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Malone Anthony (Marafioti Martin): For Everard Vol. 1-11, 2013 ab


Malone Anthony (Marafioti Martin): For Everard Vol. 1-11, 2013 ab

Malone Anthony (Marafioti Martin)
For Everard Vol. 1-11
New York, NY (Vereinigte Staaten von Amerika): Selbstverlag, 2013 ab
(Zine / Sticker, Button) [12-16] S., 20,6x13,5 cm, Auflage: 100, signiert, 12 Teile.
Techn. Angaben 11 Hefte, Schwarz-Weiß-Laserkopien, Drahtheftung, Aufkleber
ZusatzInformation About the series:
The For Everard zine series chronicles the 1977 fire at New York's Everard Baths, combining archival research with imagined narratives to re-focus attention to obscured histories. The series explores the media coverage of the subsequent investigation of the fire, and the lives of the nine men who perished. The zines bring together photographic images with primary news sources, as well as personal anecdotes collected from eyewitness testimonials.
About the individual zines:
For Everard, Vol. 1, 2013, ed. 100 (nr. 65)
This zine chronicles the May 25, 1977 fire at New York's Everard Baths and the media coverage of the subsequent investigation.
For Everard, Vol. 2 (Bloodbrothers), 2013, ed. 100 (Nr. 81)
In the second volume of his series chronicling the 1977 fire at New York’s Everard Baths, Anthony Malone focuses on Bellevue Hospital’s blood drive for the victims of the great bathhouse tragedy. Malone draws parallels between the 1977 restrictions placed on gay men for donating blood to their “brothers” and current FDA guidelines that indefinitely defer donations from men who have had sex with men since 1977. This black and white photocopied zine (ed 100) juxtaposes archival images, news clippings, and just a touch of fantasy.
For Everard, Vol. 3 (Remembering Jimmy), 2015, ed. 100 (Nr. 94)
Volume 3 of the series, For Everard is dedicated to the memory of Jimmy Stuard, who died in the tragic fire at the Everard Baths in 1977. Stuard was a rising star in the disco music scene. He spun records first at Boston’s 1270 Club, and later at New York’s 12 West, where he inspired an entire generation of musical artists and DJs. In this particular volume, Anthony Malone assembles images and archival texts that serve as a tribute to the great Jimmy Stuard.
For Everard, Vol. 4 (A Lovely Show), 2016, ed. 100 (Nr. 62)
For Everard, Vol. 4 (A Lovely Show) is a tribute to Kenneth Hill, one of the nine men who died in the devastating fire at the Everard Baths in 1977. Kenn played a vital role in the East Village/Lower East side countercultural movement in the late ‘60s and 1970s. He was a hippie, a bar tender at Phebe’s (a watering hole and salon for the experimental theater community in the 1970s), one of the founders of the Old Reliable Theatre Tavern, House Manager at La Mama Experimental Theatre Club, and a photographer. This zine celebrates Kenneth Hill by collaging archival documents with personal artifacts and pictures of Kenn from meaningful moments in his life.
For Everard, Vol. 5 (A Dearly Loved Man), 2017, ed. 100 (Nr. 95)
For Everard, Vol. 5 (A Dearly Loved Man) assembles images and stories from the life of Ira Landau, a gifted and dedicated teacher who died in the tragic fire at the Everard Baths in 1977. Ira left behind a devoted family (his mother, brother, niece, and lover) and is still greatly missed by his loved ones. This zine is a tribute to the life and accomplishments of a remarkable man who served in the Peace Corps and committed himself to educating young minds both abroad (in the Middle East) and at home in the US. It contains family photos and personal images generously contributed by Ira’s niece.
For Everard, Vol. 6 (Yosef’s Song), 2017, ed. 100 (Nr. 94)
Volume 6 of the series For Everard celebrates the life of a remarkable musical prodigy, Yosef Synovec. This zine tells the story of a young man with great aspirations who emigrated to the United States from Czechoslovakia to study classical violin. In 1976, Holly Woodlawn overheard Synovec vocalizing as he was painting the bathroom of his East Village apartment, and determined on the spot that she had discovered an emerging star. As a singer, Synovec used his extreme vocal range to imitate the voice and persona of Peruvian diva Yma Sumac. He performed Sumac’s exotic musical numbers at several New York City cabarets and show venues. Sadly, on May 25, 1977, Yosef perished in the tragic fire at the Everard Baths.
For Everard, Vol. 7 (Tony from the Bronx), 2017, ed. 100 (Nr. 86)
This zine brings together images and stories from the life of Tony Calarco, one of the nine men who died in the fire at the Everard Baths in 1977. Tony was only 26 when he died. He lived with his parents and siblings in a modest house in the Bronx. He had recently graduated from college and was working as a social worker in New York city at the time of his death. Tony had aspirations to become a lawyer and was scheduled to begin law school in September of 1977. This zine celebrates Tony Calarco’s memory through photos of Tony, artifacts from his high school and college years, and recent photographs of his home and final resting place.
For Everard, Vol. 8 (Looking for Amado), 2017, ed. 100 (Nr.84)
Amado Alamo, a young man only 17 years old, lost his life in the fire at the Everard Baths in 1977. In Volume 8 of For Everard, Anthony Malone documents his search for the identity of the youngest victim of the Everard fire. The zine is an abstracted portrait of Alamo that assembles the few extant fragments of his story culled from newspaper articles and documentary sources glued together with the artist’s imagination.
For Everard, Vol. 9 (Last Call), 2017, ed. 100 (Nr.72)
Life was difficult for Hillman Wesley Adams. He was born in Jacksonville FL in 1938. His mother died just a few months after his birth, and by the age of nine, he found himself in an orphanage with his older brother. Fast forward 30 years: Hillman moved to NYC, struggled to make ends meet while working on and off as a bartender, and he met his lover, Ralph, with whom he shared a modest apartment in New Jersey. On May 25, 1977, Hillman died in the fire at the Everard Baths. Vol. 9 of For Everard is an assemblage of newspaper articles and vintage photos chronicling the life and untimely death of Hillman Wesley Adams.
For Everard, Vol. 10 (In Memoriam: Patrick Nott), 2018, ed. 100 (Nr. 64)
Volume 10 of For Everard memorializes the life of Patrick Nott, one of the nine men who died in the fire at the Everard Baths. Nott, a native of Wales with a passion for theater, literature, and music, pursued a successful career in hairdressing. He fell in love with his pen pal (a young woman from Brooklyn) and after their marriage, they moved to New York City, where Nott worked at the Vidal Sassoon Salon. This zine weaves together elements from his story (shared with the artist by Patrick Nott’s wife), with photographs, newspaper clippings, and artifacts. It acts as a humble tribute, an “In Memoriam” for this greatly loved man.
For Everard, Vol. 11 (Thunderbird), 2019, ed. 100 (Nr. 79)
Brian Duffy was an aspiring artist. In 1966 he was accepted to Pratt Institute of Art and although he declined admission to the school, he seized the opportunity to move to NYC and start a new life for himself. In the city, he worked hard at various retail jobs and tried to break into the theater, but everything changed when he met the love of his life, Bradley. The couple moved to a “quieter life” in Boston. They worked in restaurants in the Back Bay area and created a community for themselves amongst their chosen family of friends. Volume 11 of For Everard celebrates the brief life of Brian Duffy, a young man who died in the fire at the Everard Baths in 1977. This zine compiles photographs and stories shared with Malone by Brian’s sister and dear friend.
The pseudonym "Anthony Malone" comes from a novel by Andrew Holleran (Dancer from the Dance). In this novel, Malone is the protagonist and at the end he disappears. Some of his friends believe that he may have committed suicide, others feel that he may have run away from New York, while some say that they saw him at the Everard Baths on the night of the fire. I imagine that Malone survived the fire and he is now making books and zines telling the story of the tragedy.
Sprache Englisch
Geschenk von Martin Marafioti
Stichwort Anschlag / Brand / Erinnerung / Feuer / Gay / Gedenken / Nachforschung / Queer / Recherche / Sauna / Tod
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John Christina, Hrsg.
You're my type - Programmbuch 2018
München (Deutschland): Typografische Gesellschaft München, 2018
(Buch) 20,5x13,5 cm,
Techn. Angaben 4 Bände in Schuber. Schuber geprägt in Gold und Schwarz, Rückseite mit Umkehr der Farben. einzelne Cover mit Reliefprägung, geometrische Formen, Farbschnitt schwarz. Einzelne Bände in Schweizer Broschur (Umschlag nur auf Rückseite angeklebt, Rücken mit Gewebestreifen eingefasst). Bd. 1 130 S., letzte Seite mit Kalender als Fold-Out. Bd. 2 160 S., Bd. 3 96 S., Bd. 4 Blindband, (Notizbuch), 72 S.
ZusatzInformation The Typographic Society Munich is the largest organisation in Europe for typographers and people who are interested in typography and design. Since being founded in 1874 the designers’ club establishes a foundation for sophisticated and interdisciplinary thinking and dialogues among content and form, text and photo, tradition and innovation, design and technology. The tgm represents quality and education for the branch of communication and offers a huge accompanying training program. As Chairwoman of the club I curated several lectures in the last years, inviting design and typography celebrities.Throughout the years designers like Stefan Sagmeister, Mirko Borsche, Eike König, Mario Lombardo, Sascha Lobe, Fons Hickmann, Amir Kassaei or Kurt Weidemann to name a view, followed these invitations and appreciated the warm welcome of our community.
To show the wide range of offerings we traditionally create a yearbook. More over I tried to give the content based complexity of our proposal a clear and neat arrangement. Therefore the new release is a compilation of four different books, which should invite the reader to inform themselves, to browse, to experience and to participate. The first one exposes all the topics, facts and dates for the further education programs. Part two presents all the people and their stories who are involved in the club, who are on stage and behind the scenes. The third book is a journey into the past and also the future of tgm’s conferences, excursions and other specials. And finally there is room for the reader’s own ideas, experiences and criticism as a foundation for a future dialogue with tgm.
Every offer under the roof of tgm is a result of solidarity. It is a result of people and companies who are united by the common interest in typographic quality. This project has only been possible with the support of Kösel Druck GmbH & Co Kg, Geese Paper, mycolorserver and the collaboration with Boah Kim.
Text von der Webseite
Namen Boah Kim (Design) / Boris Kochan (Produktion) / Christina John (Design / Michael Lang (Lektorat) / Petra Marth (Lektorat)
Sprache Deutsch
Geschenk von Typografische Gesellschaft München
Stichwort Buchdruck / Drucktechnik / Fortbildung / Programm / Prägung / Schrift / Typografie
Sponsoren Bavaria Direktmarketing / Kammerspiele München / Kösel GmbH / Landeshauptstadt München
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Crawford William
Selected works from 1990's
Genf (Schweiz): innen, 2016
(Zine) [32] S., 19x13 cm, Auflage: 500,
Techn. Angaben Drahtheftung, Schwarz-Weiss Offsetdruck
ZusatzInformation The William Crawford Estate is owned and represented by Ampersand Gallery. William Crawford's drawings were discovered in an abandoned house in Oakland, California. His work brings to mind characteristics of prison drawings, an impression confirmed by the fact that several were made on the backs of prison roster sheets dated 1997. These printouts, however, were cut down the middle, so the exact prison from which they originate is unknown. But given their origin in the Bay Area and the fact that several drawings include San Francisco landmarks, it's possible that Crawford made the work in a California state prison. Other than this information drawn from the archive itself, nothing is known about Crawford's life. Indeed, we only know his name because he signed just a few of the drawings, either as Bill, William or WM Crawford. The archive appears to have consisted of several books, with individual drawings in sequences of 30 or more adding up to tell complex visual stories. Several include written captions or fragments of conversation between male and female characters. These sequences, however, have been broken up over the years and reach us now in a fragmentary and fascinating collection of hundreds of delicate pencil drawings. The work conveys the intense sense of sexual longing of a man with an urge to tell dynamic stories. The drawings, which resemble the eroticism of Eric Stanton, the exaggerated male anatomy of Tom of Finland or the ample breasts of a John Currin, show scantily dressed women, drug use, cuckolding and orgies. The details of his interiors, the hairdos and style of dress suggest that Crawford might have come of age in the late 70s or early 80s. A cast of recurring figures populate the drawings, notably one man with a short afro and a moustache who often figures at the center of events, presumably the artist William Crawford himself. Remarkably, given the number of drawings, there is little to no repetition in the work. Crawford’s inventive eye for sexual positions, facial expressions and gestures of hand and body was vast and masterful. Simple geometric details and architectural subtleties define the unusual settings where the action unfolds. We see rooms shown from unusual angles, features that are hinted at, erased or altogether omitted and articles of clothing that are drawn with obsessive precision. This singular and original drawing style compels us to immerse ourselves in the world William Crawford created, more dream than documentation, more fantasy than perversion. Crawford's drawings have been widely exhibited, notably at Galerie Susanne Zander (Cologne and Berlin), Zieher, Smith and Horton (New York), Freddy (Baltimore) and upcoming solo exhibitions at FARAGO (Los Angeles) and Richardson (New York). His work is also featured in the latest issue of Richardson Magazine and was included in "System and Vision" at David Zwirner, an exhibition organized in collaboration with Delmes & Zander. Reviewing it, The New Yorker wrote, "William Crawford's orgiastic illustrations on the backs of prison rosters haven an erotic intensity that rivals anything by Hans Bellmer or Pierre Klossowski."
Text von der Webseite
Stichwort Erotik / Porno / Sex / Zeichnung
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von Rabenau Kai, Hrsg.
MONO.KULTUR #40 Edmund de Waal - W is for White
Berlin (Deutschland): mono.kultur, 2016
(Zeitschrift, Magazin / Heft) 44 S., 20x15 cm, ISBN/ISSN 1861-7085
Techn. Angaben Drahtheftung, auf verschiedenem Papier gedruckt
ZusatzInformation Edmund de Waal is a potter. His pots, plates, and vessels are the result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained. Edmund de Waal is an artist. He arranges his objects in complex choreographies that are as mysterious as they are mesmerizing. Displayed in galleries and institutions worldwide, his considered installations play with architectural concerns, integrating ideas of space, light and obscurity. Edmund de Waal is a writer. Whether he sculpts with words or with clay, what Edmund de Waal works with are concepts, ideas, and desires. In a body of work that is at odds with our times and yet oddly successful, his writings and objects overlap and integrate each other in an attempt to understand and transcend our complex relationship with objects and our surroundings. In an interview with mono.kultur structured like an A-Z of notes and ideas, Edmund de Waal talked about his rules of attachment, the impossibility of repetition, and why ‘doubt’ is the most beautiful word. Visually, the issue takes inspiration from that most perfect of materials: porcelain. Printed entirely in double-sided splendour, the two finishings of the paper – shiny gloss and smooth matt – evoke the texture of ceramics before and after glazing.
Text von der Website.
Namen Edmound de Waal
Sprache Englisch
Stichwort Interview / Keramik / Monochrom / Porzellan / Töpfern
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Boscher Johannes, Hrsg.
Techno-somatics and physical experience - Memory on the Internet - Our ears open a whole world to us: about the experiment to program an exhibition on a vinyl record
Hamburg (Deutschland): Curated by Weekly, 2017
(Heft) 12 unpag. S., 29,5x21 cm,
Techn. Angaben Drahtheftung
ZusatzInformation ‘Curated by Weekly’ is a digital art project. It aims to raise questions regarding online formats, web-based distribution and the acceleration of digital platforms in contemporary art. The project is made up of a website and a magazine, which will be released in irregular intervals. The latter will include essays and interventions about digital exhibition formats, the experiences of digital curation and the questions about media and matter in the post-analogue space. Every week, an artwork will be “curated” and published on the website. In cooperation with different individuals, institutions and independent projects from the art field, artistic positions and works will be displayed. They can function as pieces of art in the digital sphere as well as be critical about it, or to contrast itself with the functions of the web. The project’s pace and composition orientates itself around the relevant visual environment of the present day.
The format of the website is consciously purely visual, while complementary content will be published in the magazine. This content will consist of essays and contributions around certain questions. For example: How new formats will be established in contemporary art, which technological tools are required or how curation is practiced in a digital space. What should particularly be highlighted is determining which artistic media, surfaces and materialities provide an adequate digital environment.
'Curated by Weekly' aims for an experimental format, which uses the speed and the possibilities of the digital space, but instead of reproductions and documentations we want to show artistic work itself, to address availability in the digital space and to use catchy visual surfaces. At the same time, the discourse and the self-reflection of the format is discussed in the appearing magazines/readers online and offline.
Text von der Webseite
Namen Agnes Gryczkowska (Essay) / Chloe Stead (Essay) / Clara Meister (Essay) / Max Prediger (Design) / Tim Geißler (Editor)
Sprache Englisch
Geschenk von Xenia Fumbarev
Stichwort contemporary art / Essay / Experiment / Internet
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Dávila Mela / Muñoz Maite, Hrsg.
Legible – Visible - Between the Film Frame and the Page
Barcelona (Spanien): Arts Santa Mònica / Tenov, 2018
(Buch) 92 S., 24x18 cm, ISBN/ISSN 978-84-944234-3-7
Techn. Angaben Broschur
ZusatzInformation 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
Namen Alain Robbe-Grillet / Benet Rossell / Chris Marker / Christian Boltanski / Cine Quieto / Dan Graham / Dominique Hurth / Ed Ruscha / Eline McGeorge / Fortunato Depero / Gilbert & George / Gloria Vilches / Gloria Vilches / Guy Debord / Isidoro Valcárcel Medina / Jef Cornelis / John Baldessari / Julián Barón / Lawrence Weiner / László Moholy-Nagy / Marcel Pey / Martha Rosler / Miralda / Núria Gómez Gabriel / Patrícia Dauder / Raymond Pettibon (Raymond Ginn) / Rob van Leijsen / Rose Lowder / RTVE Publications Department / Stan Brakhage / stanley brouwn / Ulises Carrión / Vicente Huidobro / William Kentridge
Sprache Englisch
Geschenk von Mela Davila
Stichwort 1970er / Aktuelle Kunst / audio visuell / Film / Künstlerbuch / Künstlerpublikation / Medien / Serie
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Hapkemeyer Andreas / Weiermair Peter, Hrsg.
photo text text photo - The Synthesis of Photography and Text in Contemporary Art
Bozen / Kilchberg / Frankfurt am Main (Italien / Deutschland / Schweiz): Edition Stemmle / Frankfurter Kunstverein / Museion, Museum für Moderne Kunst Bozen, 1996
(Buch) 144 S., 23,5x22 cm, ISBN/ISSN 3-908162-48-3
Techn. Angaben Grauer Leineneinband mit Schutzumschlag.
ZusatzInformation Katalog zur Ausstellung im Museion, Museum für Moderne Kunst Bozen, 13.09.-17.11.1996, Frankfurter Kunstverein, 21.01.-03.03.1997."Purely visual perception and viewing of pictures is impossible. We always encounter pictorial images - as in this book description itself - in contexts. It is to this complex of interrelationships between text and photography and the aesthetic potential it holds that the book photo text text photo is dedicated. Based upon a representative selection of important examples of this work across media boundaries from recent photographic history since 1967, the theme of the fertile tension between words and images is explored in images (more than 100 works by 32 different artists) and words (texts by Andreas Hapkemeyer and Peter Weiermair). This revealing look at the art of combining text and photography begins with the milestone works of Conceptual Artists such Joseph Kosuth, Robert Barry, Douglas Huebler, On Kawara, John Baldessari and Hamish Fulton. Alongside other early examples from Italy - Maurizio Nannucci, Giulio Paolini, and Vincenzo Agnetti - the book also features representatives of utopian and critical approaches to social issues, including Josef Beuys and Klaus Staeck. The 1970s and 1980s are represented by the artists Ketty La Rocca, Jochen Gerz, Karen Knorr and Urs Luthi. More recent and current positions are evident in the works of Louise Lawler, Jenny Holzer, Barbara Kruger, Ken Lum, Heiner Blum, Laura Padgett and Marie-Jo Lafontaine. The publication photo text photo provides a long-awaited inventory of the most recent developments in the aesthetic exploration of the relationships between text and images in contemporary art."
Text vom Schutzumschlag
Namen Barbara Kruger / Bernard Faucon / Douglas Huebler / Duane Michals / Gilbert & George / Giulio Paolini / Hamish Fulton / Heiner Blum / Jean Le Gac / Jenny Holzer / Jochen Gerz / John Baldessari / Josef Beuys / Joseph Kosuth / Karen Knorr / Ken Lum / Ketty La Rocca / Klaus Staeck / Laura Padgett / Louise Lawler / Marie-Jo Lafontaine / Maurizio Nannucci / Olivier Richon / On Kawara / Peter Hutchinson / Robert Barry / Shirin Neshat / Urs Luthi / Victor Burgin / Vincenzo Agnetti / Vito Acconci / Willi Doherty
Sprache Englisch
Stichwort 1980er / 1990er / Fotografie / Konzeptkunst / Kritik / Text / Utopie
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Berkes Christian / Koch Andreas / Mettler Yves / Sack Janine / Worthington Simon, Hrsg.
Paper News #11 - August, September, Oktober 2018
Berlin (Deutschland): Drucken Heften Laden, 2018
(Zeitschrift, Magazin) 4 S., 29,7x21 cm,
Techn. Angaben Ein Blatt, gefaltet
ZusatzInformation The independent publisher's quarterly by Drucken Heften Laden. Drucken Heften Laden discusses and analyses the conditions and possi­bili­ties for independent publishing in the context of art and city (politics). Drucken Heften Laden derives from an eponymous exhibition, workshop and series of events at neue Gesellschaft für bildende Kunst (nGbK) in Berlin which took place in January 2015. Since then a small group of Berlin-based producers and publishers gathers regularly: “We share experiences and resources, and build a discourse around production methods and values as well as the distribution of books and booklets.Publishing is always set in distinct time and space. Today’s diversity of media fosters hybrid formats between the analogue and the digital. We are interested to negotiate and sharpen our idea of what „independent“ and „self“ publishing means today.Drucken Heften Laden filters and disseminates information, and creates a public platform for exchange and discussion, accessible to everyone interested in such practice.”
Text von der Website.
Namen Nicolas Kemper (Cartoon)
Sprache Deutsch / Englisch
Geschenk von Albert Coers
Stichwort Art Book Fair / Independent / Kunstbuchmesse / Künstlerpublikation / Network / publishing / Publizieren / Unabhängig / Verlag / Zeitung
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d'Agata Antoine
Paris / Berlin (Frankreich / Deutschland): AVARIE, 2012
(Buch) [124] S., 18x13,5 cm, ISBN/ISSN 978-2-9541974-0-1
Techn. Angaben Broschur, Buchrücken aufklappbar, gefaltetes Plakat in eingeklebter Papierhülle, Posterformat 85,4x64cm, in Schutzhülle mit Aufkleber
ZusatzInformation A journal written at the third person that seeks to depict Antoine d’Agata’s quest – the inexorable course from void to void.A literary and photographic experiment where words, sometimes descriptive, sometimes poetic, intersect with images in a narrative continuity. An example of the photographer’s existential choice and form of resistance which leads toward the subject’s disappearance and the ego’s negation within the neutral spectrum of the image while insisting on an intimate involvement with its matter and a perfect superposition of art and life. The pictures have been treated and reduced to the simple black and white contrast, following the main axis of this editorial project: shaplessness and the sense of fading-out. This flattening to a drawing effect releases the image as a shadow, a border between a recognizable sign and a blurry, ambiguous one, so that the photograph is both “trace” and “other”. The book, whose main language is English, also foresees a separate and folded poster, including texts in French on one side and, for the first time, in Italian on the other printed on a background colour image. The two languages allow to include texts in their original version, but allude as well to the artist’s double origins. In line with the book, the poster also reflects d’Agata’s search direction towards the interlacing of word and image and it finally refers to the idea of a topographic description of passions. Member of the Magnum agency, Antoine d’Agata (1961) is one of the most influential photographers of his generation. He lives in both Paris and Marseilles and he works around the world. He is represented by the gallery Les Filles du Calvaire, Paris.
Text von der Webseite.
Sprache Englisch / Französisch / Italienisch
Geschenk von Giuliana Prucca
Stichwort Akt / Fotograf / Fotografie / Körper
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von Rabenau Kai, Hrsg.
MONO.KULTUR #37 James Nachtwey - Shades of Time
Berlin (Deutschland): mono.kultur, 2014
(Zeitschrift, Magazin / Heft) 52 S., 20x15 cm, ISBN/ISSN 1861-7085
Techn. Angaben Zwei Hefte, Drahtheftung, ineinander gelegt
ZusatzInformation Inspired by the press images from the Vietnam War that told a very different story to the official government statements, James Nachtwey found his calling that he would pursue with determination and compassion that are admirable: to document the effects of war, terror and disease. In the hope of raising awareness and inspiring intervention and change, his photographs are neither easy to look at nor easy to forget. Having witnessed and reported on the defining conflicts and tragedies of the past three decades – from the revolutions of South America and Eastern Europe to the famines in Africa, from 9/11 to the wars in Iraq and Afghanistan – Nachtwey’s photographs focus on the costs of war: the suffering of civilians, the damage and the scars. There is no doubt that Nachtwey’s images are a challenge – to the powers that be by proposing an unflinching look at the reality on the ground, at the effects of politics on human lives, but also to us as their audience, by questioning our implication and, quite simply, by opening our eyes to the world. In a rare and frank interview with mono.kultur, James Nachtwey talked about his struggles with photography, the different realities of war, and why images have the power to create change. Graphically, the issue is at its most reduced, giving ample space to let the words and images unfold: coming in two separate booklets, it presents a personal and uncommented selection of James Nachtwey’s work in one, and a highly intriguing and challenging conversation in the other.
Text von der Website.
Namen James Nachtwey
Sprache Englisch
Stichwort Armut / Dokumentation / Fotografie / Gewalt / Hunger / Krieg / Not
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Senior David, Hrsg.
Scenes from Zagreb: Artists' Publications of the New Art Practice
New York, NY (Vereinigte Staaten von Amerika): MoMA Library, 2012
(Heft) 40 S., 29,7x21 cm,
Techn. Angaben Farbkopien nach PDF, lose ineinander gelegt
ZusatzInformation The New Art Practice was a term created for a generation of artists in the former Yugoslavia active in the late 1960s and throughout the 1970s. These artists shifted their practice to spaces outside the traditional studio, onto city streets, into artist-run spaces, and in multimedia performances and experimental publications. Focusing on artists working in the city of Zagreb, this exhibition documents aspects of this shift and highlights the ability of artists' publications to record these often ephemeral gestures and ideas. While artists such as Goran Trbuljak, Braco Dimitrijević,, Sanja Iveković,, Mladen Stilinović,, and Vlado Martek, among others, worked in a variety of mediums, they shared a common impulse to produce publications. These artists questioned and played with ideas about the place of an artist within this particular political and socioeconomic context. Their work often involved public participation and blurred traditional notions of authorship through collective activities, chance operations, and the appropriation of language and imagery from the state and commercial media. The materials in this installation resonate with other contemporaneous scenes in Eastern and Central Europe and with broader international trends, while also providing an insight into very local networks of experimental artists and writers in Zagreb. All materials are drawn from the collection of the Museum of Modern Art Library.
Text von der Webseite
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Höhfeld Nadja, Hrsg.
Sutere Soven Musicfestival
Dannenberg (Deutschland): Suture Soven, 2018
(PostKarte) [2] S., 21x14,8 cm,
Techn. Angaben Postkarte
ZusatzInformation 17.-19.08.2018.
Suture means sewing. This is the idea we will be following on each and every level of our festival. Suture Soven Music Festival emerged out of the wish and the need to bring musicians and their audience together in a way that enhances deep listening and watching musical appearances that provide the potential for creating something new in a cheerful and caring atmosphere. We will watch and hear the beautifully radical positions and ideas of international musicians. In terms of musical style, we are situated at the intersection of jazz, free improvised music, classical modernism and new music.
The first Suture Soven Music Festival will take place in an old farm house in the countryside. the concerts will be held in the barn and in the attic of an old stable. By locating the genre defying music in the beautiful countryside of Lower Saxony (Wendland) we invite local people from the area as well as from the cities to make the connection between different worlds and points of views for three days in Suture Soven. We are striving to shape the surrounding area of the festival and make it as sustainable as possible, while working with local farmers and craftsmen. We offer a space and time that taps on an urge to create a sensual narrative. The music we listen to, the words we hear and speak, the food and drink we are provided with, in a setting that will be home to us for three summer days offer us the possibility of making sense.
Namen Ada Rave / Catherine Lamb / Christian Lillinger / Greta Eacott / G·Bop Orchestra / Hanna Schörken Hearth / Joseph Houston / Kaja Draksler / Laraaji / Lucy Railton / Marcin Masecki / Mette Rasmussen / Natalia Mateo / Rebecca Lane / Sofia Jernberg / Susana Santos Silva / The Still / Thomas Lehn
Sprache Englisch
Geschenk von Michael Münnich
Stichwort Improvisation / Jazz / Musik / Musikfestival / Neue Musik
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Strauss Joulia, Hrsg.
Krytyka Polityczna Athens
Athen (Griechenland): futura Publications, 2017
(Buch) 272 S., 23,5x16,5 cm, signiert, ISBN/ISSN 1644-0919
Techn. Angaben Broschur, mit Widmung, gefaltetes Blatt eingelegt, Cover manuel bearbeitet, mit Glitzer
ZusatzInformation Dear Reader,
In your hands is the Athenian issue of Krytyka Polityzcna. The Warsaw-based journal unites polymorphous freedom struggles in geographic Europe. This book is an anarchist, anti-capitalist, anti-fascist artwork. A hypothesis, and yet one that continues to be written actively on the ground. It clashes migration and education of the status quo, the effect and the cause of current violence.
The publication documents an initiative, Universitas*, and accompanies the forthcoming Symposion, The School of Everything.
This book contains the contributions of people who have recently moved to Athens from the Middle East, of Athenians who have lived here a long time, as well as of those who are based in Berlin but frequently visit Athens. brought together, they form a de-elitized and de-colonized remix of knowledge.
The chapters in this book are intertwined and in each part the reader will find contributions relevant to the whole. The authors are all united by their portrayal in anti-phrenological drawings.
In Athens, despite the invention of the State, streams of interlapping cultural influences never stopped pulsating. Such an experience of fluid identity de­monstrates that citizenship is an outdated concept of class separation and nationalism. The devastating contradiction: human rights are only valid in the economically privileged zones. The failure to collaborate with the revolution in Syria dispels the last illusions of an occidental civilization and unveils the truth: we all live in the absolute financial dictatorship.
This publication includes several essays and statements on education. These are written by thinkers, philosophers, “activists”, and artists who are affili­ated with the Avtonomi Akadimia, a disobedient grassroots university in Athens which claims education as a form of art. These texts, poems, mani­festos and sketches of educational models are published in lieu of the abs­tracts for an upcoming Symposion entitled: “The School of Everything”.
We build an educational system which consists of indignant initiatives for sharing knowledge, and of proposals by thinkers who see education as key. We shift from learning to sharing. We decriminalize sharing because we would like to enjoy the pleasure of giving. We liberate ourselves from the strictures of “Homo Sapiens”, a construct imposed upon life.
We will transform the educational system of Europe.
The clash of migration and education will release a Promethean fire.
Text von der Webseite
In collaboration with aneducation and the Public Programs of documenta 14
Namen Abed Nasralla / Agnès Rammant-Peeters / Ahmad Alkhatieb / Ariam Um al Wafa / Arnisa Zeqo / Brandon LaBelle / Click Ngwere / Elad Lapidot / Georgia Kotretsos / Ismail Alsafo / Jean-Pierre Rammant / Jenny Marketou / Joulia Strauss / Junaid Baloch / Katja Ehrhardt / Leopold Helbich / Lindsay Parkhowell / Liwaa Yazji / Luca Di Blasi / Manaf Halbouni / Mathilde ter Heijne / Mehul Sangham / Mohammad Abu Hajar / Mriganka Madhukaillya / Noah Fischer / Paul B. Preciado / Pirate Cinema / Rachel Clarke / Sameer Ahmed / Sotirios Bahtsetzis / Suhel Ahmad / Tanja Schomaker / Vasyl Cherepanyn
Sprache Englisch
Stichwort Anarchist / Antifaschismus / Antikapitalismus / Athen / Bildung / documenta 14 / Gedicht / Gesellschaft / Kritik / Manifest / Politik / Text
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Baroni Vittore / Rossi Manitù, Hrsg.
Tinnitus Tales - le Forbici di Manitù and Friends (SD010)
Reggio Emilia (Italien): Sussidiaria, 2016
(CD, DVD) 27x28,5 cm,
Techn. Angaben Plattenhülle, gestanzt mit 3 einklappbaren Teilen, beiliegend gestanzte Pappschlaufe mit handbeschrifteter DVD, Infoblatt zur Edition
ZusatzInformation What do Martin Luther and Pete Townshend, Ozzie Osbourne and Oscar Wilde, Ludwig Van Beethoven and Star Trek’s Dr. Spock have in common? They all painfully suffered from tinnitus, a permanent hiss heard in one or both ears. The condition affects a large percentage of the world population (5-10%) and represents a real “occupational illness” for musicians and rock fans. On the subject, surprisingly, an inexplicable silence is observed by the music press and industry. At the current state of medical research, there is no effective cure for chronic tinnitus and the unpleasant humming can only get worse if you do not protect the ears properly.
In the works for nearly five years, the triple concept album Tinnitus Tales (a 10" vinyl record and two CDs) conceived by Le Forbici di Manitù (i.e. Manitù Rossi and Vittore Baroni, the second long suffering from tinnitus) with the collaboration of over fifty guest musicians, bands and international visual artists, breaks the veil of silence with a series of songs that address the topic blending humor and empathy. The songs are inspired by well-known cases of people suffering from tinnitus, such as Andy Partridge of XTC or Bono and The Edge of U2. To make this "educational audio project" a more collective effort, several old and new friends - many of them with tinnitus problems - were invited to record their own versions of the songs by Le Forbici di Manitù or to contribute original compositions on the subject (included in the CD 1 Songs).
Text von der Webseite
Sprache Englisch
Geschenk von Vittore Baroni
Stichwort Audio / Collaboration / Humor / Hörsturz / Musik / Tinnitus / Zusammenarbeit
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Moore Barbara / Hendricks Jon, Hrsg.: was ist Backworks?, 1976

Hendricks Jon / Moore Barbara, Hrsg.
was ist Backworks?
New York, NY (Vereinigte Staaten von Amerika): BackWorks, 1976
(Lieferverzeichnis) [32] S., 27x21,2 cm,
Techn. Angaben Drahtheftung
ZusatzInformation Lieferverzeichnis des Backworks Buchladen 1976. Documents and Relics of Experimental Art 1952-1970. Table of contents: Fluxus and related objects and documents, Reuben Gallery, other performances and events (Musik, Dance, Happenings).
Co-owners Moore and Hendricks established Backworks in SoHo in 1976, based on their mutual curatorial interest in the objects and events of the downtown art and performance scenes, particularly by artists associated with the Rueben Gallery, Judson Memorial Church, Happenings and Fluxus, with which they were both connected as collaborators and curators. Moore and Hendricks, each of who has written extensively about figures such as George Maciunas, Yoko Ono, Allan Kaprow and Ben Vautier, among others, have been instrumental in the development of major collections, including the Gilbert and Lila Silverman Fluxus Collection at MoMA, and the Barbara and Peter Moore Fluxus Collection at Harvard. Backworks closed in 1983.
Text von der Website.
Namen Albert Fine / Alison Knowles / Allan Kaprow / Andy Warhol / Ben Vautier / Carolee Schneemann / Claes Oldenburg / Daniel Spoerri / Dick Higgins / Frederic Lieberman / Gempei Akasegawa / Geoffrey Hendricks / George Brecht / George Maciunas / Henry Flynt / James Riddle / James Waring / Jean Dupuy / John Cage / Ken Friedman / Les Levine / Meredith Monk / Mieko Shiomi / Nam June Paik / Paul Sharits / Peter Moore / Ray Johnson / Robert Filliou / Robert Watts / Robert Whitman / Takehisa Kosugi / Yoko Ono
Sprache Englisch
Geschenk von Erich Gantzert-Castrillo
Stichwort 1950er / 1960er / 1970er / Action / Ausstellung / Druck / Fluxus / Fotografie / Galerie / Happening / Konzeptkunst / Konzert / Künstlerbuch / Künstlerzeitschrift / Musik / Poster / Postkarte / Printed / SoHo / Stempel / Technologie / Zeichnung
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von Rabenau Kai, Hrsg.
MONO.KULTUR #39 Terre Thaemlitz - The Arrogance of Optimism
Berlin (Deutschland): mono.kultur, 2015
(Zeitschrift, Magazin / Heft) 48 S., 20x15 cm, ISBN/ISSN 1861-7085
Techn. Angaben Drahtheftung, auf verschiedenem Papier gedruckt, von rechts nach links zu lesen
ZusatzInformation Politics and the dance floor make for uneasy bedfellows, and it is this uneasiness that drives most of the work of Terre Thaemlitz, confronting head-on issues that are usually off limits in electronic music. Thaemlitz is a producer and DJ, also known under their monikers of DJ Sprinkles, Social Material, and K-S.H.E, among others. But they are also a writer, educator and activist of sorts, with very fluid notions of gender, switching continuously between male and female drag. Born in 1968, Terre Thaemlitz left the rigidly conservative and violently homophobic environment of their home state, Missouri, in the mid-1980s for New York. They became involved in the queer and transgender scenes both socially and musically at a time when house music was not a genre but simply the wide open sound of a specific social and political space. As New York’s underground queer music scenes dissolved under gentrification, Thaemlitz eventually relocated to Tokyo at the beginning of the ’00s. In a challenging interview with mono.kultur, Terre Thaemlitz talked about the politics of sexuality, his disillusion with the music industry, and why roller disco was so amazing. Visually, the issue is a dark affair, steeped in a dirty, gritty black. Printed on no less than six different paper stocks and juxtaposing several grids and graphic systems, it creates its own visual logic – only to disturb our most fundamental habits of reading and navigating a magazine by opening backwards, from right to left.
Text von der Website.
Namen DJ Sprinkles / G.R.R.L. / K-S.H.E. / Teriko / Terre Thaemlitz
Sprache Englisch
Stichwort 1980er / DJ / elektronische Musik / Interview / Musik / Queer / Szene / Transgender
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Desranleau Yannick / Lum Chloe
Artist Music Journals Vol. 1 No. 9 - Seripop
Brooklyn, NY (Vereinigte Staaten von Amerika): Soundscreen Design, 2010
(Zeitschrift, Magazin) 24 unpag. S., 26,5x26,5 cm, Auflage: 1000,
Techn. Angaben Drahtheftung, Heft in Pappschuber mit Aufkleber
ZusatzInformation Edition 09 in the ongoing Artist Music Journals series features the work of the Montreal based artists and musicians Chloe Lum and Yannick Desranleau, known as Seripop. Known for their original illustration and design work, as well as their longstanding tenure as founders and members of the musical outfit Aids Wolf, Seripop have a broad following around the globe. For their AMJ, Seripop compiled years of original gig poster work, the first collection of its kind for the studio, which has made thousands of prints over the years.
About Seripop: Yannick Desranleau and Chloe Lum are visual artists and musicians who started collaborating in 2002 under the nom de guerre Seripop. Based in Montreal, Seripop has earned international attention for its stylistically distinct, silkscreened street posters. In 2005, Lum and Desranleau began experimenting with sculptural print installations which merge notions of city politics and visual perception. The duo has been speaking and exhibiting their work at various art institutions including Baltic Centre for Contemporary Art in Gateshead, England, Peacock Visual Arts in Aberdeen, Scotland, and the University of North Texas, Denton, USA. In addition to Seripop, Lum and Desranleau play in AIDS Wolf, a noise-rock band and Hamborghinni, a drums and electronics project.
Text von der Webseite
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Offenhuber Dietmar, Hrsg.
Waste Is Information - Infrastructure Legibility and Governance
Cambridge, MA (Vereinigte Staaten von Amerika): the MIT Press, 2017
(Buch) 270 S., 23,5x15,8 cm, ISBN/ISSN 978-0-262-03673-3
Techn. Angaben Hardcover mit Schutzumschlag
ZusatzInformation The relationship between infrastructure governance and the ways we read and represent waste systems, examined through three waste tracking and participatory sensing projects.
Waste is material information. Landfills are detailed records of everyday consumption and behavior. much of what we know about the distant past we know from discarded objects unearthed by archaeologists and interpreted by historians. And yet the systems and infrastructures that process our waste often remain opaque. In this book, Dietmar Offenhuber examines waste from the perspective of information, considering emerging practices and technologies for making waste systems legible and how the resulting datasets and visualizations shape infrastructure governance. He does so by looking at three waste tracking and participatory sensing projects in Seattle, São Paulo, and Boston.
Text von der Webseite
Mit einem Beitrag über Paper Police von Jürgen O. Olbrich, Kassel.
Namen Carlo Ratti (Vorwort) / Jürgen O. Olbrich
Sprache Englisch
Stichwort 2010er / Archiv / Infrastruktur / Müll / objects trouve / Objekte / Paper Police / Recycling / Sammulung / Tracking
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Paper Paul, Hrsg.
Fotografija NR. 1 (35) 2018
Vilnius (Litauen): Lithuanian Photographers Association, 2018
(Zeitschrift, Magazin) [116] S., 27,5x23 cm, ISBN/ISSN 1648-7273
Techn. Angaben Broschur
ZusatzInformation We are heading into a future where our choices will be shaped – if not outright determined – by algorithms and artificial intelligence. This coming state has been labelled “the new dark age” (James Bridle, 2018).
It remains to be seen what this brings to photography, and vice versa.
One thing, however, seems clear: photography, which has already changed significantly in the 21st century, is affected by – and in some important ways is part of – this development. This issue of “Fotografija” explores how programmes, apps and AI-related technologies shape and change the discourse of photography, challenging traditional boundaries of the medium.
Various programmes and services – Google, Photoshop, Flickr, Snapchat, visual recognition, etc. – provide new tools to conceive image-making and think photographically. Technological interfaces not only deliver instruments for making work but can become the very logic for creating photographic series.
The presented artists offer perspectives to raise questions and discuss these technological shifts. From dealing with traumatic events (Indrė Šerpytytė) and inaccessible sites (James Bridle) through technological mediation to playing with our expectations of an all-pervasive Photoshop manipulation (Erin E’Keefe). From exploring so-called smart surveillance systems (Esther Hovers) and censoring politically sensitive sites (Mishka Henner) to everyday glitches (Mantas Grigaitis). From playing with the copyrights of such collective websites as Flickr (Penelope Umbrico) to exploring the shared language of being in some of the most photographed places on earth (Thomas Albdorf). And from using Photoshop to create images (Aaron Hegert) to an image that is barely photographic (Zachary Dean Norman). The four essays (Kate Palmer Albers, Roksana Filipowska and Marijana Rayl, Ilaria Speri, Alise Tifentale) map out the works in broader social, historical and art contexts.
In short, the works deal with our technologized world. They talk about being in the middle of changes that few have envisioned. Being so immersed, one can feel it (almost) hurts.
Text von Paul Paper.
Sprache Englisch / Litauisch
Geschenk von Joachim Schmid
Stichwort Computerkunst / Fotografie / Google / Litauen / Netzkunst
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McCarthy Anna: How to Start A Revolution – The Musical, 2018

McCarthy Anna
How to Start A Revolution – The Musical
München / Zürich (Deutschland / Schweiz): Edition Taube, 2018
(Heft) [300] S., 28,5x21,3 cm, Auflage: 100, signiert,
Techn. Angaben Hardcover mit Schnürsenkel verschlossen, Digitaldruck, 11 eingelegte Risodrucke, gedruckt bei Extrapool/Nijmegen, mit handschriftlicher Widmung
ZusatzInformation So what was it like before everything went hell-bent batshit crazy? Enter Prof.Dr. of Pseudology, Anna McCarthy, with her HOW TO START A REVOLUTION book and its endless footnotes and twists and turns. She explains to us the chronology of politics and personal occurrences through this haze of a microcosm.
HOW TO START A REVOLUTION is a multi-layered work that deals with clichés of rebelliousness. It is embedded in socio-political events from 2007 to 2015 and their mediated and subjective reception. It deals with rebellion in limbo, in which change seems ominent, mirroring the current political atmosphere. Geographically anchored in Munich and Bavaria, it reaches beyond the local peculiarities and relocates them into the context of historical global events. A microcosm of reoccuring people and places stand in as exemplary figures for global events in a humorous, absurd, and critical manner. Examples are documentaries such as 'Bored Rebel in Oberpfaffenhofen' or ridiculously provocative political actions in public spaces, numerous "in-flux" archives, a pathetic musical, which was first performed in 2013 at Haus der Kunst, and even a permanent installation in Tito’s ex-Bunker in the hills of Bosnia and Herzegovina.
The project has been exhibited internationally, including at Nottingham Gallery for Contemporary Art, Chisenhale Gallery London, Schloss Ringenberg, Galleribox Akureyri Iceland, Goethe University Frankfurt, D-0 Ark Underground, Konjic, and at Transmission Gallery in Glasgow, amongst other locations. ...
Text von der Website
Namen Bored Rebels / Extrapool
Stichwort Aktion / Dokumentation / Engagement / Gesellschaft / Humor / Kritik / Kunst / Manifest / Musik / Performance / Rebell / Revolution / Risographie
GND von McCarthy Anna,
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Desjardin Arnaud, Hrsg.
the book on books on artists books
London (Großbritannien): The Everyday Press, 2011
(Buch) 230 S., 24x17 cm, ISBN/ISSN 978-0-9561738-4-3
Techn. Angaben erschienen zur Ausstellung at the Bloomberg Space London, eingelegt eine Karte mit handschriftlichem Text
ZusatzInformation 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
Sprache Englisch
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Shapes Dania
Soundsystem Pastoral
Berlin (Deutschland): naivsuper, 2006
(CD, DVD) 13x13 cm,
Techn. Angaben naivsuper Nr 007, Musik-CD in gefalteter Papphülle mit Beiblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
ZusatzInformation music by Daniel Lopatin aka Dania Shapes.
Soundsystem Pastoral was recorded by Daniel Lopatin aka Dania Shapes during the winter of 2004 using synthesizers, a first generation digital sequencer, and a freeware sound editor. It was remixed in 2006 for the release on naivsuper.
Celebrating the potential of amateurishness, decadence and romance in the realm of digital audio arts, Lopatin looks to marry the aesthetic sensibilities of experimental electronics with his allegiance to the classic 'beauty' in music. 'Glitch' is less a process for Lopatin -- rather it is an aesthetic impression which Lopatin emulates by hand. Pairing the residual effects of romantic, heart string melodies with steroidal, detailed, maximalist noise, Dania Shapes' audible bricolage is a tribute to both the beautiful and the broken all at once.
Working with simple tools such as handheld tape recorders, retro synthesizers, and a personal computer, Lopatin creates conceptual systems and processes to create a solo music that's beautiful and inventive, with interesting textures and unexpected sonic interventions. The music has a lush, ambient quality, but an edge as well. Throughout the CD, one finds a subtle use of repetition. The pieces are formally well-conceived and never contrived. The music is clearly indebted to heroes of electronica such as Christian Fennesz, William Basinski, and Brian Eno. and it has links to classic experimentalists such as David Tudor and David Behrman. Yet Lopatin maintains a more song-based musical position that results in an accessible product that will attract fans of ambient, post-rock, and experimental music
Namen Daniel Lopatin / Stephane Leonard
Stichwort Digitale Musik / Nullerjahre / Synthesyser
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Allen Gwen
Artists' Magazines - An Alternative Space for Art
Cambridge, MA / London (Vereinigte Staaten von Amerika / Großbritannien): the MIT Press, 2015
(Buch) 368 S., 24,8x19 cm, ISBN/ISSN 9780262528412
Techn. Angaben Broschur
ZusatzInformation Originalausgabe von 2011.
During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists’ Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.
Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists’ postage stamps, and collectible chapbooks, Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions, and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists’ Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.
Text von der Webseite
Erwähnt werden neben vorwiegend amerikanischen Magazinen auch europäische Magazine
Namen 4 taxis / Art-Language / Arte Postale! / Aspen / Audio Arts / Ausgabe / Avalanche / AXE / Commonpress / Der Löwe / Doc (k)s / Dé-Coll/age / Ephemera / IAC Info / Interfunktionen / King Kong International / Kunststoff / Lotta Poetica / Neon de Suro / Nervenkritik / Nota / Omnibus News / Ou / Pages / Palazzo / Reaktion / Salon / Sondern / ZG
Sprache Englisch
Stichwort 1960er / 1970er / 1980er / Konzeptkunst / Künstlermagazin / Künstlerzeitschrift / Multimedia / Theorie
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Ay-O / Noel Ann / Williams Emmett, Hrsg.
Mr. Fluxus - A Collective Portrait of George Maciunas, 1931–1978
London (Großbritannien): Thames & Hudson, 1997
(Buch) 352 S., 24,5x17,7 cm, ISBN/ISSN 978-0500974612
Techn. Angaben Hardcover, fadengeheftet, mit Schutzumschlag, mit Illustrationen
ZusatzInformation George Maciunas was the founding member and leader of the most radical and experimental art movement of th 1960s: "Fluxus". Associated with artists such as Joseph Bueys and Yoko Ono, Fluxus rejected traditional systems of high art and practised a form of "anti-art" encompassing everything from photography and pavement art to poetry and drama. This biography of one of the key figures in the history of 20th-century art recounts in text and archive photographs the life story of this contradictory and unorthodox man. Emmett Williams provides anecdotes and impressions from former Fluxus colleagues and other friends (and enemies), to produce a portrait of this crusader, whose mission was to change the world - beginning with the world of art. Although tempered with wit and wisdom, his iconoclasm won him few friends amongst the art establishment during his lifetime, but Fluxus prevailed as an acknowledged force behind the upheavals in the art of the 20th century.
Text von der Webseite
Namen George Maciunas / Yoko Ono
Sprache Englisch
Stichwort 1960er / Fluxus
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Schumann Max, Hrsg.
NY Art Book Fair 2017
New York, NY (Vereinigte Staaten von Amerika): Printed Matter, 2017
(Buch) 15x10,5 cm,
Techn. Angaben Softcover, Broschur
ZusatzInformation 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.
Namen Christopher Gianunzio (Coordinator) / Garrick Gott (Designer) / Hannah Myall (Administration) / Shannon Michael Cane (Kurator) / Yoshié Hozumi (Assistant Designer)
Sprache Englisch
Geschenk von Marlene Obermayer
Stichwort Antiquariat / Artist Book / Ausstellung / Druck / Künstlerbuch / Lesung / Messe / Pint / Printed Matter / Programm / Publishing / Verlag / Workshop / Xerox / Zine
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Cattelan Maurizio / Gioni Massimiliano / Subotnick Ali, Hrsg.
Charley 01
Dijon (Frankreich): Les Presses du Réel, 2001
(Zeitschrift, Magazin) 192 S., 20x15 cm, ISBN/ISSN 978-1-56466-092-3
Techn. Angaben softcover
ZusatzInformation Charley is a contemporary art publication series edited by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick. A do-it-yourself magazine, Charley is an inclusive publication relying on assimilation, rather than on selection : Charley is a machine for redistribution, a mechanism for spreading and exploiting information, rumors, and communication. Like most information, it is partial, unstable, and untrustworthy. There are no hierarchies and no favorites in Charley : it flirts equally with celebrity and failure. Charley is a multiform creature, bound to transform with each issue. Charley is a pre-digested combine, with pages assembled from catalogues, brochures, press clips, postcards, and other visuals. But what is Charley really? Charley is a new publication on emerging artists. Prominent curators, writers, artists, and other arts professionals from around the world were asked to suggest up to 10 up-and-coming artists and/or submit materials on the artists for inclusion in Charley. 400 art makers from around the globe responded, and each of them is represented by one page of Charley
Namen Alexandre Perigot / Barthélémy Toguo / Bless / Carsten Nicolai / Christoph Büchel / Fabrice Gygi / Franz Ackermann / Joe Scanlan / Jonathan Meese / Jonathan Monk / Mark Handforth / Martin Boyce / Olaf Breuning / Trisha Donnely / Urs Fischer
Sprache Englisch
Stichwort Nullerjahre
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Bragadini Giovanna, Hrasg.
Libri d’arte, passione di una vita
Parma (Italien): FermoMAG, 2012
(Presse, Artikel)
Techn. Angaben Artikel über Reinhard Grüner,
ZusatzInformation Reinhard Grüner is a collector from Monaco. His passion is art books, which he collects – and sometimes exhibits – since the 1960s.
His website, 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)
Namen Andy Warhol / Anselm Kiefer / Henri Matisse / Marc Chagall / Pablo Picasso / Reinhard Grüner
Sprache Englisch / Italienisch
Stichwort Künstlerbuch / Malerbücher / Sammlung
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Chessex Antoine
self titled
Berlin (Deutschland): naivsuper, 2008
(CD, DVD) 13x13 cm,
Techn. Angaben naivsuper Nr 013, Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
ZusatzInformation 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
Stichwort Nullerjahre
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Mineo Andrea, Hrsg.
Unpublished - Best unseen photography - Issue no. 01
Mailand (Italien): Unpublished, 2010
(Zeitschrift, Magazin) 40 S., 29,7x21 cm,
Techn. Angaben Lose Blätter ineinander gelegt, Farbkopien nach PDF
ZusatzInformation A simple and straightforward layout, an awesome format, no advertising, 500 hand numbered copies and a free and selected distribution. Unpublished is a democratic and exchange place where photography meets the public, without any filter. Unpublished gathers the best unpublished images of young photographers from all over the world, selected not only for their aesthetic value, but through a careful analysis of the cultural context, the artistic and human paths.
A large project that ends each edition of Unpublished with a group exhibition in which it will be possible to buy at affordable prices the original and signed prints of the published works, donated and assessed by the authors themselves. No art dealers, no galleries and outside the market logic. Unpublished is a "call for freedom", a pure and direct line that connects the artist and his work with the outside world. And vice versa.
Von der Webseite
Namen Andris Feldmanis / Bjarne Bare / Bridget Collins / Charlie Engman / Elisabetta Claudio / Erin Jane / Jonnie Craig / Katie Shapiro / Levi Mandel / Marius Ektvedt / Maryanne Casasanta / Matthew Connors / Micol Talso. / Mitsuko Nagone / Nelson / Nina Ahn / Osvaldo Sanviti / Todd Fisher / Violeta Niebla
Stichwort Fotografie / Freiheit / unpublished
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Batey Jackie, Hrsg.
Future Fantasteek, Issue 13
Brighton (Großbritannien): Damp Books, 2012
(Zine) 20 S., 21x15 cm, Auflage: 40, signiert,
Techn. Angaben Drahtheftung, Farbkopien auf verschiedene Papiere, 2 aufgeklebte Spielzeug-Augen auf Vorderseite, Rückseite mit Prägedruck
ZusatzInformation Future Fantasteek! brings together a trichotomy of investigation. art-zines and independent publishing. artist as social commentator and drawing as a means of immediate visual communication. The series explores obdurate boundaries between journalism and authorial illustration using satire to reflect notions of ‘Britishness’. The series can be read as a sequence, from just prior to the ‘credit crunch’ through to the ‘age of austerity’. The series is independently published as a limited edition art-zine, with two issues per year. The approach is experimental, incremental and reflective focussing on both the microcosm and macrocosm of living in the UK. Visual humour is developed throughout as a vehicle for change, combining techniques such as pastiché, parody and socratic irony. Typography and images are juxtaposed to create new narrative possibilities. Language is explored using different ‘voices’ such as anecdotal, colloquial or profane. This text is then translated into drawn commentaries on etiquette, politics and advertising. The ‘anxiety of the individual’ is a running theme throughout the series with many reoccurring protagonists and antagonists soliloquizing their notions of ‘Das Unheimliche’. The series also explores changing technologies with regard to notions of ‘the book’ with online versions of Future Fantasteek! available via a blog and online PDF reader (issuu and .swf).
Text von der Webseite
Geschenk von Reinhard Grüner
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Bonajo Melanie / Karrer Philippe, Hrsg.
Spheres Issue 1
St. Gallen (Schweiz): Philippe Karrer, 2012
(Zeitschrift, Magazin) 40 unpag. S., 32x22 cm, 2 Stück. ISBN/ISSN 7629999015104
Techn. Angaben Drahtheftung. Verschiedene farbige Papiere. Eingelegt ein gefaltetes Poster
ZusatzInformation The publication Spheres is the creative documentation of a close collaboration between an artist and the editor, graphic designer Philippe Karrer. Every issue is dedicated to a young artist and their work, in each case exploring character, surroundings, every-day life, inspirations and ideas using unconventional innovative formats so as to create a different, more visual approach and understanding of the artist and his or her work. The focus lies on what is important to the artist during the time period of working together for the publication, hereby capturing a certain essence of the artists work at the moment. Not only can the reader dive in to the artist‘s world, receiving little personal snippets of the life in and around his or her art, but also (and perhaps even more importantly) — how the artist chooses to present things in the publication gives the reader an idea of his or her whole artistic sphere.
Melanie Bonajo explores the relationship of the individual to its surroundings in a commodified, globalised culture. In her work, she uncovers how our ideas of identity, genre, value and such structures formed by conventions are ever shifting to feelings of uncertainty and instability. She approaches these issues by trying to newly create, to turn around overpowering views and conditions that are today so influenced by our consumer society and tries to get nearer to traits that are rooted in human nature.
Text von der Webseite
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Bokoros Christos Th.
Odos Eleftherias - Freedom Street
Nikosia (Republik Zypern): the Office Gallery, 2012
(Plakat) 59x42 cm,
Techn. Angaben Plakat
ZusatzInformation 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
Geschenk von the Office Gallery
Stichwort Ausstellung / Malerei
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Marx Matthias / Müller Matthias / Ullrich Andreas, Hrsg.
Stickers. From the first international sticker awards
Berlin (Deutschland): Die Gestalten Verlag, 2006
(Sticker, Button / Buch) [324] S., 13x21 cm, 3 Teile. ISBN/ISSN 978-3-89955-151-8
Techn. Angaben Broschur, beiliegend 2 Bögen mit Stickers, Aufklebern
ZusatzInformation Stickers have become an essential element of contemporary street art used by the most underground of artists. With stickers, anyone can plant their flag, gain notoriety, recognition and attain instant coverage while the action itself is inconspicuous. This book documents the best submissions from the first international sticker awards which have been established to record this constantly evolving movement.
Low-tech and prepared in advance, stickers are made from a multitude of materials and techniques from hand, photocopies, posters and wheat pastes to walls. From drainpipes and crosswalk boxes to street signs and walls, stickers can be found almost anywhere at eye level on public surfaces blending into and becoming part of the streets. Motifs vary from scribbles and characters to intricate figurative images, often personal logos or tags functioning as trademarks. Stickers have created a revolution in communication – proving to be effective tools in establishing dialog, inspiring reaction and feature messages that are subversive, fun and often cryptic.
This extensive volume presents over 800 examples from around the world and includes 2 pages of award winning real stickers for the reader’s enjoyment.
Text von der Webseite
Sticker aus Asien, Israel, Latein- und Süd-Amerika, Nordamerika, Europa
Namen Wildsmile Studios (Produktion)
Sprache Englisch
Stichwort Engagement / Humor / Kritik / Politik / Protest / Underground
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Davis Deborah
The Trip - Andy Warhol's Plastic Fantastic Cross-Country Adventure
New York, NY (Vereinigte Staaten von Amerika): Atria Books, 2015
(Buch) 324 S., 24x14 cm, ISBN/ISSN 978-1-4767-0351-0
Techn. Angaben Hardcover, fadengeheftet, mit Schutzumschlag
ZusatzInformation From the author of Strapless and Guest of Honor, a book about a little-known road trip Andy Warhol took from New York to LA in 1963, and how that journey—and the numerous artists and celebrities he encountered—profoundly influenced his life and art.
In 1963, up-and-coming artist Andy Warhol took a road trip across America. What began as a madcap, drug-fueled romp became a journey that took Warhol on a kaleidoscopic adventure from New York City, across the vast American heartland, all the way to Hollywood and back.
With locations ranging from a Texas panhandle truck stop to a Beverly Hills mansion, from the beaches of Santa Monica to a Photomat booth in Albuquerque, The Trip captures Warhol’s interactions with Dennis Hopper, Peter Fonda, Marcel Duchamp, Elizabeth Taylor, Elvis Presley, and Frank Sinatra. Along the way he also met rednecks, beach bums, underground filmmakers, artists, poets, socialites, and newly minted hippies, and they each left an indelible mark on his psyche.
In The Trip, Andy Warhol’s speeding Ford Falcon is our time machine, transporting us from the last vestiges of the sleepy Eisenhower epoch to the true beginning of the explosive, exciting ’60s. Through in-depth, original research, Deborah Davis sheds new light on one of the most enduring figures in the art world and captures a fascinating moment in 1960s America—with Warhol at its center.
Text von der Webseite
Namen Andy Warhol / Dennis Hopper / Elizabeth Taylor / Elvis Presley / Frank Sinatra / Marcel Duchamp / Peter Fonda
Sprache Englisch
Stichwort 1960er / Amerika / Pop Art / Reise
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Karasik Mikhail
The Soviet Photobook 1920-1941
Göttingen (Deutschland): Steidl, 2015
(Buch / Sammeltuete, Schachtel, Kassette) 644 S., 29,4x27,4x6 cm, ISBN/ISSN 9783958290310
Techn. Angaben Hardcover, in bedrucktem Karton.
ZusatzInformation The Soviet Union was unique in its formidable and dynamic use of the illustrated book as a means of propaganda. Through the book, the U.S.S.R. articulated its totalitarian ideologies and expressed its absolute power in an unprecedented way—through avant-garde writing and radical artistic design that was in full flower during the 1920s and ’30s. No other country, nation, government or political system promoted itself more by attracting and employing acclaimed members of the avant-garde. Among them were writers like Semion Kirsanov, Vladimir Mayakovsky, Ilya Selvinsky, Sergei Tretyakov and Kornely Zelinsky. artistic designers like Gustav Klutsis, Valentina Kulagina, El Lissitzky, Sergei Senkin, Varvara Stepanova, Solomon Telingater and Nikolai Troshin. and photographers including Dmitry Debabov, Vladimir Griuntal, Boris Ignatovich, Alexander Khlebnikov, Yeleazar Langman, Alexander Rodchenko, Georgy Petrusov—not to mention many of the best printers and book binders.
The Soviet Photobook 1920–1941 presents 160 of the most stunning and elaborately produced photobooks from this period and includes more than 400 additional reference illustrations. The book also provides short biographies of the photobook contributors, some of whom are presented here for the first time.
Text von der Webseite.
Namen Manfred Heiting (Herausgeber) / Marina Orlova (Research) / Paul Williams (Translation)
Sprache Englisch
Stichwort 1920er / 1930er / 1940er / Dokumentation / Fotografie / Ideologie / Osteuropa / Propaganda / UDSSR
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Dander Patrizia / Wilmes Ulrich, Hrsg.
A Bit of Matter and a Little Bit More. The Collection and the Archives of Herman and Nicole Daled 1966–1978
München / Köln (Deutschland): Haus der Kunst / Verlag Buchhandlung Walther König, 2010
(Buch) 456 S., 27x20,3 cm, ISBN/ISSN 978-3-86560-763-8
Techn. Angaben Klappbroschur mit Banderole (gestanzte Formen und Texte)
ZusatzInformation erschienen zur Ausstellung 30.04.-25.07.2010
Mit Essays von Benjamin H.D. Buchloh und Birgit Pelzer sowie einem Text von Herman und Nicole Daled.
The Brussels-based collectors Herman Daled and Nicole Daled refuse to perceive art as decoration and to, thereby, exploit it. They approach art in a fundamentally different way: Basis for their activities are their relationships and conversations with artists.
In keeping with the aim of Conceptual Art that places the intellectual content of a work above its realisation, they consider themselves not collectors but communicators and producers: They provide artists with the opportunity to also realise works outside of established market mechanisms. Their intense engagement with Conceptual Art, one of the most important movements in recent art history, goes far beyond usual collecting practices. This is not only apparent in the actual works, but also in the meticulously archived documents containing actions and works.
One of the most important influences for Herman and Nicole Daled was Marcel Broodthaers, more than 80 of his works are in their collection. Moreover, the collection holds several works by Daniel Buren, Dan Graham, On Kawara, Sol Lewitt, Niele Toroni, Lawrence Weiner, Cy Twombly and many more.
Text von der Webseite
Namen Benjamin H.D. Buchloh / Birgit Pelzer / Carl Andre / Cy Twombly / Dan Graham / Daniel Buren / Ed Ruscha / Hanne Darboven / Hans Haacke / Herman Daled / James Lee Byars / Jan Dibbets / Jaques Charlier / Jörg Immendorf / Kathy Acker / Lawrence Weiner / Marcel Broodthaers / Nicole Daled / Niele Toroni / On Kawara / Peter Downsbrough / Richard Long / Robert Filliou / Sol LeWitt / Stanly Brouwn / Steve Reich / Vito Acconci / Walter Nikkels (Form und Typografie)
Sprache Englisch
Geschenk von Sabine Brantl
Stichwort Archiv / Dokumentation / Ephemera / Fluxus / Installation / Konzeptkunst / Malerei / Sammlung
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von Rabenau Kai, Hrsg.
MONO.KULTUR #46 Francis Kéré - Of Clay and Community
Berlin (Deutschland): mono.kultur, 2018
(Zeitschrift, Magazin / Heft) 48 S., 20x15 cm, ISBN/ISSN 1861-7085
Techn. Angaben Drahtheftung, gedruckt auf verschiedenem Papier, teilweise farbig
ZusatzInformation In our most colourful issue yet, we step into the life and work of architect Francis Kéré, known in equal measure for his lighthearted and innovative architecture, his remarkable background, and his infectious sense of optimism. Kéré has completed numerous projects both in Africa and beyond, including schools, medical centres, cultural institutions, and temporary installations, such as the renowned annual Serpentine Pavilion in 2017. Frequently relying on local materials and infrastructure, his work is marked by a profound simplicity and refreshing lightness, meeting technical problems with surprising and seemingly effortless solutions. It reflects his attitude that architecture should, in its most primary function, seek to improve the lives of the people who inhabit it. With mono.kultur, Francis Kéré talked about his long trajectory from a remote village in Africa to Berlin, his steadfast belief in optimism, and what makes a tree a perfect piece of architecture. Designwise, we followed Kéré’s principle to work with what is at hand, sourcing papers from dead stock at our printers’, essentially using an assortment of leftovers. And colour, of course, with the issue based on the national colours of Burkina Faso, paying tribute to the idea of culture as a shared ground to build upon.
Text von der Website.
Namen Francis Kéré
Sprache Englisch
Stichwort Architektur / Burkina Faso / Design / Holz / Interview / Lehm / Material / Ton
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Dunn Alec Icky / MacPhee Josh, Hrsg.
signal 01
Oakland, CA (Vereinigte Staaten von Amerika): PM Press, 2010
(Zeitschrift, Magazin) 146 S., 17,8x12,8 cm, ISBN/ISSN 978-1-60486-091-7
Techn. Angaben Broschur
ZusatzInformation Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. Signal 01 includes: The Future of Xicana Printmaking: Alec Dunn and Josh MacPhee interview the Taller Tupac Amaru (Favianna Rodriguez, Melanie Cervantes, and Jesus Barraza), The Adventures of Red Rat: Alec Dunn interviews Johannes van de Weert, Hard Travelin’: A photo essay with IMPEACH, Early 20th-Century Anarchist Imprints, Mexico 68: The Graphic Production of a Movement: Santiago Armengod interviews Felipe Hernandez Moreno, Adventure Playgrounds: A photo essay, Designing Anarchy: Dan Poyner interviews Rufus Segar.
Text von der Website.
Namen Dan Poyner / Favianna Rodriguez / Felipe Hernandez Moreno / Jesus Barraza / Johannes van de Weert / Melanie Cervantes / Rufus Segar / Santiago Armengod / Taller Tupac Amaru
Sprache Englisch
Stichwort 1960er / Anarchie / Berstzung / Comic / Demonstration / Fotografie / Freiheit / Geschichte / Graffiti / Interview / Kommune / Kultur / Kunst / Mexiko / Politik / Protest / Straßenkunst / Widerstand
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Bull Frank, Hrsg.
Friedrichshafen (Deutschland): Selbstverlag, 2019
(Text) 2 S., 29,7x21 cm,
Techn. Angaben Schwarz-Weiß Laserausdrucke nach Webseite
ZusatzInformation is a Non-Profit Online-Archive & Information-Database for Audio-Tape-Culture (Cassettes/Tapes/Reels) and 20th Century Art- & Music-related Small-Press Publications / Magazine-Culture.
This Archive-Database focuses on the following styles/genres.
- Mid 70's to late 90's Industrial / Experimental / Free Improvisation / Post- Punk / New Wave, Minimal / Synth / Ambient and further musical directions of the DIY-Cassette-Culture.
- early 50's to late 90's Sound Art / Sound Poetry / Text-Sound-Compositions / Poesie Sonore / Verbosonics / Lingual Music / Music Concrete / Audio Art plus related printed Mail-Art / Concrete Poetry / Visual Poetry / Lettrisme / Fluxus
Here you are able to browse and research thousands of releases, find further information about the Artists, the Organisations, Press & Label-People behind the scene and/or the published Small Print / Magazines, Information-sheets and Artists-Manifests that all defined a very exciting culture and era. Most of the releases listed here were only released in very limited amount and are hard to find these days but they had without any doubt their important role in the development of contemporary audio & sound-art and music-history. These protagonists of a DIY (Do-It-Yourself)-Culture-Movement in which everybody can be an artist, label, distributor and press-editor or organisation deserves a comprehensive overview in a broader context with all its connections and a framework. With this Database the collected, provided and connected Information can become knowledge. Knowledge that Media in Internet-Age can hardly supply with the current Information Overload.
Text von der Webseite
Sprache Englisch
Stichwort 1970er / 1980er / 1990er / Archive / Audio / Audio-Art / DIY / Experiment / Konkrete Kunst / Lettrismus / Mail Art / Musik / Online-Katalog / Privatsammlung / Punk / Recherche / Sammlung / Sound / Sound Poetry
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Fuhr Lisa: We are Cypriots - Wir sind Zyprer - 28 Cypriots Tell Their Stories: Reports and Photographs from a Devided Island, 2019

Fuhr Lisa
We are Cypriots - Wir sind Zyprer - 28 Cypriots Tell Their Stories: Reports and Photographs from a Devided Island
München (Deutschland): icon Verlag Hubert Kretschmer, 2019
(Buch) 416 S., 23x15,5 cm, Auflage: 300, 2 Stück. ISBN/ISSN 978-3-928804-95-0
Techn. Angaben Klappbroschur, Fadenheftung, HP-Indigodruck auf Munken White 115 g. 1,5. 114 Farbabbildungen
ZusatzInformation “We Are Cypriots” is a chronicle that takes us behind the scenes sharing personal histories that official histories often ignore.
Between 2015 and 2018, during the reunification talks and after they failed, the author Lisa Fuhr visited Cypriots from both communities and photographed them in their surroundings. These intimate photographs and accompanying in-depth conversations shed light on life in Cyprus today.
Travellers, Cypriots living abroad, foreigners who have chosen to settle there, and last but not least, the people of Cyprus itself just might discover in these pages something they did not expect.
This book, furthermore, is intended as a contribution to the current European-wide discussion on national identity, separatism, nationalism or unification, and reconciliation.
In his comprehensive preface, the Berlin journalist, Klaus Hillenbrand, traces the historical and contemporary, as well as the social and political developments that have so profoundly shaped this island and Cypriots today.
Photo Exhibition and Book Launch at Goethe-Institut Nicosia / Cyprus, in the buffer zone next to Ledra Palace. Opening Wednesday 15 May 2019. Duration of the exhibition until 11 June 2019
Namen Gabriela Weitenauer (Lektorat) / Hubert Kretschmer (Gestaltung) / Klaus Hillenbrand (Vorwort)
Sprache Deutsch / Englisch
Stichwort Ethnologie / Familie / Farbfotografie / Flucht / Flüchtling / Fotodokumentation / Geschichte / Gesellschaft / Insel / Interview / Krieg / Kultur / Kunst / Literatur / Musik / Narrativ / Nikosia / Politik / Porträt / Reportage / Teilung / Trennung / Vertreibung / Wirtschaft / Zeitgeschichte / Zypern
GND von Fuhr Lisa, VIAF Permalink
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Eichhorn Martin / Leonard Stephane
Berlin (Deutschland): naivsuper, 2011
(Buch) 28 S., 14,8x14,8 cm, ISBN/ISSN 978-3-940548-22-1
Techn. Angaben Buch 007, Drahtheftung, in Transparenthülle
ZusatzInformation Sketches and Experiments from the artwork:
The record was published by sinnbus records in 2010.
In the process of drawing and designing the cover a small book emerged and was meant to be published and shared with the world.
´LOVE´ is a selection of drawings on found footage photographs by the artist Stephane Leonard and those drawings processed and edited by the designer Martin Eichhorn.
The first half of the book is dedicated to all the drawings and the second half to various layout sketches and experiments for the artwork of the swedish band Alarma Man´s 2010 record LOVE FOREVER. The photographs display different stages within relationsships - from childhood to marriage to death. Leonard´s drawings and drawn words react and interact with the photos scratching off the obvious, exposing invisible emotional aspects of the scene
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Mars Leo
Berlin (Deutschland): naivsuper, 2007
(CD, DVD) 13x13 cm,
Techn. Angaben naivsuper Nr 011, Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
ZusatzInformation 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
Stichwort Nullerjahre
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Cerezo María / Llensa Emma, Hrsg.
Atem Books
La Bisbal d'Empordà (Spanien): Atem Books, 2010
(Plakat) 48x33 cm, 2 Stück.
Techn. Angaben Plakat, vermutlich beschnitten
ZusatzInformation Atem Books is an independent publishing house based in Catalunya focused on photography & illustration, contemporary drawing and thinking created by emerging artists from around the world. Our aims are: to help emerging artists to get their work more known, create a collection of contemporary works, to gather illustrators, photographers & art lovers. Atem Books has been publishing Carpaccio Magazine since April 2009. Atem Books is a non-profit organization, so all the money earnt is always invested in new publications.
Why ‘Atem’?
‘Atem’ stands for “wind, breath” in german. This word is inspired by an illustrated poetry book published by Paul Celan (poet) and Gisèle Celan (illustrator) called Atemkristall.
Who we are
Atem Books curators are María Cerezo and Emma Llensa. We both do all the works involved with mantaining Atem Books.
What we can do
We’re also offering our services to help you self-publish your book (both digital -pdf, epub, mobipocket-, Ipad and Iphone apps and print). Whether if you need advise on how to start self publishing a book or you need our services as curators, designers, layouters and image retouchers, just ask us what we can do for you.
We’re also offering our services to help you create your own website and, if you need one, how to create an e-commerce to sell your own goods. And, of course, we can give you marketing and self-promotion advises and guidelines.
Atem Books is 100% independent!
We don’t receive any external money. This project survives with the earns we do selling our publications.
Von der Webseite
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Morrison Rachael / Senior David, Hrsg.
Millennium Magazines
New York, NY (Vereinigte Staaten von Amerika): MoMA Library, 2012
(Heft) 78 S., 29,7x21 cm,
Techn. Angaben Farbkopien nach PDF, lose ineinander gelegt, Dokumentation der Ausstellung
ZusatzInformation 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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Ruiz Francesc, Hrsg.
bearcode by Anna Colin
London (Großbritannien): Gasworks, 2010
(Heft) 44 unpag. S., 25,3x17,8 cm,
Techn. Angaben Drahtheftung, in losem Pappumschlag, zwei verschiedene Papiere, in transparenter Kunststoffhülle mit Aufklebern
ZusatzInformation Begleitheft zur Ausstellung "Gasworks Yaoi" vom 26.11.2010 - 23.01.2011 im Gasworks in London.
"Gasworks Yaoi" is the first solo exhibition by Spanish artist Francesc Ruiz in London. The show is the culmination of Ruiz's research in the local area, conducted during his residency at Gasworks. Inspired by the longstanding gay establishments in Vauxhall, the artist has created a semi-fictional narrative that overemphasises the clichés around sexuality and lifestyle in the area.
For "Gasworks Yaoi", Ruiz will transform the front of the gallery into a bookshop specialising in yaoi comic books. Originating in Japan, this genre (translated as 'boys love') depicts male homoerotic narratives. However, unlike male-oriented gay erotica, yaoi comic books are both produced and consumed by women.
The yaoi comics, featured in Ruiz's bookshop at Gasworks are allegedly produced by female amateur illustrators who portray the encounters of a group of men whose nightlives revolve around Vauxhall's sprawling gay club and bar scene. By adopting the yaoi comic format and resorting to female authorship, Ruiz distances himself from the stories and characters he depicts, allowing for the imagination to run wild, indulging in stereotypes and idealised situations. Through the comics' humour and distortion of reality Ruiz gives himself license to explore a specific subculture and the way it sits within the wider fabric of the neighbourhood.
Turned into a specialised comic bookshop for women, Gasworks' space becomes an environment where sexuality, local context and its social dynamics are fictionalised and packaged into a product for consumption.
Text von der Webseite
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De Vries Herman
wit white
Brest (Frankreich): Zédélé éditions, 2012
(Buch) 352 S., 21x15 cm, ISBN/ISSN 978-2-915859-41-6
Techn. Angaben Broschur mit Banderole, eingelegt ein Informationsblatt
ZusatzInformation Originalausgabe erschienen bei Artists Press, Bern, 1980.
This book is the third and final version of the first artist’s book published in 1960 by herman de vries, who is currently the author of more than one hundred publications.
The story of this book dates back to 1960. Closely associated with the Zero Group, but also drawn to the buddhist concept of emptiness, herman de vries had just produced a series of white monochromes when he self-published a twenty-page booklet in Arnhem. It had no title, its cover was blank and its pages were unprinted. It contained nothing but a short final poem celebrating, in four languages, the superabundance of white: “wit is overdaad”. In 1962, this manifesto appeared in another version, now entitled wit: two hundred blank pages, four white collages by the artist and an introduction, itself completely blank, by the poet J. C. van Schagen, published in arnhem in only five copies by M. J. Israel. It was followed in 1967 by a second “revised” edition, wit weiss: two hundred and fifty blank pages, pocket-sized, in five hundred copies, published by Hansjörg Mayer in Stuttgart. The only printed elements were the artist’s name, the title and the publisher’s name on the cover, the word “introduction” and the name of its author on the very first page and a colophon on the final page. In 1980 the Artists Press in Berne published the “third revised edition”, in a larger format and with more pages. The original title wit was translated into english and japanese and into sanskrit with a word that means “white” in the sense of bright, pure, immaculate. The title itself does not appear on the book, which remains completely blank. It is printed with the paratext on a broad strip of paper in the form of a detachable publicity strip. The inside flap contains a brief statement initially dating back to the 1962 edition, stating that this book incorporates all aspects of reality. Of the five thousand copies advertised, only a hundred were published. It is this last edition, the most radical, which is republished here, the only addition being the french translation of the statement.
On 1 april 2012, herman de vries wrote of his book, insisting on the importance of the final comma:

white is white
0 = 0
no name
no idea
not even emptiness,

Text von der Webseite
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Art-Rite, No. 20 Pearl Girl, An Operetta - a libretto
New York, NY (Vereinigte Staaten von Amerika): Art-Rite Publishing, 1978
(Zeitschrift, Magazin) 24 S., 28x21 cm,
Techn. Angaben Drahtheftung
ZusatzInformation Illustrated with charming line drawings of urban love, this score includes music and lyrics for eight voices and clavichord, bell, flute, violin, oboe, horn, cymbal, drum. Each of the three acts are introduced with a plot synopsis of the amorous adventures of protagonists Pearl and Anthony. The libretto ends with a thoughtful epilogue: As young lovers Pearl and Anthony must acknowledge the reality of their sentiment for each other as a separate and a whole reality from their surroundings they must effectively substitute the ...skylines that they could inhabit for the places and constructs as spiritual parts of themselves and to the intuitions and instincts to their intentions and to their youth as ingenuous their present and their future have become realized as each other they must consider a different sort of naiveté
Stichwort 1970er
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Naprushkina Marina
the convincing victory - two stories on what really happened
Berlin (Deutschland / Weißrussland): Büro für Antipropropaganda, 2011
(Zeitschrift, Magazin) 12 unpag. S., 51x26 cm,
Techn. Angaben Blätter, lose ineinander gelegt,
ZusatzInformation The Office for Anti-Propaganda was founded by Marina Naprushkina in 2007.
Started as an archive on political propaganda with the focus on Belarus the „The Office for Anti-Propaganda“ drifted to a political platform. In cooperation with activists and cultural makers Office lounges and supports political campaigns, social projects, organizes protest actions, and publishes underground newspapers.
The emphasis lies on projects which work outside the white cube and has social and political relevance. The 16-page newspaper-size novel illustrates the events which happened in Belarus during 2010 Presidential Elections. This is a story about the elections and, in particular, of the day and night of December 19, when the citizens’ peaceful demonstration against falsified elections was brutally suppressed by the police. The novel presents two views
on the developments in parallel. The first one shows how the events are interpreted by the state regime and currently widely publicized by state-run newspapers and television. The other version was assembled from information presented by independent media, which for the most part can exist only in the Internet, i.e. blogs, oppositional websites, users’ comments, testimonies of victims and political activists.
Text von der Website
Mit Untzerstützung der Konrad Adenauer Stiftung und der Zeit-Stiftung Ebelin und Gerd Bucerius
Sprache Englisch
Geschenk von Radmila Krstajic
Stichwort Aktivist / Politik
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Thalmair Franz, Hrsg.
Possible Content for 18 Pages - Volume III - Lorem Ipsum Dolor Sit Amet
Berlin (Deutschland): Revolver Publishing, 2016
(Buch) 200 unpag. S., 29,7x21 cm, Auflage: 500, ISBN/ISSN 978-3-95763-345-3
Techn. Angaben Fadenheftung, mit zahlreichen Abbildungen, drei Bände in Banderole, Anschreiben liegt bei,
ZusatzInformation “Lorem Ipsum Dolor Sit Amet” is the third in a series of exhibitions and publication based on a wide-reaching research about writing with the title “Possible Content for 18 Pages”. The original typewritten manuscript of Vilém Flusser’s essay “The Gesture of Writing” provides the thematic and formal-aesthetic foundation for reflecting the act of writing at the intersection of linguistic, visual, physical and spatial communication.
“To write,” says the philosopher about the basic requirements that should lead to a complete piece of writing, we need “a blank surface, for instance a white leaf of paper, an instrument which contains a matter that contrasts with the whiteness of the paper, the letters of the alphabet, the convention which gives a meaning to the letters, ‘orthography’ = correct writing, the rules which order that language, what is called ‘grammar’, an idea to be expressed in a language, and a motive to express that idea”.
Understanding the act of writing as a culturally embedded gesture, “Lorem Ipsum Dolor Sit Amet” covers artistic, literary, as well as curatorial and editorial fields of action and combines them. The book is published on the occasion of the eponymous performance by Lois Bartel at the Akademie der Künste in Berlin (June 11, 2016) and contains a curatorial-editorial statement by Franz Thalmair. Furthermore, the artist Michalis Pichler and the professor for media theory and aesthetics Oliver Ruf situate the publication in an actual context of literature and criticism. The participating visual artists expand the topic of the research with artistic contributions especially made for „Lorem Ipsum Dolor Sit Amet“.
Text von der Webseite
Namen Agnes Fuchs / Alejandro Cesarco / Charles Gute / Daniel Gustav Cramer / Haris Epaminonda / Irma Blank / Lois Bartel / Michalis Pichler / Natalie Czech / Nikolaus Gansterer / Oliver Ruf / Rafaël Rozendaal / Thomas Freiler / Vilém Flusser
Sprache Englisch
Geschenk von Franz Thalmair
Stichwort Appropriation / Gegenwartskunst / Kommunikation / Post-Digital / Strategie
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Yoon J. Meejin
New York, NY (Vereinigte Staaten von Amerika): Printed Matter, 2003
(Buch) 240 ca. S., 12,5x10 cm, Auflage: 2000, ISBN/ISSN 0-89439-013-9
Techn. Angaben Umschlag aus Karton mit Leinenstreifen, ca. 120 Seiten gestanzt
ZusatzInformation 2004 winner of I.D. Magazine's Design Distinction award, Absence is the third book to come out of Printed Matter’s Publishing Program for Emerging Artists, a program made possible through the generous support of New York City's Department of Cultural Affairs, The Andy Warhol Foundation for the Visual Arts, the Elizabeth Firestone Graham Foundation, and the Heyday Foundation. The generosity of Whitney trustees Melva Bucksbaum and Raymond J. Learsy was instrumental to the Museum’s participation in the publication of this exciting new work.
Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.
At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book’s only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages – one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.
Of all of the proposed monuments and grand designs for the twin towers to emerge in the last two years, Absence is remarkable for its employment of an under-used strategy: restraint. The simplicity of Yoon’s materials and her use of repetition speak, without words, about unspeakable loss. Quiet, respectful, mournful, the book does not aim to represent the magnitude of the disaster. Instead it appeals to the vastness of the reader’s imagination and capacity to grieve. The human scale of her memorial operates on a personal level – it delivers the memory of lives lost into the reader’s hands. At the same time, as a scale model of a vanished architectural site, it operates on a larger cultural level by commemorating the site itself.
Text von der Webseite. Fotos Xenia Fumbarev
Sprache Englisch
Stichwort Amerika / Erinnerung / Künstlerbuch / Terror / Twin Towers
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