Ovakve kolekcije računaju na tvoje paralelne osjećaje, one koje ima biće u tebi za koje i nisi uvijek siguran da je živo, ali je najbolji dio "tebe". Sreća što nikad ne znaš što/tko si "ti" zapravo.
Table of Contents is a New York retailer offering books, records, magazines and small editions. From electronic music to minimal design and experimental video, each collection is selected designed around a theme and spanning various media.
In addition to stocking media from assorted artists and labels, Table of Contents also features in-house publications via Media Catalog.
Appropriated from the dutch word land-schap, the word landscape entered English vocabulary in the early 1600s. The original term was developed by painters for the canvases they were painting of natural environments. This collection favors the original painter’s definition and insists that a landscape is something other than the place or environment from which it may have been inspired. Instead, landscape is seen as a genre of media that spans across musical recordings, printed matter and conceptual art.
Dial Records label mates John Roberts and Paul Kominek update the tired genre of the travel magazine with The Travel Almanac. David Lynch, Terence Koh and James Murphy are among the contributors in this premier issue, each giving their personal insight into the lifestyle of constant change.
Printed on broadsheet newsprint, opening Wild Payer feels like a morning ritual. While often associated with New York photographers, Nicholas Gottlund produces all his work from a modest studio in rural Pennsylvania. The ink on this particular publication will slowly disappear over time and indicates a far off quietude.
Since their first publication with Hassla Books Trine Sondergaard and Nicolai Howalt collaborated on another book, How To Hunt, in which they photographed hunters in the field and explored “a permeable boundry between documetary and art.” How to Hunt recalls the sociology of the hunting scenes in Jean Renoir’s Rules of the Game, whereas Dying Birds is an oneiric motion study of hunted birds stuggling in the air.
This collection of photographs is a collaboration between the illustrious Roma Publications and Antwerp based photographer Geert Goiris. Goiris’s landscape photographs leave the viewer to fend for themselves against expansive spaces and remote territories. For people who appreciate early Andreas Gursky and eschew the excesses of his later career, Goiris maintains a refreshing sobriety while exploring many of the same subjects.
While known for publishing NY based photographers as Gottlund Verlag, Nicholas Gottlund here collaborates with Perryman Press to publish an edition of his own photos. As with all his book projects, this piece retains a zine aesthetic and is populated by serene black and white snapshots of nature. The images of this travelog take on an arcane substance through the muted print tones.
The twin booklets of this 0_100 Editions publication respectively present photographers Coley Brown and Cristiano Guerri. Brown’s typical candor is recontextualized as landscape photography through furtive figures, wasteful traces and dilapidated shelters. The lush print quality of the books is furthermore a vivid analogue to Guerri’s moist forests. The books are joined with an embossed paper band in a limited edition of 100.
Rossano Polidoro and Emiliano Romanelli perform together as Tu ‘M. Their generative ambient music and accompanying cumputer generated videos of monochromatic landscapes come together as an immersive experience. The music stands well on its own for its respiratory quality and rich layering.
Nick Höppner is a longstanding resident of Panorama Bar and manager of the club’s in-house label Ostgut Ton. His extended involvement with the club goes so far as to manifest as music. In the Brush Me Down EP Höppner works with field recordings from the infamous venue to chronicle its circadian atmospheres.
The Cleveland band Emeralds’ self titled release conjures strong synesthetic sensations, reminiscent of Krautrock bands Ash Ra Tempel and Popul Vuh. The accompanying booklet of vividly colored oceanic photographs compliments the music, which ebbs and flows with crystalline surfaces.
This 12″ features two epic and slowly evolving techno tracks from Radio Slave. By adapting the lunar imagery of Ripperton’s Leonor’s Lanugo, these two revisions project both farther into the sparse cosmos and the dense nocturnal forest established in the original. On side one, Radio Slave strips out the melodic constituents to produce a throbbing celestial movement, whereas side two descends into terrestrial strata.
Avowedly inspired by punk and an accomplished jazz drummer, Oren Ambarchi brings a technically cognizant ear to ambient guitar music. Inspired by Keiji Haino, Ambarchi explores idiosyncratic instrumentation and improvised minimal compositions. His playing eschews modal mastery and strips the instrument down to the sounds at the essence of rock music.
The grey desolate landscape on the record jacket is an appropriate analog to Thomas Köner’s genre defining Permafrost. The long supenseful buildups, for which the work is acclaimed, are stark, brutal and cold. Köner’s Permafrost triptych was composed between 1991 and 93 and released by Mille Plateaux. This titular 12″ of the series now gets a remastering from Berlin’s Dubplates+Mastering for strictly limited release on Type records, both establishments associated with cult masterpieces.
The sustained nature of the Gas’ sound allows for a vertical exploration of the many colors present at any given moment. The accompanying photographs of dense German woods highlight the constantly shifting timbre of the music. Wolfgang Voigt’s long standing reflection on the forests and music of his native Germany translates to a succinct and powerful image. This package is a culmination of unreleased material, photography and writing on Voigt’s ambient project.
Subsidence is the motion of a geographic surface as it shifts downward relative to the ground plane. The self-admitted nature inspired Sven Schienhammer has made a name for himself by relentless dub techno releases under the name Quantec. The pulsing rhythm and bass sounds operate almost indiscernably close in a deep layer of the sonic spectrum, which carries the metaphor of subsident environment. The fog shrouded landscape on the cover indicates the secretive and concealed nature of all the sounds on this album.
Like Iceland, the island Terschelling has no trees and its inhabitants traditionally depended on flotsum and jetsum for building materials. It should hence come as no surprise that after a Terschelling man came across an unmarked black tape filled with Detroit techno, the influence would later emerge in his son’s music. Hailing from the tiny island off the Dutch coast, Boris Bunnik’s music retains the mechanical character of Drexciya with well administered dub insipired textures. The Terschelling beach on the album cover photography is by the producer himself.
In Der Baum Erik van der Weijde visits sites of historical significance in Germany, only to photograph the trees. He adapts his style to engage with the typological explorations common to German photography. The savvy application of repetition and order unravels a coded past.
This catalogue of the Swiss born and Italy based Rahimi focuses on his narrative based approach to environment. Writer Rita Selvaggio compares his imagery to the dilettante Luke Howard’s observations of clouds. Howard was the “only person to have realized that the cloud is not an object, nor even a state, but a continual and constant transition.” The interview gives further insight into how the artist articulates landscape across screen writing, video and painting.
Ein Magazin uber Orte translates from German to A Magazine About Place. This issue’s theme is Sea and features works by artists such as Robert Longo, Hiroshi Sugimoto and Leonard Cohen. The horizontal layout of the literary contributions set against the vertical alignment of the artwork is indicative of the publication’s material sensitivity.
This issue of Mono.Kultur interviews the mercurial Cyprien Gaillard. The Paris and Berlin based artist discusses skateboarding, nomadicism and land art in conjunction with his off-the-cuff critique of the modern built environment’s relationship to landscape. His projects range from a Niagra Falls lithograph colored in colored pencil to an exhumed bunker. While often flirting with vandalism the parallel to his hero Robert Smithson is made clear as he discusses his autodidacticism and picaresque ventures into abandoned sites.
Being so casual yet composed Peter Sutherland is like an insouciant William Eggleston. This book forgoes his usual documentation of efant-terrible antics for a picaresque take on landscape. Nicholas Gottlund does the work justice by hand binding rugged copper plate engravings.
Universal Time Code
The monolith in Kubrick’s 2001 not only bridges the earth and cosmos, but is also a continuum between the primitive and the futuristic. By simply touching this disturbingly immaculate form, a tribe of hominids gains technological intelligence, connecting the senses to a larger notion of time. For Universal Time Code, Table of Contents presents a category of objects that make accessible this cosmos of time
The Even Covering of the Field
The Future Will Be…
Hans Ulrich Obrist
Hans Ulrich Obrist
Walking through Baghdad with a Buster Keaton Face
Chewing the Scenery
Inkbox No. 1
Inkbox No. 2
Solution 9 The Great Pyramid
Ingo Niermann, Jens Thiel
Ingo Niermann, Jens Thiel
Light Catalog 1
Memoirs of the Twentieth Century
Samuel Madden, Liam Gillick
Samuel Madden, Liam Gillick
Mono Kultur #26 – Recording ECM
Muting the Noise 01
Facade Cote Paris
One Million Years
Von Oswald Trio
Von Oswald Trio