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Art/Life Volume 02, Number 09
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[92] S., 28,3x22 cm, Auflage: 125, numeriert, signiert, keine weiteren Angaben vorhanden
Einzelblätter in Klemmschiene. Originalarbeiten, verschiedene Papiere und Techniken, Blätter signiert, gestempelt bemalt und beklebt
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Originating as a conceptual exchange among artists, Art/Life Magazine, was one of the longest continually published artists’ periodicals of the 20th century, presenting a diverse array of art during its 25-year history. Art/Life founder Joe Cardella had asked artists to submit and mail original artworks from all over the world to be compiled into limited edition magazines. As a way to increase accessibility to contemporary art practice, Art/Life documented the lives of the artists, their thoughts, emotions, and creative processes through the transition from industrial to digital art practice. The magazine’s legacy can be seen at MoMa, the Guggenheim, Getty, and LACMA, portraying a global consciousness and collaboration between distanced networks of contemporary artists.
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Anthology of Concrete Poetry
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346 S., 24x16,2 cm, keine weiteren Angaben vorhanden
Hardcover mit Schutzumschlag.
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Originally published in 1967, it was the first comprehensive American anthology focusing on the international movement of Concrete Poetry, which began in the early 50s, taking shape in parallel form in Brazil, Sweden, Iceland, Germany and Austria.
Sourcing from seventy-seven poets from twenty countries, this anthology of over 300 selections of concrete poetry stands out in its scope in part from being assembled by Emmett Williams, a founder of this poetic movement. The international array of languages is supplemented by clear-cut explanations and translations. The typographical poems impart an engagingly mysterious insight into the inner workings of language through the intersection of its sonic and graphic components.
Text von der Website.
Ursprünglich 1967 veröffentlicht, war es die erste umfassende amerikanische Anthologie, die sich mit der internationalen Bewegung der Konkreten Poesie befasste, die in den frühen 50er Jahren begann und parallel dazu in Brasilien, Schweden, Island, Deutschland und Österreich Gestalt annahm.
Diese Anthologie mit über 300 ausgewählten Werken der Konkreten Poesie, die von siebenundsiebzig Dichtern aus zwanzig Ländern verfasst wurden, zeichnet sich durch ihren Umfang aus, auch weil sie von Emmett Williams, einem der Begründer dieser poetischen Bewegung, zusammengestellt wurde. Die internationale Sprachenvielfalt wird durch anschauliche Erläuterungen und Übersetzungen ergänzt. Die typografischen Gedichte vermitteln einen faszinierend rätselhaften Einblick in das Innenleben der Sprache durch das Zusammentreffen ihrer klanglichen und grafischen Komponenten.
Übersetzt mit www.DeepL.com/Translator (kostenlose Version)
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Roth Dieter. A reference book entey
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14 S., 29,7x21 cm, keine weiteren Angaben vorhanden
fotokopierte Blätter, Drahtheftung, Biography, list of exhibitions, artist's statement, illustration, essay on the artist
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[112] S., 18,3x17,4 cm, Auflage: 900, keine weiteren Angaben vorhanden
Broschur
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Using stills from his DVD movie in combination with pages of text and graphics, he brings the complexity, subtlety, and play of his language propositions to bear on terrain of human relations.
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MONO.KULTUR #11 David LaChapelle: Rize & Shine - Photography became a way of escaping the darkness of the world.
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ISBN/ISSN 18617085
Heft drahtgeheftet, Hefte 01 bis 15 in Schuber,
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40 S., 20.5x12.5 cm, signiert, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Quick Response is a hands-on introduction into the realm of QR code applications and demonstrates a way in which two-dimensional bar codes can be used to view images. People have to “read” this book by taking photos of each page using a cameraphone. The phone’s QR code reader will then decode the abstract image to reveal that each of them is an encoded URL for a photograph hosted on Flickr. The series of photos demonstrates the variety of modern commercial, artistic and subversive QR code applications. In addition, the book demonstrates a new way of appropriating other people’s photographs.
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the book on books on artists books
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230 S., 24x17 cm, ISBN/ISSN 9780956173843
erschienen zur Ausstellung at the Bloomberg Space London, eingelegt eine Karte mit handschriftlichem Text
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The Bloomberg website says of the project:
For Comma 38, artist and publisher Arnaud Desjardin will exhibit new, old, rare, and popular books while running an active printing press in Bloomberg Space. His COMMA commission, part of an ongoing project titled The Book on Books on Artists' Books, is intended to create an active and participatory review of current and historical practice. This exhibition is about both the display of books on artists' books and the production of a book about the books displayed. He intends to print a first edition, a book of books, a critical anthology and source book, alongside which a large range of books on artists' books will be displayed in a series of vitrines.
Artists' books have normally been sold and distributed through small networks of bookshops and galleries that often produce lists of available titles in printed form. The advent of the Internet has meant that information online has changed the nature of this documentary evidence. Desjardin's unique and extraordinary combination of display and production makes an exhibition that actively engages in both the making and disseminating in real time. The books themselves become both vehicles for information and documents that testify for artistic activity in its own right
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The Hottest Day of the Year
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17,5x13,5 cm, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, Cover hinten und vorne beschnitten, Installationsplan angeheftet, Teil der Publikationssammlung von Bom Dia Boa Tarde Boa Noite
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56 S., 30,5x21,5 cm, ISBN/ISSN 9788896501610
mit Kunststoffumschlag, geklammert
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This publication documents the monumental collaborative work which Liam Gillick and Lawrence Weiner produced for the Antwerp museum of contemporary art MuHKA in the spring of 2011. Tellingly titled A Syntax of Dependency:, the project could be viewed as the outcome of a twenty-year dialogue between artists, artistic practices, generations. This giant floor piece, consisting of an abstract linoleum pattern containing an array of phrases, took up the museum's entire first floor - its site-specifity meaning that the end of the exhibition also entailed the work's irreversible destruction. This photo novella - complete with fragments of a conversation between both artists and a short text by exhibition curator Dieter Roelstraete - captures the work in its unique desolate splendor
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Libri d’arte, passione di una vita
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keine weiteren Angaben vorhanden
Artikel über Reinhard Grüner,
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Reinhard Grüner is a collector from Monaco. His passion is art books, which he collects – and sometimes exhibits – since the 1960s.
His website, www.buchkunst.info is a real “online museum”, where international artist books are catalogued and photographed. Amongst the artists there are Marc Chagall, Anselm Kiefer, Henri Matisse, Pablo Picasso and Andy Warhol. Books, but also works of art made of images and text, created by the artist often in collaboration with a writer and a publisher. For the high artistic quality – original graphics, unique designs, paintings and collages – these works are different from the usual picture books. Their manifestations are multiple: books with graphic effects, objects-book, artist’s books, sometimes printed in offset or illustrated by works of artists.
At the centre of Grüner’s attention there are Eastern German and Eastern European books (mainly Russia, Hungary, Lithuania). many of these works were created in response to specific social, political and cultural issues, with unimaginable insights into the culture of modernity.
Reinhard first came in contact with the art in book form with the English Edition, printed privately, of “A Dissertation Upon Roast Pig”, printed in 1975 by Shoestring Press on paper of the legendary Chiswick Press: from here begins a life of a book maniac among thousands of books. As Grüner states in an essay, the acquisition of artist books is more than a simple purchase: the artist, the life as a collector and thoughts are tied together, they influence each other, and a network of contacts with other collectors begins. With nearly all the books in his collection Grüner forms a symbiotic relationship: each of them describes, explains, and gets to the heart of some chapters of his life.
Download the pdf file with the essay on the collection of Reinhard Grüner (in English)
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13x13 cm, keine weiteren Angaben vorhanden
naivsuper Nr 013, Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
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recorded at the Electronic Church in 2007.
Saxophon recorded at the Electronic Church in 2007. No overdubs, no manipulations.
When we (naivsuper) met Antoine in november 2007 to record his saxophone drones we didn´t really know what to expect because Antoine´s drones are perfect in a live situation. We weren´t sure if we could capture the richness of his sound, his working with the accoustics of a room and the strange almost discomforting breathing noises he makes when circular breathing on a CD. We basically wanted to hear him moving in the room, we wanted to see with our ears.
For the recording we chose the Electronic Church in Berlin because we have seen him perform there earlier the same year and it was absolutely fantastic.
The day of the recording was an incredible cold day in Berlin and due to the fact that the Church has no heating we could see our breath and feel the unbelievable cold humidity of a groundfloor room that hasn´t been aired in some time crawling up our pants.
It took Antoine almost an hour to warm up the saxophone and to get a satisfying tone. When he was finally ready to record the first take he was already a little bit out of breath. After 5 minutes of circular breathing his nose and lung started to freeze. We then tried a few more times but after another hour we were all coughing and sneezing and the saxophone was frozen so that we decided to postpone this session.
When we listened to the material at home we discovered that there was almost everything we wanted. We recorded how Antoine is fighting the cold and the exhaustion. There is the room, the breathing and movement. There is sound - almost an evolution of sounds - they are born slowly, grow up and then slowly disappear or extinguish.
We highly recommend you to listen with headphones. A follow up to this great document is planned, too
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13x13 cm, keine weiteren Angaben vorhanden
naivsuper Nr 011, Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
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recorded in 2007 at the Leo Mars studio.
´Lightears´ is the long awaited debut album by Berlin duo Leo Mars. After a year of trial and error, a lot of sessions, sound collecting and analysation of possibilities a precisely crafted, yet astonishingly free floating album came to life. In times of almost infinite sounds, instruments and styles it took the duo some time to come up with the basic material, form a language and then of course learn to speak it. Hours were spent in the studio and their favourite lebanese restaurant discussing the world of sound.
´Lightears´ intelligently smudges the borders between a classic drone, an underground noise, a playful improvisation and an old fashion musique concrete record. All the genres fall into place rather unpretentious with pure sound excitingly assembled to challenge ones listening habits.
It is a rather harsh production always bouncing back and forth between digital, crisp electronics and field recordings pushed way over the edge.
With minimal gear and set up Leo Mars managed to manoveur themselves somewhere inbetween a bedroom thrashing noise keyboard project and a theoratical paper score composer duo. Performing in a trance - allowing things to happen - awaken - making a conscious decision - slipping back into space
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10x20 cm, keine weiteren Angaben vorhanden
Einladungskarte zur Ausstellung
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78 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farbkopien nach PDF, lose ineinander gelegt, Dokumentation der Ausstellung
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This survey of experimental art and design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space for the presentation of artworks and text. Throughout the 20th century, international avant-garde activities in the visual arts and design were often codified first in the informal context of a magazine or journal. This exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections to the past lineage of artists’ magazines and little architecture and design magazines of the 20th century, as well as a clear sense of the application of new techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library’s sustained effort to document and collect this medium.
Text von der Webseite
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19,8x14 cm, Auflage: 50, numeriert, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung
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Heft mit Schwarz-Weiß Aufnahmen. Der Titel basiert auf einem gleichnamigen Song der Band "That Fucking Tank" aus ihrem Album "The Day Of Death By Bono Adrenalin Shock".
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Girlcoremagazine - 2012 Book
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52 S., 21x14,6 cm, 2 Stück. ISBN/ISSN 978-3-942547161
Broschur, Pogobooks #038
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Girlcore is an all-female collective based in London. Originally founded on a desire to promote international female talent in creative industries - Girlcore's resume has grown far and beyond anything originally hoped for. Be it showcasing new DJ's alongside the likes of veterans such as Peaches and Annie Mac, to creating a website dedicated to promoting recent flair in the visual arts. All the work done by the group is a labour of love, each member of the collective having their own careers in the creative industries. This side-project is a way of celebrating the amazing work we encounter along the way.
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304 S., 29x22,5 cm, ISBN/ISSN 978-3-775737067
Hardcover
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Zur Ausstellung von Andy Warhols Künstlerbüchern, 18.09.2013-12.01.2014 im Museum Brandhorst in München.
... gezeigt wird erstmals, dass Warhol seit seinen Studientagen in den 1940er-Jahren bis zu seinem Tod 1987 durchgängig kreativ an Büchern arbeitete. ... Illustrationen berühmter Romane fertigte er bereits während seines Studiums an. Als erfolgreicher Grafiker schuf Warhol in den 1950er-Jahren verspielte Themenhefte, die er in der New Yorker Modewelt als Werbegeschenke verteilte. Schon bald erhielt Warhol Aufträge von großen Verlagen wie Doubleday oder New Directions, um Bucheinbände zu entwerfen sowie Koch- oder Kinderbücher zu illustrieren. In den frühen Jahren der Factory überließ der mittlerweile berühmte Maler befreundeten Dichtern Siebdrucke und Fotos für ihre Gedichtbände. Schließlich stellte er mit Factory-Künstlern Bildbände aus dem dort entstandenen Film- und Fotomaterial zusammen. ...
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40 S., 16,8x10,6 cm, Auflage: 300, ISBN/ISSN 9789081556903
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The first in a series of octavo-sized publications dedicated to the typographical "And" and "&," this is a re-print of the literary critic's famous 1986 essay on that essential conjunction. Design by Denise Bertschi with David Bennewith. Layout by Denise Bertschi.
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[32] S., 22,3x14,9 cm, ISBN/ISSN 9788494070105
Drahtheftung,
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"For me press images are an endless source of material with which to work in one way or another. A long time ago, I realised that, almost unconsciously, I was collecting groups of photographs in a folder without a specific theme. Later on, going through them, I noticed that the female figure was a recurrent subject. I selected them because they caught my attention, they talked to me, or they simply attracted my attention. When I understood that there was that link between them, I felt that maybe there were more images of women than men in the media, so I decided to pick up several newspapers and count their photographs. However, the surprise came when I found that it wasn't like that at all."
Text von der Webseite
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44 S., 20,4x17,2 cm, ISBN/ISSN 1901352161
hardcover, eingeklebtes Heft auf anderem Papier
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zur Ausstellung 12.04.2003 — 08.06.2003
For their exhibition at Modern Art Oxford, the Chapmans present sculptures, paintings, drawings and a major new installation in the main Upper Gallery. The exhibition develops on the artists’ delight in cultural confusion and in challenging our assumptions about taste and meaning in art, explored most recently in The Chapman Family Collection, a faux-museographic display of hand-carved wooden fetish objects infected with the iconography of the global food outlet McDonalds.
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160 S., 23x17,5 cm, Auflage: 2.000, ISBN/ISSN 978-2-916275635
Hardcover
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The names of all the artists featured in the collections of the Louvre are first mixed with the names of the museum's employees to comprise a unique and generic list. The authors can thus play on the notions of anonymity and celebrity, while creating a sort of directory of all those, whether known or unknown, artist or employee, who uphold the Louvre's reputation. They also add several "themed" lists cleverly organized with a good dose of humor. The third part of the book likens the portrait of Louvre employees to the self-portraits of artists displayed at the Louvre.
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40 S., 20,3x12,7 cm, 2 Stück. keine weiteren Angaben vorhanden
Hardcover, Broschur
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According to popular belief, there were no urinals in museums and art galleries before 1917. Allegedly, Marcel Duchamp was the first to introduce one of these useful objects into an exhibition space. Nearly a century later they are ubiquitous. Captured during a six month sojourn through Europe, this book presents a selection of the finest art museum urinals on the continent.
Published in 2012 as a contribution to ABCED, an ABC Artists’ Books Cooperative project in celebration of Ed Ruscha’s seventy-fifth birthday. The book was taken out of circulation on the occasion of Ed Ruscha’s seventy-sixth birthday on December 16th, 2013.
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setup4 No. 1 - online magazin - artists´ publications
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60 S., 21x29,7 cm, keine weiteren Angaben vorhanden
Farblaserkopiee nach dem online Magazin, Blätter lose ineinander gelegt
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Themen und Beiträge • Annette Gilbert Pageworks – Sheetworks • Mona Schieren Lines in Writings and Drawings • Michael Glasmeier Handlung und Materie • Anne Thurmann-Jajes Robert Rehfeldt and Ruth Wolf-Rehfeldt • Sabine Hänsgen Medien der Dokumentation • Guy Schraenen Essay on Art History • Thomas Deecke James Lee Byars • Christiane Böhm, betreut von Kornelia Röder Das Buch im Wandel der Zeit
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12,3x14,1 cm, keine weiteren Angaben vorhanden
Audio-CD mit Booklet in rot-transparentem Jewel-Case
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Katalognr. VEC CD 0053. Originalaufnahme von 2006
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13x9,5 cm, keine weiteren Angaben vorhanden
Drahtheftung
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zur Ausstellung vom 30.04.-04.06.1994
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12.5x14.5 cm, keine weiteren Angaben vorhanden
2 CDs mit Booklet
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Sutherland claims to make poetry that is visual art, visual art
that is music, and music that is poetry — all of my objects, texts,
performances, videos and audio - visual installations investigate the
play of signs found in conflicting principles of authority between
language, sound, images and objects.
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90 S., 43x28,5 cm, ISBN/ISSN 978-3-863356798
90 lose ineinandergelegte Seiten mit 45 farbigen Abbildungen
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Herausgegeben von Alice Dusapin & Christophe Daviet-Thery. Beiträge von Steve Roden & Oscar Tuazon.
Allan Kaprow is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career. With a wide selection of images, this publication documents Kaprow's posters, a lesser-known side of his work, produced between 1953 fand 1996. Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style. More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.
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Simone Haack - Christoph Jakob - Ines Doleschal
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[20] S., 11x15 cm, keine weiteren Angaben vorhanden
Drahtheftung
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Anlässlich der Ausstellungseröffnung am 29.05.2009
Simone Haack: Bilder und Zeichnungen. Christoph Jakob: Skulpturen, Arbeiten in Stein. Ines Doleschal: im Kabinett: The way out
Ausstellung: 29.05.-03.07.2009
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176 S., 29,3x23 cm, ISBN/ISSN 9780989911702
Broschur, teils gefaltete Blätter oder beigelegte Blätter auf diversen Papieren, eingebundene Plakate
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Beiträge von Stephen Eichhorn, Penny McCarthy, Thomas Nozkowski und Leslie Wayne, an essay on the design of the 9/11 Memorial by architect Michael Arad, poems by Chantal Bizzini, a new installment of the Modern Artifacts series, copresented with the Museum of Modern Art Archives, and much more
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Keep Going West Until You Can See The Sun Set In The East
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[8] S., 46,5x31,5 cm, Auflage: 1.000, keine weiteren Angaben vorhanden
Broschur, teils spiegelverkehrt
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A newspaper was distributed at selected points during the Kunst Fest in the city of Weimar. Both in newspaper stores and on the street by various performers.
It contained propositions for small interventions in public space in Weimar. These propositions function as a written proposal: in relation to Lawrence Weiner's “Declaration of Intent“ the interventions do not need to be executed but can be read as a manual and performed by anybody. Each format is equal. Every written intervention is formulated in a more or less abstract way opening the possibilities of interpretation for the viewer. Poetic connotation is intended.
Text von Website
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Odos Eleftherias - Freedom Street
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59x42 cm, keine weiteren Angaben vorhanden
Plakat
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In the context of a continuous and persistent spiritual quest in the field of Greek art and its history, the artist Christos Bokoros appears —through simple themes and earthy, warm materials— to win an important battle. He has silently found a subtle and significant way of stripping bare certain symbols—his own ‘signs’: a way of isolating those symbols from anything unnecessary and superfluous, and of drawing the community’s attention to them by revealing them to be purified, resurrectional and full of fire.
Through the presentation of a series of paintings entitled ‘ODOS ELEFTHERIAS’, Bokoros ventures a direct discourse of these ‘signs’ with buildings and streets that are adjacent to, or end up at, Lefkosia’s Green Line. Many of these buildings have suffered damages and decay. One could say that in their own way they constitute a second crevice near the Green Line that divides the state. It is in these fissures that the artist sets up - plants - his ‘ODOS ELEFTHERIAS’, in the hope of giving the city’s centre new fruits and joyous vibrations—in a silent and honest alliance with all the indigenous revitalizing forces
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Kleine Reihe Band 04. Joan Rabascall - Produktion 1964-1982
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68 S., 21x15 cm, ISBN/ISSN 3928761773
Drahtheftung,
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Ausstellung 31.10.2009-14.02.2010
Massenmedien, die Rolle der Frau, Militarisierung, Gewalt, der „american way of life“, Freizeitkultur und Computerisierung – dieses sind die Hauptthemen von Joan Rabascall. Das Studienzentrum für Künstlerpublikationen zeigt in seiner Ausstellung nun über 150 bisher eher unbekannte Produktionen des spanischen Künstlers aus den 1960er bis 1980er Jahren, die als Schlüssel-Periode in seinem Werk angesehen werden können. In einer Zeit, in der sich die meisten amerikanischen Künstler/innen von der industriellen Produktion faszinieren ließen, entschloss sich Rabascall wie viele andere europäische Künstler/innen auch, Kritik an der modernen Konsumkultur auszuüben. Dabei steht für ihn vor allem die zunehmende Mediatisierung der Gesellschaft im Zentrum seines Interesses. Dementsprechend gestaltet sich die Ausstellung „Joan Rabascall. Produktion 1964-1982“ rund um die Auseinandersetzung des Künstlers mit den Thema des Bildes und der Bilderübertragung.
Text von der Website
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1 S., 19x28,5 cm, keine weiteren Angaben vorhanden
Ein Blatt, mehrfach gestempelt, beklebt mit Künstlerbriefmarken, mit Postadresse
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Aspen - The Magazine in a Box Vol. 1 No. 04
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31x23,6x1,5 cm, keine weiteren Angaben vorhanden
Kassette mit zwei gefalteten Einzelblättern, beidseitig bedruckt, eins davon Werbemappe mit Werbeheftchen für Gordon's und Newsletter der Something Else Press, drei Poster, drei Hefte mit Drahtheftung und eine Schallplatte.
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Ausgabe gestaltet von Quentin Fiore. Ausgabe besteht aus 9 Teilen: 1. Box, 2. "The Medium Is the Massage" Poster-sized mosaic of pages from The Medium Is the Massage by McLuhan and Quentin Fiore, 3. "The TV Generation" Poster of a color photo taken at the Tribal Stomp at San Francisco's Avalon Ballroom, 4. "Diary: How to Improve the World (You Will Only Make Matters Worse)" Random observations by John Cage, 5. "The Electronics of Music" Essay on electronic music by Faubion Bowers and Daniel Kunin, 6. Phonograph recording. A Recorded Sampler of Electronic Music. Side A: In Memoriam of Edgar Varèse, by Mario Davidovsky. Side B: Horn, by Gordon Mumma, 7. "The Braille Trail" Bob Lewis and Alfred Etter describe a nature trail for the blind, 8. "Psycles" Excerpts from The Bikeriders, Danny Lyon' book about the Chicago Outlaws motorcycle club. Prefaced by a meditation on motorcycling by Bob Chamberlain, 9. Mappe mit Werbung mit einem Werbeheft für Gordon's und Newsletter der Something Else Press (Something Else Newsletter Volume 1, Number 6: May, 1967), weitere Werbehefte der Originalausgabe fehlen.
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Aspen - The Magazine in a Box Vol. 1 No. 02
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31x23,6x1,5 cm, keine weiteren Angaben vorhanden
Kassette mit Stegen, mit zwei Heften mit Drahtheftung, einem Heft mit eingeklebtem Leporello, einem Heft mit eingeklebtem, mehrfach gefalteten Einzelblatt, Sammelmappe mit 14 Einzelblättern und einer Schallplatte.
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Zweite Ausgabe, bestehend aus 7 Teilen: 1. Box, 2. "Scriabin: Again and Again" Faubion Bowers on the work and life of Russian composer Alexander Scriabin, 3. "Phonograph recording. Works by Alexander Scriabin, performed by Daniel Kunin" Recorded by Aspen Magazine March 23, 1966, at Steinway Hall, 4. "Ski Racing: Edging the Possible" Martin Luray on the mystique of downhill skiing, 5. "The Robert Murrays. A visit with the residents of a simple, site-friendly mountain home" by Pegggy Clifford, 6. "Farewell to a Canyon" The demise of Glenwood Canyon, documented by an anonymous author, 7. "The Young Outs vs. The Establishment" Seventeen excerpts from papers presented at the Aspen Film Conference.
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Artistamp - First Day of Issue
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2 S., 5,5 cm, 3 Teile. keine weiteren Angaben vorhanden
Drei Künstlerbriefmarken, perforiert, Rückseite gestempelt
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29,2x22 cm, ISBN/ISSN 978-1-907946615
Broschur, Softcover
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In this his latest artist book, Ethridge conflates a rich array of photographic tropes, combining personal documentary images made in western Palm Beach County, his mother’s childhood home, with surreal collage works, and a series discarded from a Chanel fashion shoot. These are interwoven with what appears to be a carefully directed scene depicting a teeth-white Durango SUV sinking into and then being retrieved from a canal. The clash of visual styles, histories and meaning establish a flatline of dissonance underscored by the touchline admonition of the neon title - SACRIFICE YOUR BODY.
Text von der Webseite
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Hidden Islam - Islamic makeshift places of worship in North East Italy, 2009-2013
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90 S., 24,8x17 cm, ISBN/ISSN 9788890981708
Hardcover mit festgeklebtem Schutzumschlag. Jede Seite aufklappbar.
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Dritte Auflage.
Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy and yet, officially, only eight mosques in the whole country. One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses and old factories. This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed by the right wing party Lega Nord. The dull images of the many and diverse buildings that house the makeshift mosques are printed on folded pages. You open up the gatefold to reveal the scenes inside the mosques, shot in full colour. The size of the gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups of two or three Muslims. Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely in our own hands.
In 2014 Hidden Islam was awarded the Gold Award - Deutscher Fotobuchpreis, First Book Award - Paris Photo/Aperture Foundation and Author Book Award - Les Rencontres des Arles.
Text aus dem Vorwort von Martin Parr.
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Scattered Material Vol. 1 - Weapon, Shapely, Naked, Wan
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[16] S., 23x15,3 cm, Auflage: 500, ISBN/ISSN 9780990749561
Beidseitig bedruckte, mehrfach gefaltete Seiten
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Dillon DeWaters’ new book, Weapon, Shapely, Naked, Wan, is a rumination on the uncanny, on the anomalous phenomena within the everyday. Taking as their starting point a text, Walt Whitman’s “Song of the Broad-Axe,” and a place, Brooklyn’s Fort Greene Park, the photographs build a world of the unfamiliar within the recognizable. Using techniques of in-camera masking and multiple exposures, DeWaters creates a fictive world wherein memory becomes palimpsest, overwritten, erased, perhaps apocryphal. The places contained herein are supernatural, perhaps preternatural, on their surface but, beneath, there is a sense of the cozy, the familiar, even the banal. DeWaters is reordering our geometries and our color palettes to create in us a new vision, a new way of seeing. Is it our eyes that are turning space inside out? We watch, through the continuous image stream within the pages, as Whitman asserts, “The shapes arise!”
Text von der Webseite
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The Nature of Photographs
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[142] S., 24,5x21 cm, ISBN/ISSN 9780714859040
Broschur
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The Nature of Photographs is the essential primer of photography, not only for students but for anyone with an interest in the medium. This book grew out of a college course that Stephen Shore taught for many years. Its aim is not to explore photographic content – the subject of an image – but to describe the physical and formal attributes of a photographic print, the very elements that form the tools a photographer uses to define and interpret that content. By teaching us how to look at photographs and helping us to see the world the way the photographer may have seen it, Shore also teaches us a way of looking at the world around us.
Text von der Webseite.
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Legible – Visible - Between the Film Frame and the Page
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92 S., 24x18 cm, ISBN/ISSN 9788494423437
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Katalog erschienen zur Ausstellung in Arts Santa Mònica, Barcelona, 06.04.-28.05.2017
Legible-Visible. Between the Film Frame and the Page explores the relationship between print publications and audio-visual documents, two of the most important media underpinning the social and cultural landscape of our time which also define the evolution of contemporary art in the 20th and 21st centuries.
The emergence of relatively inexpensive home video technologies in the 1970s brought with it an alternative model for the creation and diffusion of artist publications, and a prolific period of exploration, reflected in the work of Baldessari, Gilbert & George, Boltanski, Carrión, Rucha and Rosler, among others. The popularization of digital media at the beginning of the 21st century sparked a revolution in the systems of production of both audio-visuals and books, exemplified by a new generation of artists, such as McGeorge, Kentridge, Cine Quieto or Van Leijsen.
Mela Dávila proposes a theoretical and historical framework for works that the market long dismissed as secondary on account of their serial nature. This characteristic, together with the particular space of experience they generate, and the linearity and temporality common to both media, have opened up a range of new narrative (or anti-narrative) possibilities which have enabled artists to redefine contemporary art.
Starting from a detailed study of 24 double works, Maite Muñoz looks at how different artists have taken advantage of the permeability between publications and audio-visuals, in which ideas and strategies of narration and editing intrinsic to both mutually infect and enrich one another through the play of opposition, complementarity and dialectics.
Text von der Webseite
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Mini Zine - Faye Dunaway on Mondays
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[16] S., 14,9x10,8 cm, Auflage: 125, numeriert, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, zweifarbiger Siebdruck
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15x10,5 cm, keine weiteren Angaben vorhanden
Softcover, Broschur
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Publikation zur New York Art Book Fair 2017. Printed Matter presents the twelfth annual NY Art Book Fair, from September 22 to 24, 2017, at MoMA PS1, Long Island City, Queens. Free and open to the public, the NY Art Book Fair is the world’s premier event for artists’ books, catalogs, monographs, periodicals, and zines. The 2017 NY Art Book Fair will feature over 370 booksellers, antiquarians, artists, institutions and independent publishers from twenty-eight countries. This year’s NY Art Book Fair will include an ever-growing variety of exhibitors - from zinesters in (XE)ROX & PAPER + SCISSORS and the Small Press Dome representing publishing at its most innovative and affordable, to rare and antiquarian dealers offering out-of-print books and ephemera from art and artist book history, plus the NYABF-classic Friendly Fire, focused on the intersections of art and activism. NYABF17 will host an array of programming and special events, including: The Classroom, a curated engagement of informal conversations, workshops, readings, and other artist-led interventions, for the eighth year running, as well as The Contemporary Artists’ Book Conference (CABC), in its tenth year, featuring two full days of conversation on emerging practices and issues within art-book culture.
Text von der Website.
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Capital of the 20th Century
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913 S., 27x19x5 cm, ISBN/ISSN 978-1-784781569
Hardcover, in Schuber,mit Metallfolie kaschiert, Prägedruck
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Acclaimed artist Kenneth Goldsmith’s thousand-page beautiful homage to New York City. Here is a kaleidoscopic assemblage and poetic history of New York: an unparalleled and original homage to the city, composed entirely of quotations. Drawn from a huge array of sources—histories, memoirs, newspaper articles, novels, government documents, emails—and organized into interpretive categories that reveal the philosophical architecture of the city, Capital is the ne plus ultra of books on the ultimate megalopolis.
It is also a book of experimental literature that transposes Walter Benjamin’s unfinished magnum opus of literary montage on the modern city, The Arcades Project, from 19th-century Paris to 20th-century New York, bringing the streets to life in categories such as “Sex,” “Commodity,” “Downtown,” “Subway,” and “Mapplethorpe.”
Capital is a book designed to fascinate and to fail—for can a megalopolis truly be written? Can a history, no matter how extensive, ever be comprehensive? Each reading of this book, and of New York, is a unique and impossible passage.
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146 S., 29,7x23,5 cm, ISBN/ISSN 1854374117
Broschur, Softcover
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Publikation anlässlich der Ausstellung vom 14.03-04.06.2002 Tate Britain, London. Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
Text von der Website.
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Forensic Architecture - Violence at the Threshold of Detectability
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368 S., 23,5x19 cm, 2 Stück. ISBN/ISSN 978-1-935408864
Hardcover, Schutzumschlag
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2. Auflage von 2018. In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN.
Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.
In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.
Text von der Webseite
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Twitterpapst geht offline
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106 S., 21x14,8 cm, Auflage: Print on Demand, 2 Stück. keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke, Nr. 029 aus der Reihe 100for10.
Christoph Vieweg is a drawer and illustrator, based in Berlin. He realizes his art mainly through drawings which focus on everyday observations. Most recently, Vieweg was engaged in the project SOWEIT DIE MELDUNGEN in which he attempts to artistically explore daily news delivered through radio podcasts. The challenge of the project is to keep up the artistic output of at least one drawing per day, each of it representing one received news item. Vieweg’s work presents itself in complex serial blocks which again and again aim to visualize and capture the undertone of the society we live in.
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106 S., 21x14,8 cm, Auflage: Print on Demand, keine weiteren Angaben vorhanden
Broschur
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Schwarz-Weiß-Drucke
Based in a quiet undisclosed studio a short train ride outside of downtown Berlin, artist Peter Aurisch creates some of the most original tattoos in the city — and in a place with an estimated 2,000 tattoo artists, that’s saying something. To keep his ideas fresh and original, he may only begin planning a new piece when the client first arrives. He tends to work freehand without sketches or source imagery, and instead draws inspiration from stories and details provided by his customers. Aurisch’s studio is called Johnny Nevada, he takes only a single appointment daily.
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968 S., 24x17 cm, ISBN/ISSN 9788837085667
Hardcover, Titel mit partieller Lackierung
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Erscheint anlässlich der Ausstellung “Joseph Beuys – Difesa della Natura”, 13.05.-14.08.2011, Kunsthaus Zürich, herausgegeben von der Züricher Kunstgesellschaft/ Kunsthaus Zürich. 3 Ausgaben, italienisch, deutsch, englisch.
12 May 2011 is the 90th anniversary of the birth of Joseph Beuys (1921-1986), one of the key figures in the artistic scenario of the last century. The Kunsthaus in Zurich is paying tribute to the German master by staging an important international event that forms an integral part of the exhibition entitled “Joseph Beuys – Difesa della Natura” (Joseph Beuys – Defense of Nature), curated by Lucrezia De Domizio Durini and Tobia Bezzola. This book marking the birthday of this German painter and sculptor, who was one of the most authoritative and innovative voices of post-war society, is also being published in English and German. The book, about 1,000 pages long, containing more than 200 illustrations from the historical archive of De Domizio Durini, describes the Living Sculpture which made Beuys famous, together with the historical background that is fundamental to comprehending his thinking and work.
Text von der Webseite
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MONO.KULTUR #34 Brian Eno - Revaluation (a warm feeling)
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44 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, gedruckt auf verschieden farbigen Papieren
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Chances are that you will be far more familiar with Brian Eno and his work than you might realise. Whether you know him as a founding member of the gloriously influential 1970s art-rock outfit Roxy Music, or as the inventor of ambient music, in one breathless career Eno has actually released no less than 25 solo albums and contributed to countless projects and collaborations, but also left his fingerprints on dozens of seminal albums as a producer – think U2, Talking Heads or Coldplay, to name but a few – composed several film scores not to mention the start-up theme for Microsoft’s Windows 95. All of which is to say that it is hard to not be in earshot of his musical influence in one way or another. With mono.kultur, Brian Eno talked about the impact of technology on culture, the similarities between producing music and parenting, and why they called Elvis ‘The Pelvis’. Given Brian Eno’s interest in how art can affect moods and emotions, our new issue turned into somewhat of an experiment in chromatics, with the pages gradually traveling the entire colour spectrum from yellow to blue and back again, which not only affects the optical perception of the yellow text, but also how one responds to the content of the interview. Suffice to say: this must certainly rank as the most colourful mono.kultur to date.
Text von der Website.
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[20] S., 21x14,8 cm, signiert, 2 Teile. keine weiteren Angaben vorhanden
fadengeheftet, farbiger Digitaldruck, persönliches Schreiben beigelegt
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A project on digital communications. Based on Caren Florance's project. swiping as a momentary way of making something move in a long time row of other developments. This is about pressure and leaving impressions. Or not being able to.
Text aus dem Heft.
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POP ART POST - Munich Pop Art 2019
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8 S., 50x35 cm, keine weiteren Angaben vorhanden
Zeitung, Blätter lose ineinander gelegt
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Erschienen zur Ausstellung im Kösk, 21.-24.11.2019.
MUNICH POP ART ist eine jährliche stattfindende Ausstellungsreihe Münchner Künstler aus dem Umfeld der Urban Art. POP ART, die Mutter des gesellschaftlichen Spiegels. Collagiert, gesampelt im neuen Kontext und die Reproduzierbarkeit als Merkmal einer ganzen Kultur. Aus Jugendsubkulturen wie Skateboarding und Graffiti entstehen neue Kunstformen wie Urban Art und Street Art, populär und beeinflusst durch Massenmedien und heutiger Netzwerke. Kein Stil der Kunst des 20. Jahrhunderts prägt unsere Vorstellung von Ästhetik, Design und dem American Way of Life so nachhaltig wie POP ART. Im Zeitalter von Social Media ist POP ART aktueller denn je.
Text von der Webseite
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Publishing as a Way of Creating Wirklichkeit 01 - Roberto Bolaño - Nazi Literature in the Americas
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[8] S., 21x14,7 cm, keine weiteren Angaben vorhanden
Schwarz-Weiss-Kopien, Drahtheftung
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Die P.A.A.W.O.C.W. Hefte erscheinen immer anlässlich einer öffentlichen Präsentation des Verlags und sind eine Mischung aus Verlagsprogramm, Werbeträger, Visitenkarte und Magazin.
#01 Kopie des Kapitels "Italo Schiaffino" aus Roberto Bolaño's "Nazi Literature in the Americas" von 1996, p.157-160
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Publishing as a Way of Creating Wirklichkeit 02 - Marianne Wex - Weibliche und männliche Körpersprache als Folge patriarchaler Machtverhältnisse
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[8] S., 21x14,7 cm, keine weiteren Angaben vorhanden
Schwarz-Weiss-Kopien, Drahtheftung
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"Publishing as a Way of Creating Wirklichkeit" (P.A.A.W.O.C.W) is a series of bootlegged text fragments that relate to the practice of publishing.
#02 Marianne Wex, "Weibliche" und "männliche" Körpersprache als Folge patriarchaler Machtverhältnisse, 1979, p.370f
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Publishing as a Way of Creating Wirklichkeit 03 - Benedict Anderson - The Origins of National Consciousness
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[16] S., 21x14,7 cm, keine weiteren Angaben vorhanden
Schwarz-Weiss-Kopien, Drahtheftung
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"Publishing as a Way of Creating Wirklichkeit" (P.A.A.W.O.C.W) is a series of bootlegged text fragments that relate to the practice of publishing.
#03 Benedict Anderson, Immagined Communities, Reflections on the Origin and Spread of Nationalism, 1983, p.37-46
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what remains gallery - Edition 1 - The Gwangju Issue
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[100] S., 29,7x21 cm, Auflage: 150, 2 Stück. ISBN/ISSN 978-3-946803-645
Broschur, Fadenheftung mit offenem Rücken
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Living Sculpture Performance für die Gwangju Biennale René Landspersky.
A perfomative art-piece to raise questions about the very concepts of preservation, ‘heritage’, immateriality and meaning. Symbolic values build the conceptual frame for the research on the relationship between words and images in the digitized world, transhistorical authorship, coded connectivness, digital diversification and the residues of the significant other. What remains gallery will focus the limits of perception through the digitized perspective of non-linear history.
MATERIAL LAURE PROUVOST. ... Die französische Turnerpreisträgerin Laure Prouvost nimmt sich in ihrer unnachahmlich direkten Art dieses historische Mauerwerk zum Anlass, um einen Blick unter die martialische Oberfläche des Marmors der Ehrenhalle des heutigen Haus der Kunst zu werfen [2015-2016]. Gleich einem chirurgischen Eingriff hebt sie die äußere Hautschicht des fleischfarbenen Marmors zeltartig empor und gewährt dem Besucher den Blick in eine dunkle Vergangenheit des Materials, in dessen eingeschriebene Erinnerung. ...
Text aus dem Magazin
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90 S., 24,5x21,4 cm, ISBN/ISSN 8478220607
Broschur, 56 Farbabbildungen
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Der Katalog mit dem Titel Wüstenlandschaften zeigt Arbeiten des Fotokünstlers Thomas Brenner (geb. 1961 in Wiedenbrück) und Arthur Tress (geb. 1940 in New York) aus den 80er und 90er Jahren. Opulent, starr, verstörend und dennoch nah an der Wirklichkeit - durch Verdichtung und die Kunst der Bildsprache, die ihre Inspiration an den Orten findet, an denen die Werke in Szene gesetzt werden.
Es ist der Katalog Nummer 20 aus der in Valenzia beheimateten Sammlung Colección Imagen, Sala Parpalló Valencia Colección Imagen.
Mit den beiden Fotokünstlern öffnet die Fotosammlung eine neue Sparte namens Doble Visión.
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[96] S., 34x23,5 cm, ISBN/ISSN 9788469720493
Drahtheftung. Vorderseite mit mittig ausgestanztem Loch. Kleineres Blatt im Centerfold.
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In recent years Valencia has been posting the so-called Campus Party. In this type of social-cultural gatherings, thousands of young adults —software developers, lovers of digital works and robots, hackers and defenders of free software, gamers and simulation fanatics, ciber-apostles and modding artists— come together to exchange archives and share their experiences, living for a week connected to each other.
For these super-users —digital natives that make computer technology a way of life and who are often classified as the new urban tribe of the geeks— computers are much more than just a device for work, they are an extension of their identity and the digital ecosystem where they decide to live.
< YO >< YO >< YO > Sets out a journey from the plug into the computer, with the intention of portraying along the way this kind of super-user: an exaggerated reflection of our relation with technology.
Text von der Website.
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Wittgenstein's corrections
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[128] S., 20,5x17,2 cm, Auflage: 200, ISBN/ISSN 097329390X
Broschur, Visitenkarte beigelegt
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Basiert auf einem Faximile von Ludwig Wittgensteins Manuskript für den Traktacus Logico-Philosophicus mit faksimilierten handschriftlichen Texten.
The book’s point is an ethical one. I once meant to include in the preface a sentence which is not in fact there now but which I will write out for you here. … What I meant to write, then, was this: My work consists of two parts, the one presented here plus all that I have not written. And it is precisely this second part that is the important one. My book draws limits to the sphere of the ethical from the inside as it were, and I am convinced that this is the only rigorous way of drawing those limits.
Text von der Webseite
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288 S., 31x26,2 cm, ISBN/ISSN 9780500517635
Hardcover mit Schutzumschlag
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Hipgnosis created some of the most innovative and surreal cover art of the 1960s, 70s, and early 80s for the biggest names of the era—Pink Floyd, Led Zeppelin, Wings, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Syd Barrett, and Black Sabbath, to name just a few.
The sublime prism cover for Pink Floyd’s The Dark Side of the Moon continues to be one of the most pervasive images in all popular culture. Hipgnosis’s highly conceptual approach and graphic appeal earned them five Grammy nominations for cover design, and they profoundly influenced not only the history of music, but also all other creative fields from advertising to fashion.
Hipgnosis Portraits explores an endless stream of creative ideas in two sections. Part I, "Imagination," tells the story behind the artwork from germination through to the final sleeve design, supported by a wide array of archival materials. Part II, "Realization," contains beautiful and extremely photographic portraits of the musicians the agency counted as clients. Several of these images were taken but not used for projects and have remained buried in archives ever since.
The book is filled with playful, abstract compositions from a remarkably prolific collective that redefined the possibilities of concept-driven art and design.
Text von der Webseite artbooksonline.eu
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[36] S., 20,3x14,5 cm, Auflage: 10, numeriert, keine weiteren Angaben vorhanden
Drahtheftung, Verlagsstempel auf der Rückseite handnummeriert.
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Achte Auflage. Schwarz-Weiß Fotografien von Besucher*innen im Museum of Modern Art. Die fotografierten Personen stehen meist vor einem berühmten Gemälde, das sie ebenfalls fotografieren; sozusagen eine fotografische Mise en abyme.
Auf der Rückseite ist ein Zitat von Walter Benjamin (1936):
"Namely, the desire of contemporary masses to bring things 'closer' spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction. Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction."
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160 S., 22,8x15 cm, Auflage: 170, 5 Teile. keine weiteren Angaben vorhanden
Broschur, beigelegt ein Anschreiben, ein Fanzine, ein Aufkleber, ein Kärtchen
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Fanzine: Ihr Auto ist zu groß (gefaltetes Flugblatt zur IAA in München 2021).
Atefa Omar gestaltete für unser aktuelles FLORIDA Magazin ein Gathertown, dort könnt ihr jederzeit mit eurem Avatar rumlaufen, die Magazin-Beiträge entdecken und vielleicht sogar Freund*innen treffen. Hier der Link: https://release.floridalothringer13.org
Text von der Webseite
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10,3x14,7 cm, Auflage: Unikat, signiert, keine weiteren Angaben vorhanden
Postkarte, bestempelt, beklebt
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Postkarte aus Bergen (Norwegen), abgeschickt in Kassel am 26.07.2022
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Journal de l'Université d'été de la Bibliothèque Kandinsky No. 5 Centre Pompidou, Paris
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520 S., 19x12,5 cm, 3 Teile. ISBN/ISSN 24274119
Hardcover, Ausgabe in den Coverfarben rot, weiß, gelb und grau erschienen. Vorliegend im Archiv: alle außer grau.
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Diese Ausgaben sind in der Regeln Forschern vorbehalten, die Zugang zur Bibliothek Kandinsky erhalten. Bei einem Parisbesuch wurden Hubert Kretschmer zwei dieser Journale, die je Ausgabe in völlig anderem Erscheinungsbild publiziert werden, von einem Mitarbeiter der namhaften Bibliothek überlassen. Die Version in rot ist ein Geschenk von Antoine Lefebvre.
Unter der grafischen Gestaltung von Robert Milne und Andrea di Serego Alighieri konzentriert diese Ausgabe die verschiedenen Register der zahlreichen Beiträge der Teilnehmerinnen und Teilnehmer und gibt die Energie und Intensität der kollektiven Diskussionen wieder, die zwischen dem 02.-13.07.2018 in dem dafür vorgesehenen Raum des Musée national d'art moderne stattfanden. Diese Sammlung, die Texte zu sehr unterschiedlichen Verlagspraktiken vereint, kommt nach einer langen Ausarbeitung, bei der jede/r eingeladen war, zur Fortsetzung der vorgestellten Forschungen und Projekte beizutragen.
Text von der Webseite / aus dem Französischen übersetzt mit www.DeepL.com
Das Buch beinhaltet zum Beispiel Beiträge von Leandro Martinez Depietri "Textual Pleasures in the Flesh of a Page. The Unstable Dynamics of Artists’ Books through Osvaldo Lamborghini and Fabio Kacero" und von Alice Dusapin "Prove We’re Wrong. An Essay on Bern Porter".
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SPINE: a Day of Looking at Artist’s Books While Talking about Publication as Practice
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[1] S., 42,5x30,3 cm, 3 Teile. keine weiteren Angaben vorhanden
Plakat, einseitig bedruckt
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Begeleitmaterial zur gleichnamigen Veranstaltung am 01.07.17.
Zusätzlich zur Postkarte liegen 2 Flyer bei, welche Informationen zum Begriff "Künstlerbuch" enthalten.
Ein Tag, der dem Verlegen unter der Leitung von Künstlern gewidmet ist. 22 Künstler, die mit dem Medium Buch arbeiten, stellen ihre Publikationen vor. Unser Gast an diesem Tag ist Eleanor Vonne Brown, die über "Publikation als Praxis" sprechen wird. Eleanor Vonne Brown ist eine unabhängige Verlegerin, die in London lebt. Sie gründete 2008 "X Marks the Bökship", eine Buchhandlung und einen Projektraum für Kleinveröffentlichungen von Künstlern und Designern. Hier förderte sie das zeitgenössische Verlagswesen durch Buchvorstellungen, Veranstaltungen und Produktionsressourcen, welche einzelne Akteure zusammenbrachten, um eine lokale Verlagsgemeinschaft zu schaffen. Sie leitete die Vortragsreihe "Publikation als Praxis" über Konzepte von Künstlerbüchern. Zu ihren jüngsten Projekten gehören das "Post Internet Cafe" im PrintRoom, Rotterdam, und das Audio-Publishing-Projekt "The Cast of the Crystal Set" in der Matt's Gallery.
Text von der Webseite, übersetzt mithilfe von DeepL.
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