogue, written in both French and English, accompanies the
exhibition “BigMinis,” at CAPC museum of contemporary art of Bordeaux.
|
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| Gabriel Kurijoin the dots and make a point
This
monograph documents the solo exhibition at Bielefelder Kunstverein and
Kunstverein Freiburg and also focuses on Kuris` marble works since 2006.
|
|
| Knut ÅsdamThe long gaze, the short gaze
For
several decades Norwegian artist Knut Åsdam has worked independently
and uncompromisingly with his artistic projects, and he is today
considered one of the central contemporary practitioners of film and
video art.
|
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| Søren Grammel (Ed.)Der symbolische Auftraggeber/The Symbolic Commissioner
This
book centers around two exhibitions which took place at the Grazer
Kunstverein, “Die Blaue Blume” (2007) and “Idealismusstudio” (2008).
|
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| Mario PfeiferReconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974
by Mario Pfeifer, 2009
The book discusses Mario Pfeifer’s recent 16mm film installation Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974.
This installation, consisting of two synchronized, looped, and parallel
projected films, takes it point of departure from the first monograph
of Baltz’s work, published by Castelli Graphics, New York in 1974.
|
|
| Alexis Vaillant (Ed.)Options with Nostrils
Options with Nostrils
brings together a collection of previously unpublished essays, both
theoretical and visual, by artists, curators, a writer, a scholar, and a
group of postgraduates from the Piet Zwart Institute’s Fine Art
programme in Rotterdam, who together founded the “Office for the
Unknown.”
|
|
| e-flux journal
Boris GroysGoing Public
As the first in the series of e-flux journal readers to be written by a single author, Going Public brings together a collection of influential essays by Boris Groys.
|
|
| Maria FuscoThe Mechanical Copula
The Mechanical Copula
is the first collection of short stories by Maria Fusco. Stripping bare
the accord of culture and commodity, this sequence of stories tracks
the slimy path of social mobility with serious playfulness and an eye
for the absurd.
|
|
| Markus MiessenThe Nightmare of Participation
(Crossbench Praxis as a Mode of Criticality)
The Nightmare of Participation
calls for a format of conflictual participation—no longer a process by
which others are invited “in,” but a means of acting without mandate,
as uninvited irritant: a forced entry into fields of knowledge that
arguably benefit from exterior thinking. Sometimes, democracy has to be
avoided at all costs.
|
|
| Maria LindSelected Maria Lind Writing
Selected Maria Lind Writing
brings together twenty-two essays selected by Beatrice von Bismarck,
Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr.
|
|
| Hu FangGarden of Mirrored Flowers
Garden of Mirrored Flowers
is
a labyrinth of reality
in which one can get lost
or find his/her own way;
a theme park constantly
consuming history;
a contemporary Chinese garden
replete with multiple routes.
|
|
| John KelseyRich Texts
Selected Writing for Art
Compiled
for the first time here, the critic, artist, gallerist, dealer,
translator John Kelsey’s selected essays gamesomely convey some of the
most poignant challenges in the art world and in the many social roles
it creates.
|
|
| Jan VerwoertTell Me What You Want, What You Really, Really Want
Tell Me What You Want, What You Really, Really Want
brings together a selection of recent writings by art critic Jan
Verwoert for the first time. The book galvanizes central themes Verwoert
has been developing in pursuit of a language to describe art’s
transformative potential in conceptual, performative, and emotional
terms.
|
|
| Shahryar NashatDownscaled and Overthrown
Downscaled and Overthrown is the first monograph on the work of the Swiss artist Shahryar Nashat.
|
|
| Andrea Geyer/Katya SanderMeaning is what hides the instability of one’s position
Andrea Geyer and Katya Sander’s Meaning is what hides the instability of one’s position is an artist’s book; a photographic essay that takes us through spaces of international airports.
|
|
| Ingo NiermannSolution 186–195
Dubai Democracy
Solution 186–195: Dubai Democracy is the fifth book in the Solution
series. Using Dubai as a sort of modernist blank slate for urban and
social renewal, author Ingo Niermann confronts today’s most relevant
cultural and technological developments with analytical elixirs that are
as pertinent as they are unbelievable.
|
|
| Internal NecessityA Reader Tracing the Inner Logics of the Contemporary Art Field
Internal Necessity
was the topic of the Sommerakademie 2009, curated by Tirdad Zolghadr.
The result is an independent reader that does not aim to merely document
the academy 2009, but reflects and develops its topics in a rich
diversity of visual and textual forms.
|
|
| Agnieszka Kurant/Aleksandra WasilkowskaEmergency Exit
The
artists Agnieszka Kurant and Aleksandra Wasilkowska are representing
Poland at the 12th International Architecture Exhibition in Venice 2010,
August 29 – November 21, 2010.
|
|
| Magnus af Petersens (Ed.)Keren Cytter
This catalogue provides the reader with the opportunity to read six of
Keren Cytter’s scripts for films that are being shown in the exhibition
at the Moderna Museet, Stockholm, May 8 – August 15, 2010.
|
|
| Jean-Yves LeloupDigital Magma
Writer,
DJ, and French sound artist, Jean-Yves Leloup has followed the
evolution of electronic music from its first appearance in Europe at the
end of the eighties. A fortunate witness to the electronic scene, he
is also interested in all questions relative to contemporary art and
digital technologies.
|
|
| Angelika Burtscher, Judith Wielander (Eds.)visible
“where art leaves its own field and becomes visible as part of something else”
Visible documents
a research project by Cittadellarte-Fondazione Pistoletto in
collaboration with Fondazione Zegna. The publication highlights nine
curators, who showcase forty-one ways of making art.
|
|
| SilberkuppeUnder One Umbrella
Under One Umbrella is the first overall presentation of Silberkuppe, one of Berlin’s most outstanding independent spaces for contemporary art.
|
|
| BLESSRetroperspective Home N° 30 – N° 41
This
book brings together visual and written documentation of BLESS's last
twelve collections (N° 30–N° 41), continually prompting and challenging
the question of where a product begins and ends.
|
|
| Julieta Aranda, Brian Kuan Wood, Anton Vidokle (Eds.)e-flux journal
What Is Contemporary Art?
E-flux journal: What Is Contemporary Art?
puts the apparent simplicity and self-evident term into doubt, asking
critics, curators, artists, and writers to contemplate the nature of
this catchall or default category.
|
|
| Daniel Birnbaum, Isabelle Graw (Eds.)The Power of Judgment
A Debate on Aesthetic Critique
Comprised of a lecture by Christoph Menke and two respective responses to it by Daniel Loick and Isabelle Graw, The Power of Judgment both attests to the importance of judgment in art criticism and argues against its determining verdicts.
|
|
| Auguste OrtsCorrespondence
Auguste Orts: Correspondence is an exhibition catalogue accompanying the same-titled exhibition at M HKA, Antwerp (Summer 2010).
|
|
| Moyra DaveySpeaker Receiver
Published on the
occasion of the exhibition “Speaker Receiver” at Kunsthalle Basel, June
17 – August 29, 2010, the same-titled monograph brings the diverse
aspects of Moyra Davey’s work together.
|
|
| Nav Haq, Tirdad Zolghadr (Eds.)Lapdogs of the Bourgeoisie
Class Hegemony in Contemporary Art
Class inevitably raises awkward questions for the protagonists of
contemporary art—about their backgrounds, patrons, and ideological
partialities. Lapdogs of the Bourgeoisie investigates this latent
yet easily overlooked issue, which has been historically eclipsed by
gender, sexuality, ethnicity, and nationality.
|
|
| Maria Lind (Ed.)Philippe Parreno
This
publication focuses on “Philippe Parreno,” an exhibition at the Center
for Curatorial Studies at Bard College which consists of a selection of
Parreno’s films and collaborative projects.
|
|
| Haegue YangSiblings and Twins
Siblings and Twins,
a catalogue of Haegue Yang’s installation works, documents the
same-titled exhibition held at Portikus, Frankfurt am Main. The
exhibition was part of a serial project designed by Yang in which she
staged additional installations in other international exhibition sites.
|
|
| Raqs Media CollectiveSeepage
Seepage gathers
together a compilation of texts authored by Raqs Media Collective
(Monica Narula, Jeebesh Bagchi, and Shuddhabrata Sengupta).
|
|
| Julika RudeliusSoft Intrusion
An extended selection of edited video stills, Soft Intrusion offers a coherent oeuvre of Julika Rudelius’s video works.
|
|
| Tirdad ZolghadrSolution 168–185
America
Solution 168-185: America
is the fourth book in the Solution series. Opting for the United States
of America—which the author says is “still the most proficiently
colonial place” [he knows]—Tirdad Zolghadr provides a compilation of
highly entertaining “solutions” for a nation suspicious of progressive
politics yet rich in its history of harboring and cultivating the
avant-garde.
|
|
| Peter FriedlSecret Modernity
Selected Writings and Interviews 1981–2009
Since the early 1980s, Friedl has written on a variety of subjects. The book Secret Modernity: Selected Writings and Interviews 1981–2009 compiles for the first time a representative selection of his (partly unpublished) texts, along with a series of interviews.
|
|
| Peter FriedlDie heimliche Moderne
Ausgewählte Texte und Interviews 1981–2009
Die heimliche Moderne
brings together a collection of Friedl’s writings and interviews from
1981–2009. It is available in both English and German editions.
|
|
| Anselm Franke (Ed.)Animism (Volume I)
The publication Animism (Volume I) brings together theoretical and artistic reflections on the history and contemporary relevance of animism.
|
|
| Agnieszka BrzezanskaL’artiste, le modèle et la peinture
L’artiste, le modèle et la peinture is the first monographic publication of Agnieszka Brzeżańska’s work.
|
|
| Dieter Daniels, Gunther Reisinger (Eds.)Net Pioneers 1.0
Contextualizing Early Net-Based Art
Net Pioneers 1.0
discusses media art history with a new, interdisciplinary look at the
historical, social, and economic dynamics of our contemporary, networked
society.
|
|
| Isabelle GrawHigh Price
Art Between the Market and Celebrity Culture
Today,
the art world is not dominated by a small group of insiders. According
to Graw, the art economy has been transformed from a retail business
into an industry that produces visuality and meaning. Written during
both the height of the most recent art boom in early 2008 and its sudden
collapse thereafter, High Price upholds a unique position towards the art world's inner contradictions between symbolic meaning and monetary value.
|
|
| Joseph GrigelyExhibition Prosthetics
Exhibition Prosthetics
by Joseph Grigely is the first in the Bedford Press Editions series of
artists’ books edited by Zak Kyes. The series will engage with
publications as a primary medium of practice, enabling artists to
explore the inherent constraints and possibilities of the printed
document.
|
|
| Bettina FunckePop or Populus
Art Between High and Low
The
alienation between modern high culture and its public is a fundamental
conflict of art. This book develops a theory of contemporary art in
response to our moment, when artists and critics must respond to art’s
unprecedented popularity.
|
|
| Magnus Ericson, Martin Frostner, Zak Kyes, Sara Teleman, Jonas Williamsson (Eds.)Iaspis Forum on Design and Critical Practice
The Reader
What happens when you
look at design as some thing more than a service-based relationship
between client and designer? What new strategies and models help to
question and challenge the limits of design? What outer circumstances
influence this kind of practice?
|
|
| Friedrich KunathHome wasn’t built in a day
In
his drawings, texts, objects, photographs, and videos, German artist
Friedrich Kunath deals with such themes as longing, melancholy,
loneliness, wanderlust, and wistfulness from a subjective viewpoint. He
combines personal life experiences with literary, musical, or art
historical references into visual, ironic commentaries in various media.
|
|
| The Otolith GroupA Long Time Between Suns
A Long Time Between Suns
has been edited as an archival assemblage of The Otolith Group’s
two-venue solo exhibition at Gasworks (February 15 – April 5, 2009) and
The Showroom (September 8 – October 25, 2009).
|
|
| Helke BayrlePortikus Under Construction
For
many years now, Helke Bayrle has documented the activities of the
Portikus. The result is a unique collection of artist portraits. Portikus Under Construction presents the last decade, edited backstage material that the viewer of the finished exhibitions never sees.
|
|
| Dominic EichlerWritten All Over Us
Written All Over Us
constitutes the first book of poems by art critic, artist, musician,
and curator Dominic Eichler. With illustrations by Nairy Baghramian,
Julian Göthe, Shahryar Nashat, Henrik Olesen, and Danh Vo.
|
|
| Dexter SinisterPortable Document Format
This
book explores contemporary publishing in its broadest, most exploded
sense. The first part of this book consists of pieces of writings
written since the conception of Dexter Sinister’s New York basement
workshop and bookstore in the summer of 2006. The second part consists
of reproductions of a series of lithographic proof prints.
|
|
| Julieta Aranda, Anton Vidokle, Brian Kuan Wood (Eds.)e-flux journal reader 2009
The
selection of essays included in this book seeks to highlight an ongoing
topical thread that ran throughout the first eight issues of e-flux journal.
It aims at providing a fresh approach to the function of an art journal
as something that situates the multitude of what is currently
available, and makes that available back to the multitude.
|
|
| Céline CondorelliSupport Structures
Support Structures
is a manual for what bears, sustains, and props, for those things that
encourage, care for, and assist; for that which advocates, articulates;
for what stands behind, frames, and maintains: it is a manual for those
things that give support.
|
|
| Sylvère Lotringer (Ed.)The German Issue
I
like to stand with one leg on each side of the wall. Maybe this is a
schizophrenic position, but none other seems to me real enough.
—Heiner Müller, The German Issue
|
|
| Diango HernándezLosing You Tonight
This
artist’s book comes in two volumes and is published on the occasion of
Diango Hernández’ exhibition in the Museum für Gegenwartskunst Siegen,
October 4, 2009 – April 5, 2010.
|
|
| Anton VidokleProduce, Distribute, Discuss, Repeat
Anton
Vidokle is an artist who captures the attention of 70,000 people each
day through e-flux, as well as unitednationsplaza, Martha Rosler
Library, and other traveling projects. The essays and interview in this
book highlight how two threads in Vidokle’s practice—unobtrusiveness and
the freedom of self-sufficiency—are often interwoven, and are at the
center of an intellectual proposal that undermines common assumptions
about making art in the twenty-first century.
|
|
| Nikolaus Hirsch, Wolfgang Lorch, Andrea Wandel (Eds.)Gleis 17/Track 17
“Crimes
against humanity,” especially genocide, have been excluded from amnesty
since the Nuremburg Trials. On a cultural level, oblivion by decree
becomes an obligation to remember. This reversal is well-intended, but
it opens up critical questions: Can memory be permanently established?
Is it possible to maintain it in a monument?
|
|
| Jean-Luc BlancOpera Rock
This
is the first monograph on Jean-Luc Blanc’s enigmatic “glam” oeuvre. It
documents his retrospective exhibition at the CAPC Musée d'art
contemporain de Bordeaux, where Blanc’s works have been juxtaposed to
those of forty-five historic and contemporary artists as well as to
numerous artifacts, antiques, jewels, crystals, curios, and naturalia;
thus, setting up what shall be considered a “collective retrospective.”
|
|
| Dave Hullfish BaileyWhat’s Left
Using
non-linear heuristic methods and experimental webs of information to
draw links between the cities of Utrecht, and Slab City, California,
USA, this book brings together speculative proposals that ask basic
questions about public space, conceived as a physical and conversational
sphere.
|
|
| Sabine Bitter & Helmut WeberAutogestion, or Henri Lefebvre in New Belgrade
The
artist book by Sabine Bitter and Helmut Weber is based on an
unpublished text by French philosopher and urbanist Henri Lefebvre which
is printed as a facsimile and accompanied by essays from Ljiljana
Blagojevic, Zoran Eric, Klaus Ronnberger, and Neil Smith.
|
|
| Nikolaus Hirsch, Philipp Misselwitz, Markus Miessen, Matthias Görlich (Eds.)Institution Building
Artists, Curators, Architects in the Struggle for Institutional Space
This
book presents a study that conceptualizes, tests, and practically
applies the spatial strategy for the European Kunsthalle. The
investigation is the result of the activities incorporated into a
two-year work practice from 2005 to 2007, an iterative “applied
research” informed by resonances between theory and practice.
|
|
| Cecilia Widenheim (Ed.)Voice Over
On Staging and Performative Strategies in Contemporary Art
Voice Over examines
staging, theatricality, and performative strategies in contemporary art
practices. With contributions by the artists Miriam Bäckström,
Goldin+Senneby, Saskia Holmkvist, Fia-Stina Sandlund, and Geist
magazine, an essay by curator and writer Anselm Franke, and an
introduction by Cecilia Widenheim.
|
|
| Mike BouchetSelected Works 1989-2009
This first monograph on American artist Mike Bouchet provides an overview of selected works from the last twenty years.
|
|
| Jörg Heiser (Ed.)Fare una scenata / Making a Scene
“Fare
una scenata” was the first group show at Fondazione Morra Greco in
Naples. It featured the work of nine international artists who are
either commissioned new work, or asked to adapt existing work
specifically to the picture-gallery and basement spaces of this newly
established foundation located in an old palazzo in the heart of Naples.
|
|
| Liam GillickHow Are You Going to Behave? A Kitchen Cat Speaks/
Wie würden Sie sich verhalten? Eine Küchenkatze spricht
This book documents Liam Gillick’s project for the German Pavilion at the Venice Biennale 2009.
|
|
| Loris GréaudTrajectories and Destinations
Volume 1
Trajectories and Destinations is an artist book documenting a selection of Loris Gréaud’s works.
|
|
| Sven LüttickenIdols of the Market
Modern Iconoclasm and the Fundamentalist Spectacle
This
book reexamines the legacies of modern theoretical and artistic
iconoclasm in the context of the current religious-political image wars.
|
|
| Ingo NiermannSolution 1–10
Umbauland
In Solution 1-10: Umbauland,
Ingo Niermann devises ten provokingly simple ideas which would see
Germany work it out after all, including a new grammar, a new political
party, assigning allotment gardens to unemployed people and retirees,
and the Great Pyramid, the tallest building of the world which would
serve as a democratic tomb for millions of people.
|
|
| Simon Dybbroe MøllerKompendium
Kompendium
is an artist book accompanying the Danish artist’s first comprehensive
solo exhibition at the Frankfurter Kunstverein and the Kunstverein
Hannover.
|
|
| Nicolas BourriaudThe Radicant
In
his most recent essay, Nicolas Bourriaud claims that the time is ripe
to reconstruct the modern for the specific context in which we are
living. If modernism was a return to the origin of art or of society, to
their purification with the aim of rediscovering their essence, then
our own century’s modernity will be invented, precisely, in opposition
to all radicalism, dismissing both the bad solution of re-enrooting in
identities as well as the standardization of imaginations decreed by
economic globalization.
|
|
| Klaus WeberLarge Dark Wind Chime (Tritone Westy)
The record Large Dark Wind Chime (Tritone Westy)
contains the sound of a wind chime that was recorded in the dome of
Secession in Vienna on September 17, 2008 at 2.30 pm. The specifically
developed wind chime was installed on the top of the building to send
out “bad vibes” over Vienna during the course of Klaus Webers’ solo
exhibition.
|
|
| Justine Frank
Roee RosenSweet Sweat
Erudite,
baroque, a dazzling writer and painter but maniacal and
all-encompassing in his approach, Roee Rosen keeps erasing the fine line
that separates fiction and truth, imagination and reality, just as Sade
and Lautréamont have done before him. But this division doesn’t exist
anymore. What makes his summa erotica erotic is that, for him as for
Georges Bataille, pornography is philosophy.
|
|
| Olaf HolzapfelNakano Sakaue
Verhandelte Zeichen
Nakano Sakaue
documents a series of photographs realized by Olaf Holzapfel during a
residency in Tokyo. The artist has depicted a kind of residue from the
city’s buildings: neon lights, images, and street signs, which are
featured as so many promises for orientation.
|
|
| MomusSolution 11–167
The Book of Scotlands
At a time
when functional independence seems to be a real possibility for
Scotland—and yet no one is quite sure what that means—a delirium of
visions, realistic and absurd, is necessary.
|
|
| Klaus WeberSecession
This
comprehensive catalogue documents for the first time Klaus Weber’s
oeuvre and reveals a recurring sense of limit-experiences: accidents,
organism mutations, altered states, incursions from the outside.
|
|
| Ian WallaceA Literature of Images
This
is the first extensive survey catalogue of the work of Vancouver-based
artist Ian Wallace—a key figure of the extraordinary artistic ferment in
the Canadian city of Vancouver and a pioneer and theorist of its
internationally regarded tradition of photo-conceptualism.
|
|
| Daniel Birnbaum, Anders OlssonAs a Weasel Sucks Eggs
An Essay on Melancholy and Cannibalism
As a Weasel Sucks Eggs
examines the enigmatic relation of melancholia to an early kind of
cannibalism, which psychoanalysis, in particular, stressed. It contains
readings of, amongst others, Franz Kafka, Samuel Beckett, Thomas
Bernhard, Sigmund Freud, G. W. F. Hegel, and the Swedish poet Gunnar
Ekelöf.
|
|
| Agnieszka KurantUnknown Unknown
The catalogue Unknown Unknown
documents recent work by Polish artist and curator Agniezka Kurant and
was published on the occasion of Kurant’s presentation at Frieze
Projects 2008.
|
|
| Antje MajewskiMy Very Gestures
This
comprehensive catalogue traces the many stages of Antje Majewski’s
work, including paintings, photographs, videos, film, installation, and
dance theatre.
|
|
| Markus Miessen (Ed.)East Coast Europe
“East
Coast Europe,” which took place during Spring 2008, is a project about
the perceptions of contemporary European identity and its relation to
spatial practices and international politics.
|
|
| Diedrich DiederichsenOn (Surplus) Value in Art
Drawing
on fresh readings of Marxist and postmodern thought, renowned German
cultural critic Diedrich Diederichsen compares the abstract and climbing
values of artworks with the plunging value of music—a traditionally
immaterial art—in order to formulate a broad reflection on the current
“crisis of value in the arts.”
|
|
| Keren CytterThe seven most exciting hours of Mr. Trier’s life in twenty-four chapters
The seven most exciting hours…
is an adventure novel based on a true story told in a televised
interview by the notorious Danish filmmaker Lars von Trier. It describes
seven hours in the life of Tibor Klaus Trier—Lars von Trier’s
father—from the moment that his wife goes into labor early in the
morning until Lars is born.
|
|
| M/M (Paris)Live Recorded Delay
An Archive of “Il Tempo del Postino”
The book Live Recorded Delay
constitutes the only documentation of the legendary project “Il Tempo
del Postino.” Conceived by the graphic design team M/M (Paris), it is
both a personal archive and an open-ended score for future restagings of
the event.
|
|
| Alexis Vaillant (Ed.)Légende
This
book accompanies the eponymous exhibition at the castle of Chamarande
in France (May 25–September 28, 2008) which assembles the recent work of
fifty international artists who interrogate the artificiality of the
current world and render up intensified visions of it.
|
|
| Maria Lind, Hito Steyerl (Eds.)The Greenroom
Reconsidering the Documentary and Contemporary Art #1
Documentary
practices make up one of the most significant and complex tendencies
within art during the last two decades. This anthology seeks to overcome
the existing dispersion of texts on these practices and offer new
perspectives on this crucial theme.
|
|
| Daniel Birnbaum, Isabelle Graw (Eds.)Canvases and Careers Today
Criticism and Its Markets
Canvases and Careers Today
brings together contributions from the eponymous conference organized
by the Institut für Kunstkritik, Frankfurt am Main. Its goal is to
provide deeper insights and more complexity to current debates on the
relationship between criticism, art, and the market.
|
|
| Ingo Niermann, Jens Thiel (Eds.)Solution 9
The Great Pyramid
German
entrepreneurs are planning to outstrip the ancient Egyptians by building
the world’s largest pyramid on a derelict site in eastern Germany –
which they claim will eventually contain the remains of millions of
people in concrete burial blocks.The Independent
|
|
| Mariana Castillo DeballThese Ruins You See / Estas ruinas que ves
Mexico’s
relationship with archaeology is a complex one. In addition to studying
the distant past through its material vestiges, it is deeply engaged in
more recent aspects of politics, education, national identity, and
public works. These Ruins You See shifts between politics,
history, heritage, and identity in an attempt to find, in the present,
the vestiges of archaeological practice.
|
|
| Jörg HeiserAll of a Sudden
Things that Matter in Contemporary Art
Since
the mid-1990s, contemporary art has been booming like never before.
There is more of everything—more artists, more collectors, more
galleries, more art fairs, more museums, more biennials … with one
exception: criteria with which the art of the moment can be understood,
judged, praised and, if need be, damned.
|
|
| Daniel BirnbaumThe Hospitality of Presence
Daniel Birnbaum’s The Hospitality of Presence
is a study of the concept of otherness in Edmund Husserl’s
phenomenology. In the late 1990s it gained international attention in
academic circles. It was reviewed favorably in specialized philosophy
journals such as Review of Metaphysics and quoted extensively, most notably by Paul Ricoeur in one of the legendary French thinker’s last books.
|
|
| Joseph Backstein, Daniel Birnbaum, Sven-Olov Wallenstein (Eds.)Thinking Worlds
The Moscow Conference on Philosophy, Politics, and Art
Thinking Worlds
brings together contributions from a two-stage symposium organized in
connection with the 2nd Moscow Biennial of Contemporary Art. These
essays address questions of the sense and purpose of the “event” in
contemporary artistic culture, of the current status of philosophy and
aesthetic theory, and of the political significance of artistic
interventions.
|
|
| Daniel Birnbaum, Isabelle Graw (Eds.)Under Pressure
Pictures, Subjects, and the New Spirit of Capitalism
Under Pressure gathers together the contributions to the same-titled conference held at the Institut für Kunstkritik from 2006–07.
|
|
| Nomeda & Gediminas UrbonasVilla Lituania
The
artists Nomeda & Gediminas Urbonas are representing Lithuania at
the 52nd International Art Exhibition La Biennale di Venezia. This book
documents the artistic process of the Villa Lituania project,
from its inception in 2006 through to the realization of the first
performance event and pavilion exhibition in June 2007. It collects the
archival material associated with the challenge of building a pigeon
loft in Rome, and a visual and textual artists’ diary.
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| Perros Negros, Toasting Agency (Eds.)Otra de vaqueros
Otra de vaqueros documents the eponymous residency and exhibition project that took place in Mexico City in 2007.
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| Michael SailstorferReaktor
This book discusses Michael Sailstorfer’s most recent work, with a special focus on issues of space and site specificity.
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| Markus Miessen (Ed.)The Violence of Participation
Europe,
as a political space, is as conflictual as its constitution. It needs
to be designed and negotiated. It is longing for an architecture of
strategic encounters. Based on the curation of a space at the 2007 Lyon
Biennial, London-based architect and writer Markus Miessen has drawn
together a group of people to lead conversations around alternative
notions of participation, the clash of democratic heterogeneities, and
what it means to live in Europe today.
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| Julia Moritz, Nicolaus Schafhausen (Eds.)Die Frage des Tages / The Question of the Day
With
its 100 questions and answers from major practitioners of the art world
and beyond, this book helps to examine the various parameters for a new
institutional model.
|
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| Peter FriedlWorking at Copan / Trabalhando no Copan
Working at Copan
collects interviews with workers and employees at Edifício Copan, a
landmark modernist architecture in the center of São Paulo. Designed by
Oscar Niemeyer and completed in 1966, it became the largest residential
building in Latin America. As a historical building and symbol of
“vertical utopia,” it embodies an era of radical political and economic
changes within Brazilian society.
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| Nikolaus HirschOn Boundaries
In
several theoretical essays, dialogues on collaborative projects and
reflections on his own work, the architect Nikolaus Hirsch explores the
critical transformations of contemporary space and its effects on
spatial practice.
|
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| Bernadette CorporationEine Pinot Grigio, Bitte
Eine Pinot Grigio, Bitte
is a screenplay that cannot be a film; it is a film that can only be on
paper. If the property of a film producer, Bernadette Corporation
claims Eine Pinot Grigio, Bitte would be left derelict, abandoned
to vagabonds and squatters. It is intended as a narrative of messy
revenge, ruined by the screenplay form. With Eine Pinot Grigio, Bitte,
Bernadette Corporation asks: How many amateur screenplay writers are
there in existence compared to how many amateur novelists? What is the
difference between a zombie and an insane cannibal?
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| Ina BlomOn the Style Site
Art, Sociality, and Media Culture
While
style has all but disappeared from art historical and art critical
discourse, artistic practice since the 1960’s onwards has seemed
increasingly focused on the stylistics of the life-environment, the way
in which everyday life itself is formed, designed or stylized. This
development calls for a new reading of the relationship between art and
the question of style, one that approaches the question of style itself
not just as an art historical “tool” or method of explanation but as a
social site in which relations between appearance, recognition and
social identity is negotiated.
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| Daniel BirnbaumChronology
With a Special Project by Paul Chan
In
these multiple excursions through recent artist film-installations,
Daniel Birnbaum pursues a problem that preoccupied Deleuze in post-war
cinema: what is the logic of this peculiar time “after finitude”, based
neither in God nor Man, salvation nor destiny; and what does it mean for
our brains and our lives to invent new ways to make it visible? With a
light wry wit, he thus renews a question, at once aesthetic and
philosophical, still very much with us.
John Rajchman, Philosopher, Columbia University
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| Łukasz Ronduda, Florian Zeyfang (Eds.)1,2,3… Avant-Gardes
Film/Art between Experiment and Archive
1,2,3… Avant-Gardes
is dedicated to the ongoing history of the experiment in film and art.
This book describes and analyses the works of filmmakers and artists,
defining two decades of experiments in Polish avant-garde film, and
juxtaposes their work with contributions by international artists, who
started to work during the last fifteen years.
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| Mariana Castillo Deball, Irene Kopelman (Eds.)A for Alibi
In
the last few decades, a new branch of historical studies, called
“experimental history” has begun to investigate scientific processes
from a particular perspective, derived from a “hands-on” methodology.
In A for Alibi,
the Uqbar Foundation has invited a group of artists to perform research
and develop projects using the impressive collection of optical
instruments housed in the Utrecht University Museum. Exploring the
boundaries of scientific practice and art, the book documents the
various stages of this project and reflects on the origins of modern
visual culture.
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| Noah Horowitz, Brian Sholis (Eds.)The Uncertain States of America Reader
The Uncertain States of America Reader constitutes a unique compilation of writing around art and cultural politics in America since 2000.
|
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| Aleksandra MirThe Meaning of Flowers
Drawing
upon the classic notion that flowers are imbued with meanings and a
specific set of semantics with idealistic and hopeful connotations,
Sicily-based artist Aleksandra Mir has edited and revised the botanical
code in a more socially relevant fashion.
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| Manuel RaederPopurri: Agenda 2007
Agenda
is an ongoing project by graphic designer Manuel Raeder which focusses
on different methods of how people organize, in a personal or
non-personal way, their time.
|
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| Tanya Leighton (Ed.)In The Poem About Love You Don't Write The Word Love
This
book provides a theoretical and critical framework for examining how
contemporary art and cinema can still hold out against an experience of
vision and of the “visual.”
|
|
| Will Bradley, Mika Hannula, Cristina Ricupero, Superflex (Eds.)Self-Organisation / counter-economic strategies
This
book is about the many approaches to the creation, dissemination and
maintenance of alternative, “bottom-up” models for social or economic
organisation, and the practical and theoretical implications,
consequences and possibilities of these self-organised structures.
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| Jean-Max Colard, Thomas Lélu (Eds.)After
Visually
expanding on the art world’s tendency to see the world through the
prism of modern and contemporary art, the book depicts some 200 images
of found or researched situations taken “after” an artist’s work –
occupied realities that are, one might say, signed by the artists.
|
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| Bik Van der Pol Fly Me To The Moon
Taking
as their starting point one of the oldest objects in the collection of
the Rijksmuseum, a moon rock, artists Bik Van der Pol invited different
writers to comment on issues of site-specificity, museum collections,
and space law.
|
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| Desiree Heiss, Ines Kaag, Manuel Raeder (Eds.)BLESS. Celebrating Ten Years of Themelessness: N° 00 – N° 29
This
fully illustrated book features for the first time the wide range of
Bless’ activity and documents a unique mode of cultural production.
|
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| Jennifer HiggieBedlam
Higgie’s
prose is fragmentary yet lucid, and the novel evokes the inextricable
beauty and terror of Dadd’s sensory journey, while raising some of the
philosophical questions it poses about art, language and other minds. Bedlam is a mystery story in which we search for clues as to how an individual might go from precocious talent to parricide.
Oliver Harris, Times Literary Supplement
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| Katja Eydel (Ed.)Model ve Sembol. The Invention of Turkey
This publication documents both the visionary and utopic framework underlying the creation of modern Turkey.
|
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| Josephine MeckseperThe Josephine Meckseper Catalogue No. 2
This fully illustrated, artist-designed catalogue features the most recent work of New York-based artist Josephine Meckseper.
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| Hans Ulrich Obrist...dontstopdontstopdontstopdontstop
On
closer inspection ... the book covers a dizzying range of subjects,
many of them spinning outwards from salient Obristian themes such as
artistic collaboration, visionary architecture ("Cedric Price; Curating
with Light Luggage"), ecology and waste ("Cloaca Maxima"), and economic
development in the Far East ("Cities on the Move") and yet, as if the
synthesis of some kind of intellectual centrifuge or particle
accelerator experiment, always crystallizes around issues concerning
museology and the display reception and discussion of art. Dan Fox, frieze
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| Michael BeutlerPecafil
Pecafil discusses issues of art in public space and the social-political implications of Michael Beutler’s work.
|
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| Christopher WilliamsProgram. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision I)
Christopher
Williams’ work operates within the conventions of advertising, the
superficiality of surface, and, ultimately the history of Modernism.
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| Tue GreenfortPhotosynthesis
In
all of his works the Danish artist demonstrates an interest in an
expanded notion of ecology, one that encompasses cultural history and
sociopolitics as well as natural resources.
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| Daniel BirnbaumChronology
A philosophical essay on time, phenomenology and beyond, Daniel Birnbaum’s Chronology was presented in frieze as a “compelling and sophisticated take on the common theme of Deleuzian immanence."
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| Rirkrit Tiravanija, PLAN.b Publishing oVER
Initiated by artist Rirkrit Tiravanija and edited by his Bangkok publishing house PLAN.b, oVER
magazine offers an innovative publishing format for artists,
photographers, architects, musicians, poets, and other groups and
individuals that can join in and collaborate any time, from anywhere.
|
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| Lars Bang Larsen, Cristina Ricupero, Nicolaus Schafhausen (Eds.)The Populism Catalogue
The Populism Catalogue documents the namesake exhibition and features works of fiction as a literary approach to the theme of populism.
|
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| Antje Majewski, Ingo Niermann (Eds.)Skarbek
Skarbek is a dance-theater project initiated by the German artist Antje
Majewski in collaboration with the author Ingo Niermann.
|
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| Keren CytterThe Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats
Written
in seven chapters and seven styles, this book constitutes the first
novel by the Israeli artist and filmmaker Keren Cytter (*1977).
|
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| Anke Kempkes, Kunsthalle Basel (Ed.)Flesh at War with Enigma
Flesh at War with Enigma highlights an idiom in contemporary art that resorts deliberately and anachronistically to surreal forms and motifs.
|
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| Melik OhanianCosmograms
Contributions
by Cecil Balmond, Gilles Clément, Beatriz Colomina, Tacita Dean,
Richard Drayton, David Elbaz, Patricia Falguières, Medard Gabel, André
Gaudreault, Paul Gilroy, Edouard Glissant, Anna Halprin, David Held,
Pekka Himanen, Bruno Latour, Charles Musser, Jean-Luc Nancy, Jane
Poynter, Jean-Christophe Royoux, Saskia Sassen, Peter Sloterdijk, John
Tresch, Eduardo Viveiros de Castro, and Robert Whitman
|
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| Diango Hernándezrevantgarde
In
the 1990s, Cuban-born artist Diango Hernández started an extended
series of drawings which processed the political and economical crisis
of Cuba after the collapse of the socialist systems in Eastern Europe.
|
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| Nicolas BourriaudPostproduction
Postproduction. Culture as Screenplay: How Art Reprograms the World is the most recent essay by French writer and curator Nicolas Bourriaud.
|
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| Alex MorrisonGiving the Story a Treatment
Giving the Story a Treatment
is the first comprehensive publication on Canadian artist Alex
Morrison. Best known for his documentations on the skater culture,
Morrison’s videos, photographs and drawings reveal the growing
aestheticisation of the political within the cultural spectrum.
|
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| Jacob Fabricius (Ed.)The Danish Pavilion – 51st Venice Biennale
Five
artists’ books and one general catalogue document the works of Eva
Koch, Joachim Koester, Peter Land, Ann Lislegaard, and Gitte Villesen.
|
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| Cristina Ricupero, Lars Bang Larsen, Nicolaus Schafhausen (Eds.)The Populism Reader
The Populism Reader accompanies Populism,
an exhibition project in four European cities (Vilnius, Oslo,
Amsterdam, Frankfurt am Main) exploring the relationships between
contemporary art and current populist cultural and political trends.
|
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| M/M (Paris)Le Grand Livre
Fully
conceived by M/M, this large-format limited edition contains an
interview by Hans Ulrich Obrist, an introduction by Cristina Ricupero as
well as illustrations from the designers’ recent projects.
|
|
| Josephine MeckseperThe Josephine Meckseper Catalogue
This
book constitutes the first monograph on New York-based artist Josephine
Meckseper, with essays by writer/filmmaker John Kelsey and Andrew Ross,
Professor in the American Studies program at New York University.
|
|
| Charlotte Brandt, Lars Bang Larsen, Jean-Charles Massera, Cristina Ricupero (Eds.)Fundamentalisms of the New Order
Conceived
as a textbook with images rather than an exhibition catalogue, the book
reflects on the diversity of fundamentalisms, a phenomenon that is not
confined to particular cultures or modes of thought; its intention is to
explore the concept in its many forms and multiple origins.
|
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| Cerith Wyn Evans“Cerith Wyn Evans”
“Cerith Wyn Evans” provides a comprehensive overview of the artist's body of work.
|
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| Andrew Lee Walker, Rachel K. Ward (Eds.)Terminal 5
“It would make a beautiful ruin.” Eero Saarinen
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| Markus Heinzelmann, Nicolaus Schafhausen (Eds.)Markus Schinwald
The
films, photos, installations, and graphic artworks of Austrian artist
Markus Schinwald create a highly charged aesthetic collection of curios
in which the human being stands in the focal point of observation.
|
|
| Antje Majewski, Ingo Niermann (Eds.)Atomkrieg
Like
space travel, nuclear war has for decades created a vast new territory
for the imagination. Artists, however, have tended to subordinate
themselves to the idea of the impossibility of adequate representation.
|
|
| Peter FriedlFour or Five Roses
In Four or Five Roses,
some 45 narratives by children are presented in the form of a
monologue. Edited from numerous interviews and conversations recorded on
playgrounds in South Africa, Peter Friedl creates a hybrid genre that
is both fictionalised speech and serious counter-voice.
|
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| Vanessa Joan Müller and Nicolaus Schafhausen (Eds.)Bernhard Willhelm
This
book provides an exemplary look at the work of Bernhard Willhelm, the
German fashion designer whose sartorial skills have been hailed by both
the fashion industry and the art world.
|
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| Gerard ByrneBooks, Magazines, and Newspapers
In
his seminal essay, author George Baker links Gerard Byrne’s work to
theater and notes that the presence of avant-garde dramatist Bertolt
Brecht has never been less discussed, but more widely explored, than in
the last decade of artistic practice.
|
|
| AdornoThe Possibility of the Impossible (Vol. I)
Adorno. The Possibility of the Impossible (Vol. I) comprises theoretical essays which investigate the relevance of Adorno’s critical theory for the present.
|
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| AdornoThe Possibility of the Impossible (Vol. II)
Adorno. The Possibility of the Impossible (Vol. II)
documents the Adorno exhibition which looks at the connection between
contemporary art and Adorno’s writings, with the visual arts becoming a
central platform for comparison to Adorno’s main subjects.
|
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| Thomas EggererAtrium
Thomas
Eggerer's enigmatic depictions of groups and collectives attempt less
to portray the singularity of the individual than to explore the
mechanisms of exclusion and inclusion, conformity and hierarchy, as well
as the potential of individual or collective utopia.
|
|
| Michaela MeliánTriangel
This
catalogue is the most comprehensive treatment of Michaela Melián’s
oeuvre to date and constitutes, with numerous essays and illustrations, a
long due documentation of the German artist’s work.
|
|
| Jean-Charles MasseraSex, Art, and the Dow Jones
How
can the events in which we are supposed to participate be translated
into experience? How can we represent ourselves in a History that is
being written in terms of the economy and the stock market? Along these
questions, French author Jean-Charles Massera discusses the works of
various artists (Vito Acconci, Stan Douglas, Felix Gonzalez-Torres,
Pierre Huyghe, et al.) and film-makers (Jean-Luc Godard, Wong Kar-wai,
Nanni Moretti, Pier Paolo Pasolini, et al.).
|
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| John Kelsey, Aleksandra Mir (Eds.)Corporate Mentality
Calling for a reassessment of the function of art in late capitalist society, Corporate Mentality
focuses on the complex and ambiguous ways artistic production inhabits
corporate processes, abandoning the autonomy of the artwork in order to
elaborate resistant approaches to a world increasingly determined by
commercial strategies and market concerns.
|
|
| Lars Bang Larsen (Ed.)Sture Johannesson
This
book, part psychedelic philosophy, part biography, is the first to
present Sture Johannesson’s work in depth, documenting his affiliations
with the “high” underground and the punk movement, his activism and his
radical exploration of the relationships between art, politics,
technology, and human consciousness.
|
|
| Nicolaus Schafhausen (Ed.)deutschemalereizweitausenddrei
The exhibition deutschemalereizweitausenddrei
(german painting two thousand and three) is a response to the needs and
social circumstances that have given rise to painting’s present (return
to) popularity, and to the strategies young artists are developing to
meet this.
|
|
| Marcel OdenbachBlenden/Blinds
“Odenbach’s
art ... criss-crosses the structural hybridization of video-based
conceptualism with reflection on the lived experience of globalization.”
Kobena Mercer
|
|
| Julia ScherAlways There
Always There
offers a comprehensive survey of American artist Julia Scher’s work.
The artist’s installations and performances have always featured a
complex relation to techno-social control, demonstrating our complicity
in the proliferating technologies used to surveil both our physical and
virtual identities.
|
|
| Lolita Jablonskiene, Nicolaus Schafhausen (Eds.)Changing Society: Lithuania
The central theme of Changing Society: Lithuania
is the state of transition in a Post-Soviet state, which has achieved
political stability but is still looking for appropriate images to
portray itself in the domestic spheres of politics and society.
|
|
| Kai AlthoffGebärden und Ausdruck
Gebärden und Ausdruck (Gestures and Expression) is the first comprehensive publication on the work of German artist Kai Althoff.
|
|
| Nicolaus Schafhausen (Ed.)Non-Places
Non-Places
questions the redefined relationship between public and private space
as well as the phenomenon of modern “nonplaces,” which appear to be
everywhere and nowhere at the same time: airports, shopping malls,
anonymous new suburbs, or international franchise companies.
|
|
| Anthony VidlerUnheimlich
Über das Unbehagen in der modernen Architektur
Anthony
Vidler interprets contemporary buildings and projects in light of the
uncanny as a metaphor for a fundamentally “unhomely” modern condition.
|
|
| Nicolaus Schafhausen (Ed.)Neue Kunstkritik
Neue Kunstkritik (New Art Criticism) documents a symposium held at the Frankfurter Kunstverein in September 1999.
|
|
| Nicolaus Schafhausen (Ed.)Neue Welt
Neue Welt
(New World) documents a group show which investigates the political and
social restructuring of recent years. Going beyond one-dimensional
statements, the texts discuss the redefinition of public space and the
effects of a globalized economy.
|
|
| Karl-Heinz Kohl, Nicolaus Schafhausen (Eds.)New Heimat
The exhibition New Heimat documents
how the phenomenon of globalization does not necessarily lead to the
disappearance of local cultures, but can instead give birth to new,
hybrid cultures, in which Western influences experience transformation
and traditional cultures are assimilated.
|
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| Harun FarockiNachdruck / Imprint
Texte / Writings
“Nachdruck /
Imprint” brings together a selection of writings produced by Harun
Farocki over the past three decades. They provide an insight into
Farocki’s filmic work and its underlying querying of the status,
production, and perception of images conveyed technically and through
media.
|
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| Isa GenzkenUrlaub
Urlaub
constitutes Genzken’s multilayered inquiry into the meaning of work and
leisure. “Artists never take vacations,” Genzken says, “but the
entire art system urgently needs a vacation.”
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| Liam Gillickfive or six
five or six
contains texts selected from more than 100 reviews, articles, and
catalogue essays published by Liam Gillick since 1989. The book includes
some of the formal, social, and ideological concerns that have merged
in Gillick’s “What if? Scenario.”
|
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| Tom BurrLow Slung
With
comprehensive texts and illustrations, this book features an artist who
belongs among those who have shaped a new form of institutionally
critical art.
|
|
| Jeroen de Rijke / Willem de RooijAfter the Hunt
Dutch
artists Jeroen de Rijke and Willem de Rooij received international
recognition for their seemingly luxurious and self-reflexive 35mm films.
This first comprehensive monograph discusses how Dutch painting,
Minimal Art, and film conventions become the backdrop for a “cinema in
its decontextualized form.”
|
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| Susanne Gaensheimer, Nicolaus Schafhausen (Eds.)Liam Gillick
This publication constitutes the first comprehensive documentation of the work of British artist Liam Gillick.
|
|
| Eva Grubinger group.sex
The texts in group.sex
discuss political groups and languages, abstract radicalism and art,
feminism and bohemianism, social hierarchies, and telematic friendship.
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