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Conceptual Poetics Day 2016
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2 S., 42x29,6 cm, 2 Stück. keine weiteren Angaben vorhanden
beidseitig bedruckt, Vorderseite Poster, Rückseite Programm,
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Veranstaltung im Rahmen der Miss Read: The Berlin Art Book Fair 2016 am 11.06.2016 in der Akademie der Künste Berlin.
CONCEPTUAL POETICS DAY 2016 is organized by Michalis Pichler at Miss Read: The Berlin Art Book Fair in collaboration with Akademie der Künste and Literaturwerkstatt Berlin.
The Conceptual Poetics Day is an annual event that exlores the imaginary border between visual art and literature.
Der Conceptual Poetics Day ist eine jährlich stattfindende Veranstaltung, die die Grenze zwischen bildender Kunst und Literatur auslotet.
Text von der Webseite
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SMIS DEAR - Miss Read - The Berlin Art Book Fair 2019 - Conceptual Poetics Day
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82 S., 24x17 cm, Auflage: 2.000, 2 Stück. 4 Teile. ISBN/ISSN 978-3-868741056
Broschur. Mit eingelegtem Programm des Conceptual Poetics Day, von Natalie Czech, Ausstellerverzeichnis und -plan, Postkarte.
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zur Veranstaltung vom 03.-05.05.2019 im Haus der Kulturen der Welt. Gestaltung des Kataloges Moritz Grünke. MISS READ: The Berlin Art Book Fair 2019 will take place on May 3th to 5th at Haus der Kulturen der Welt and will bring together a wide selection of publishers, art periodicals and artists/authors (267+ exhibitors for 2018). In conjunction, the seventh Conceptual Poetics Day will explore the imaginary border between visual art and literature. Founded in 2009, MISS READ is Europe’s major Art Book Festival, dedicated to community-building and creating a public meeting place for discourse around artists’ books, conceptual publications and publishing as practice.
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14,8x10,5 cm, Auflage: - , 2 Stück. keine weiteren Angaben vorhanden
Postkarte
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Postkarte zur Künstlerbuchmesse Miss Read Berlin, Haus der Kulturen der Welt, 29.04.–01.05.2022, die wegen Corona 2020 und 2021 ausgefallenen war.
MISS READ: The Berlin Art Book Fair 2022 will take place on April 29th to May 1st at Haus der Kulturen der Welt and will bring together a wide selection of 300+ publishers, art periodicals and artists/authors. In conjunction, the Conceptual Poetics Day will explore the imaginary border between visual art and literature.
...
Text von der Webseite
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Six years: The dematerialization of the art object from 1966 to 1972 ...
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272 S., 21,5x17,5 cm, ISBN/ISSN 9780520210134
Hardcover, Exlibris der Pratt Institute Library, mit Ausmusterungsstempeln
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Titelergänzung: The dematerialization of the art object from 1966 to 1972 : a cross-reference book of information on some esthetic boundaries : consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, antiform, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones), edited and annotated by Lucy R. Lippard.
In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists — a historical survey and essential reference book for the period.
Text von der Webseite
Ursprünglich publiziert 1973 bei Praeger, New York
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A Bit of Matter and a Little Bit More. The Collection and the Archives of Herman and Nicole Daled 1966–1978
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456 S., 27x20,3 cm, ISBN/ISSN 978-3-865607638
Klappbroschur mit Banderole (gestanzte Formen und Texte)
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erschienen zur Ausstellung 30.04.-25.07.2010
Mit Essays von Benjamin H.D. Buchloh und Birgit Pelzer sowie einem Text von Herman und Nicole Daled.
The Brussels-based collectors Herman Daled and Nicole Daled refuse to perceive art as decoration and to, thereby, exploit it. They approach art in a fundamentally different way: Basis for their activities are their relationships and conversations with artists.
In keeping with the aim of Conceptual Art that places the intellectual content of a work above its realisation, they consider themselves not collectors but communicators and producers: They provide artists with the opportunity to also realise works outside of established market mechanisms. Their intense engagement with Conceptual Art, one of the most important movements in recent art history, goes far beyond usual collecting practices. This is not only apparent in the actual works, but also in the meticulously archived documents containing actions and works.
One of the most important influences for Herman and Nicole Daled was Marcel Broodthaers, more than 80 of his works are in their collection. Moreover, the collection holds several works by Daniel Buren, Dan Graham, On Kawara, Sol Lewitt, Niele Toroni, Lawrence Weiner, Cy Twombly and many more.
Text von der Webseite
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19,0x11,5 cm, Auflage: 1.500, ISBN/ISSN 9783962870027
Broschur, Klebebindung
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Buch mit Statements anstelle der wegen Corona 2020 und 2021 ausgefallenen Künstlerbuchmesse Miss Read Berlin.
Editor: Michalis Pichler, Contributing editors: Yaiza Camps, Moritz Grünke, Copy editor: Mark Soo
IDEA POLL collected ideas regarding publishing activities and beyond. IDEA POLL 2020/21 was created through an online query and features about 100 responses from diverse international networks. Historical Note: In 1976, the periodical Art-Rite already conducted and published an IDEA POLL, marking a seminal moment in the state of affairs in the field of art and publishing. A collaboration of Miss Read and Conceptual Poetics Day.
The seven questions were:
Name five #hashtags that best describe your activities
What are you reading?
How do you distribute?
Do you collaborate? If so, with whom and how?
Is publishing economically viable? What would make it viable?
What are the best potentials (or difficulties) of publications?
What would be your utopian library? ...
Text von der Webseite
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Art/Life Volume 02, Number 09
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[92] S., 28,3x22 cm, Auflage: 125, numeriert, signiert, keine weiteren Angaben vorhanden
Einzelblätter in Klemmschiene. Originalarbeiten, verschiedene Papiere und Techniken, Blätter signiert, gestempelt bemalt und beklebt
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Originating as a conceptual exchange among artists, Art/Life Magazine, was one of the longest continually published artists’ periodicals of the 20th century, presenting a diverse array of art during its 25-year history. Art/Life founder Joe Cardella had asked artists to submit and mail original artworks from all over the world to be compiled into limited edition magazines. As a way to increase accessibility to contemporary art practice, Art/Life documented the lives of the artists, their thoughts, emotions, and creative processes through the transition from industrial to digital art practice. The magazine’s legacy can be seen at MoMa, the Guggenheim, Getty, and LACMA, portraying a global consciousness and collaboration between distanced networks of contemporary artists.
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48 S., 17,8x11,2 cm, ISBN/ISSN 978-3-905999518
Broschur, First Edition
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Erik Steinbrecher is a true art lover. He loves art and makes art ever since he can remember. This small volume for the first time combines a selection of his collected sketches and drawings from the early 80ies up until now. doodles, drafts, gouaches, chalkdrawings, montages on paper. It is about conceptual studies, outlines for artworks and concrete art.
Text von der Webseite
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Miss Read - The Berlin Art Book Fair 2016
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108 S., 21x14,7 cm, 2 Stück. keine weiteren Angaben vorhanden
Broschur, Programm und Ausstellerverzeichnis
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zur Veranstaltung vom 10.-12.06.2016 in der Akademie der Künste Berlin.
Miss Read: The Berlin Art Book Fair brings together a wide selection of the most interesting artists/authors, artist periodicals and art publishers and is accompanied by a series of lectures, discussions, book launches and workshops exploring the boundaries of contemporary publishing and the possibilities of the book.
In conjunction, the Conceptual Poetics Day will explore the imaginary border between visual art and literature.
In 2016 Miss Read: The Berlin Art Book Fair will return to Akademie der Künste, Berlin, who will provide their main exhibition halls at Hanseatenweg.
Text von der Webseite
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what remains gallery - Edition 1 - The Gwangju Issue
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[100] S., 29,7x21 cm, Auflage: 150, 2 Stück. ISBN/ISSN 978-3-946803-645
Broschur, Fadenheftung mit offenem Rücken
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Living Sculpture Performance für die Gwangju Biennale René Landspersky.
A perfomative art-piece to raise questions about the very concepts of preservation, ‘heritage’, immateriality and meaning. Symbolic values build the conceptual frame for the research on the relationship between words and images in the digitized world, transhistorical authorship, coded connectivness, digital diversification and the residues of the significant other. What remains gallery will focus the limits of perception through the digitized perspective of non-linear history.
MATERIAL LAURE PROUVOST. ... Die französische Turnerpreisträgerin Laure Prouvost nimmt sich in ihrer unnachahmlich direkten Art dieses historische Mauerwerk zum Anlass, um einen Blick unter die martialische Oberfläche des Marmors der Ehrenhalle des heutigen Haus der Kunst zu werfen [2015-2016]. Gleich einem chirurgischen Eingriff hebt sie die äußere Hautschicht des fleischfarbenen Marmors zeltartig empor und gewährt dem Besucher den Blick in eine dunkle Vergangenheit des Materials, in dessen eingeschriebene Erinnerung. ...
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what remains gallery - Edition 2 - Limits of Control - Two Underdogs in Disguise
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[44] S., 27,3x21,5 cm, Auflage: 75, 2 Stück. ISBN/ISSN 9783946803652
Drahtheftung, Zettel mit handschriftlicher Notiz beigelegt
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A perfomative art-piece to raise questions about the very concepts of preservation, ‘heritage’, immateriality and meaning.
Symbolic values build the conceptual frame for the research on the relationship between words and images in the digitized world, transhistorical authorship, coded connectivness, digital diversification and the residues of the significant other. What remains gallery will focus the limits of perception through the digitized perspective of non-linear history.
DIRECTORS´S NOTE
Dear Viewer, dear Reader,
the following issue of what remains gallery magazine focuses the artist´s role and his work through the lense of a public imagery and the needs of a visual culture. The series wants to sharpen the focus on different aspects of an exposure to art and its objects. The changing scenes and actions are taking place impromptu and exemplify the limits of control from an artists perspective, when a piece of art gets abandoned and the idea of originality gets fostered. The perspectives on the scenarios are fully invented and have nothing to do with any form of reality.
Der Inhalt bezieht sich auf diverse Kunstwerke aus den Jahren 2004 bis 2015.
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Duchamp Journal - Le Mystère de Munich
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[32] S., 47x32 cm, 2 Stück. keine weiteren Angaben vorhanden
Druck auf Zeitungspapier, Blätter lose ineinander gelegt
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Hundert Jahre nach Marcel Duchamps dreimonatigem Besuch in München (1912) wird ... eine ... Lücke ("le mystère") im kunsthistorischen Wissen zu füllen versucht. ... mit einer Ausstellung, gut organisiert vom Lenbachhaus, zwei beachtlichen Publikationen, einem Duchamp Journal und einem seltsam gekippten Wohnungsmodell neben der Alten Pinakothek, das dem Betrachter mit 'kalten' Wänden in etwa Duchamps ehemalige Wohnsituation in der (später ausgebombten) Barerstr. 65 vorführt. Dieses Modell ist das Werk des Bildhauers und promovierten Kunsthistorikers Rudolf Herz, der auch eines der beiden Veröffentlichungen und das Journal verantwortet ...
Text von der Webseite: www.sehepunkte.de
On June 21, 2012, precisely one hundred years will have passed since Marcel Duchamp arrived in Munich. He spent three months in the city, three months that were to radically change his art and turn him into one of the most influential artist of modernism. He is regarded as pioneer of conceptual art influencing numerous artists from Sol LeWitt to Ai Weiwei and still today continuously inspires new generations of artists.
On the anniversary of the French artist’s arrival, Munich’s Architecture Museum is presenting Rudolf Herz’s latest art project “Marcel Duchamp – Le mystère de Munich”, in which the artist investigates the background story of his predecessor’s stay in the Bavarian capital. The project includes a sculpture as well as a new book.
Text von der Webseite duchamp-munich.org
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Artists' Magazines - An Alternative Space for Art
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368 S., 24,8x19 cm, ISBN/ISSN 9780262528412
Broschur
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Originalausgabe von 2011.
During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists’ Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.
Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists’ postage stamps, and collectible chapbooks, Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions, and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists’ Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.
In den 1960er und 1970er Jahren wurden Zeitschriften zu einem wichtigen neuen Ort der künstlerischen Praxis und fungierten als alternativer Ausstellungsraum für die entmaterialisierten Praktiken der Konzeptkunst. Künstler schufen Werke speziell für diese massenproduzierten, von Hand herausgegebenen Seiten und nutzten die Vergänglichkeit und Materialität der Zeitschriften, um die Konventionen sowohl des künstlerischen Mediums als auch der Galerie in Frage zu stellen. In Artists' Magazines befasst sich Gwen Allen mit den wichtigsten dieser Zeitschriften in ihrer Blütezeit (1960er bis 1980er Jahre) und stellt ein umfassendes, bebildertes Verzeichnis von Hunderten weiterer Zeitschriften zusammen.
Zu den von Allen untersuchten Magazinen gehören Aspen (1965-1971), ein multimediales Magazin in einer Box - die Ausgaben enthielten Super-8-Filme, Flexi-Disc-Schallplatten, kritische Schriften, Briefmarken von Künstlern und Sammelbücher, Avalanche (1970-1976), das durch seine Interviews und von Künstlern gestalteten Beiträge den gegenkulturellen Charakter der aufstrebenden Kunstszene von SoHo zum Ausdruck brachte, und Real Life (1979-1994), das von Thomas Lawson und Susan Morgan als Forum für die Generation Pictures herausgegeben wurde. Diese und die anderen von Allen untersuchten Magazine unterschieden sich in Form und Inhalt von den Mainstream-Medien: Sie stellten ihre hausgemachte Do-it-yourself-Qualität der Glätte eines Artforums gegenüber und schufen Arbeiten, die sich der formalistischen Orthodoxie der Zeit widersetzten. Artists' Magazines, mit zahlreichen Farbabbildungen von Titelseiten und Inhalten, bietet einen unverzichtbaren Leitfaden für ein wenig erforschtes Medium.
Übersetzt mit www.DeepL.com/Translator, Text von der Webseite
Erwähnt werden neben vorwiegend amerikanischen Magazinen auch europäische Magazine
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photo text text photo - The Synthesis of Photography and Text in Contemporary Art
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144 S., 23,5x22 cm, ISBN/ISSN 3908162483
Grauer Leineneinband mit Schutzumschlag.
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Katalog zur Ausstellung im Museion, Museum für Moderne Kunst Bozen, 13.09.-17.11.1996, Frankfurter Kunstverein, 21.01.-03.03.1997."Purely visual perception and viewing of pictures is impossible. We always encounter pictorial images - as in this book description itself - in contexts. It is to this complex of interrelationships between text and photography and the aesthetic potential it holds that the book photo text text photo is dedicated. Based upon a representative selection of important examples of this work across media boundaries from recent photographic history since 1967, the theme of the fertile tension between words and images is explored in images (more than 100 works by 32 different artists) and words (texts by Andreas Hapkemeyer and Peter Weiermair). This revealing look at the art of combining text and photography begins with the milestone works of Conceptual Artists such Joseph Kosuth, Robert Barry, Douglas Huebler, On Kawara, John Baldessari and Hamish Fulton. Alongside other early examples from Italy - Maurizio Nannucci, Giulio Paolini, and Vincenzo Agnetti - the book also features representatives of utopian and critical approaches to social issues, including Josef Beuys and Klaus Staeck. The 1970s and 1980s are represented by the artists Ketty La Rocca, Jochen Gerz, Karen Knorr and Urs Luthi. More recent and current positions are evident in the works of Louise Lawler, Jenny Holzer, Barbara Kruger, Ken Lum, Heiner Blum, Laura Padgett and Marie-Jo Lafontaine. The publication photo text photo provides a long-awaited inventory of the most recent developments in the aesthetic exploration of the relationships between text and images in contemporary art."
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12 S., 29,7x21 cm, keine weiteren Angaben vorhanden
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Ulises Carrion - Dear reader. Don't read.
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272 S., 26,9x19 cm, keine weiteren Angaben vorhanden
Broschur
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Ausstellung vom 16.03.-10.10.2016 im Sabatini Building Floor 3.
A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.
Texts by Guy Schraenen, Felipe Ehrenberg and João Fernandes, among others, illustrate all aspects of his artistic and intellectual work. From his early career as a young, successful writer in Mexico to his numerous activities in Amsterdam where he cofounded the independent artists' run space In-Out Center and founded the legendary bookshop-gallery Other Books and So (1975–79), the first of its kind dedicated to artists’ publications.
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Sprachen jenseits von Dichtung
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214 S., 27x22,3 cm, keine weiteren Angaben vorhanden
Broschur
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Somewhere Between Almost Right and Not Quite (With Orange)
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104 S., 28,5x23,3 cm, ISBN/ISSN 3775715592
Hardcover mit Prägung, oranges Vorsatzpapier,
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Diese Publikation erschien anlässlich der gleichnamigen Ausstellung im Deutsche Guggenheim, 03.10.2004-16.01.2005.
Der amerikanische Künstler John Baldessari wurde Ende der 60er Jahre mit Werken bekannt, in denen er Bildmaterial aus den Massenmedien - wie man es aus der Pop Art kannte - mit Schrift kombinierte, wie die Conceptual Art sie verwendete. Schon früh begann Baldessari, Bilder und Texte aus der Werbe- und Filmbranche in seine Fotobilder zu integrieren. Er kontrastierte, beschnitt und bearbeitete das Bildmaterial in Verbindung mit Texten. Seine Montagen aus Fotografie und Schrift konterten immer wieder die von den einzelnen Szenen ausgelösten narrativen Assoziationen und bieten ein breiteres Spektrum an Bedeutungen. Die vielschichtigen, oft humorvollen Kompositionen lassen unterschiedlichste Deutungen zu und unterstreichen, wie relativ Bedeutung sein kann.
Text von Website
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Konzeption Conception - Konzeptkunst Minimalismus Arte Povera Conceptual Art Minimalism Arte Povera 1965-1980
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80 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Broschur, eingelegte Werbepostkarte für die Art Düsseldorf
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146 S., 29,7x23,5 cm, ISBN/ISSN 1854374117
Broschur, Softcover
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Publikation anlässlich der Ausstellung vom 14.03-04.06.2002 Tate Britain, London. Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
Text von der Website.
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The Museum That Did Not Exist
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336 S., 24,8x17,5 cm, ISBN/ISSN 978-3-791344997
Hardcover mit gefüttertem Einband.
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Erscheint anlässlich der Ausstellung "Daniel Buren, Le Musée qui 'existait pas", Centre Pompidou, 26.06.-23.09.2002.
Daniel Buren ist einer der wichtigsten französischen Künstler mit einer großen internationalen Wahrnehmung, seit 40 Jahren befragt er die Kunst und die Möglichkeiten, sie »in situ«, also vor Ort, zu entwickeln. Der Bildhauer und Maler mit starken Bezügen auf die Konzeptkunst richtete 2002 im Centre Pompidou in Paris eine spektakuläre Ausstellung ein. Die Publikation versammelt die Bilder zu der Ausstellung, die den gesamten Gebäudekomplex mit einbezog. Seine Installationen zerstörte er unmittelbar nach Ablauf der Ausstellung, der Katalog ist, was erhalten blieb. Aber er bildet nicht allein denn Rundgang ab, sondern dokumentiert auch Burens Vorarbeiten wie Skizzen, seien Ideen, die Pläne und Grundrisse des Baus. Die ungewöhnliche Herangehensweise und die kühne Umsetzung der Ideendes Künstlers treten deutlich hervor.
A seminal exhibition by the artist Daniel Buren at the Centre Pompidou in Paris is recreated through photographs of the since-destroyed pieces and illuminating reflections by the exhibition s curator. Since the late 1960s Daniel Buren has been challenging the traditional methods of presenting art through museums and galleries. Through his conceptual works Buren audaciously argues that the art and its viewing environment are both inextricable and antithetical. This beautiful volume takes readers on a tour of a spectacular exhibition at the Centre Pompidou in Paris. The photographs depict Buren s employment of the museum as a whole. The pieces, which he destroyed immediately after the exhibition closed, included hundreds of open cubes, mirrors, banners, and even a car park. Also featured are fascinating, behind-the-scenes accounts of the installation by the curator, Buren s own pre-exhibition sketches, ideas, andfloor plans, and perceptive essays that capture the significance of Buren s daring achievement.
Text von der Webseite
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288 S., 31x26,2 cm, ISBN/ISSN 9780500517635
Hardcover mit Schutzumschlag
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Hipgnosis created some of the most innovative and surreal cover art of the 1960s, 70s, and early 80s for the biggest names of the era—Pink Floyd, Led Zeppelin, Wings, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Syd Barrett, and Black Sabbath, to name just a few.
The sublime prism cover for Pink Floyd’s The Dark Side of the Moon continues to be one of the most pervasive images in all popular culture. Hipgnosis’s highly conceptual approach and graphic appeal earned them five Grammy nominations for cover design, and they profoundly influenced not only the history of music, but also all other creative fields from advertising to fashion.
Hipgnosis Portraits explores an endless stream of creative ideas in two sections. Part I, "Imagination," tells the story behind the artwork from germination through to the final sleeve design, supported by a wide array of archival materials. Part II, "Realization," contains beautiful and extremely photographic portraits of the musicians the agency counted as clients. Several of these images were taken but not used for projects and have remained buried in archives ever since.
The book is filled with playful, abstract compositions from a remarkably prolific collective that redefined the possibilities of concept-driven art and design.
Text von der Webseite artbooksonline.eu
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[32] S., 26x22 cm, keine weiteren Angaben vorhanden
Softcover, Broschur
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Brick Wall consists of sixteen, two-page prints that vary slightly in exposure. The piece surveys the repetition of form and texture to create a more complex whole, and exemplifies the utility of the camera to document processes and series, themes central to conceptual art.
Text von der Webseite
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13x13 cm, keine weiteren Angaben vorhanden
naivsuper Nr 007, Musik-CD in gefalteter Papphülle mit Beiblatt in transparenter Kunststoffhülle, cover art: Stephane Leonard
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music by Daniel Lopatin aka Dania Shapes.
Soundsystem Pastoral was recorded by Daniel Lopatin aka Dania Shapes during the winter of 2004 using synthesizers, a first generation digital sequencer, and a freeware sound editor. It was remixed in 2006 for the release on naivsuper.
Celebrating the potential of amateurishness, decadence and romance in the realm of digital audio arts, Lopatin looks to marry the aesthetic sensibilities of experimental electronics with his allegiance to the classic 'beauty' in music. 'Glitch' is less a process for Lopatin -- rather it is an aesthetic impression which Lopatin emulates by hand. Pairing the residual effects of romantic, heart string melodies with steroidal, detailed, maximalist noise, Dania Shapes' audible bricolage is a tribute to both the beautiful and the broken all at once.
Working with simple tools such as handheld tape recorders, retro synthesizers, and a personal computer, Lopatin creates conceptual systems and processes to create a solo music that's beautiful and inventive, with interesting textures and unexpected sonic interventions. The music has a lush, ambient quality, but an edge as well. Throughout the CD, one finds a subtle use of repetition. The pieces are formally well-conceived and never contrived. The music is clearly indebted to heroes of electronica such as Christian Fennesz, William Basinski, and Brian Eno. and it has links to classic experimentalists such as David Tudor and David Behrman. Yet Lopatin maintains a more song-based musical position that results in an accessible product that will attract fans of ambient, post-rock, and experimental music
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Biennale-Konzept und Or-Om-Curating
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4 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Faltblatt mit Manifest
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Die Gruppe OR-OM ist eine international tätige, virtuelle Non-Profit-Organisation für die Evolution von Kunst, Wissenschaft und Sozialformationen.
Seit 2005 präsentiert die Gruppe im Quartier für Digitale Kultur, Quartier21 des Museumsquartiers in Wien kritische multimediale Conceptual Art mit theoretischen und praktischen Samples zur Erweiterung der Kunsttheorie, der wissenschaftlichen Grundlagenforschung (Logik, Mathematik und Erkenntnistheorie) und der globalen Gesellschaftsbeziehungen im Rahmen einer evolutiv neuen Grundwissenschaft und eines Universalistischen Humanismus.
Text von der Webseite
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78 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farbkopien nach PDF, lose ineinander gelegt, Dokumentation der Ausstellung
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This survey of experimental art and design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space for the presentation of artworks and text. Throughout the 20th century, international avant-garde activities in the visual arts and design were often codified first in the informal context of a magazine or journal. This exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections to the past lineage of artists’ magazines and little architecture and design magazines of the 20th century, as well as a clear sense of the application of new techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library’s sustained effort to document and collect this medium.
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Title TK - Cory Ancangel, Alan Licht and Howie Chen
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4 S., 29,7x21 cm, keine weiteren Angaben vorhanden
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NEWS FROM THE GETTY, 25.09.2015. Featuring a performance by Madalyn Merkey. October 11, 2014 at 7:30p.m. Harold M. Williams Auditorium, Getty Center.
LOS ANGELES – Artist Cory Arcangel will bring his distinctive brand of conceptual art to the Getty on October 11
when he performs with Title TK.
Title TK is a "banter-prone band" consisting of Arcangel, musician Alan Licht, and curator Howie Chen, who describe themselves as a cross between poet-performer David Antin and faux-band Spinal Tap.
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Miss Read - The Berlin Art Book Fair 2016
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[10] S., 29,7x21 cm, keine weiteren Angaben vorhanden
geklammert, Farblaserkopien, Programm, einmal gefaltet,
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Besucherinformationen und Empfehlungen, Details zur Stage und zum Conceptual Poetics Day am 10.-12.06.2016 in der Akademie der Künste Berlin
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59x42 cm, keine weiteren Angaben vorhanden
Plakat,
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The Office gallery presents new works by the Austrian artist Bernhard Hosa in his exhibition Hyperkinesia, starting on June 30, 2016.
Hosa's photo collages, objects and installations are reduced, almost minimalist in appearance and usually based on concrete themes. His starting point is the tension between the individual and a normative society. Based on an engagement with the biological view of the inside and of the outside, on man as an object of scientific study and on the measurement of the human body, he develops his own formal language on the interface between conceptual art and an aesthetic approach. Hosa deconstructs his reflections with artistic strategies such as reproduction, variation or sequence, and practices such as dissection and the creation of new compositions. The resulting series of collages or objects and stringent arrangements of the space adopt the character of the contents of his research.
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114 S., 24x15,7 cm, ISBN/ISSN 9789491819490
Fadengeheftet, Hardcover, mit signiertem Exlibris in Pergaminumschlag
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A true gift is intimate. It is a carrier of meaning that involves the capacity to amuse, delight, and identify empathically with our recipient’s desires. This exceptional book by New York-based conceptual artist Barbara Bloom, entitled Gifts, explores the nature of gifts in relation to aspects such as wrapping, covering and uncovering, pleasure, and generosity.
A passionate collector of ornamental paper from all over the world, Bloom has studied the history and aesthetics of gift-wrapping in detail. In Gifts, she tries to blur the conventional distinction between art and life, whilst offering new insights on notions of concealment and revelation. ‘Can the box be an artwork? Can the wrapping be the gift?’ – she questions her readers.
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292 S., 23x17 cm, ISBN/ISSN 978-3-037645048
Broschur, Einband einfarbig rot bedruckt, Schutzumschlag vierfarbig, Vorsatz/Nachsatz blau, Abb. Schwar-Weiß, einzelne Farbseiten. Druck auf Munken Print White 1.5, DZA Druckerei zu Altenburg
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The starting point of this publication—and its eponymous exhibition held in Zurich in Spring 2017—is the conceptual encounter between English Pop art artist Richard Hamilton (1922–2011) and Swiss historian and critic of architecture Sigfried Giedion (1888–1968), famous for his landmark book "Space, Time, and Architecture," an influential history of modern architecture published in 1941.
In 1949 Richard Hamilton—then a member of the London-based Independent Group— realized the “Reaper” print series as a reaction to Giedion’s 1948 book “Mechanization Takes Command” in which he describes the mechanization of everyday life. Reproducing Hamilton’s complete “Reaper” series juxtaposed with selected examples of illustrations created by Giedion alongside many related illustrations, this publication brings together seven essays by renowned international scholars, all of whom question the relationships between visual arts, technology, science, and architecture. Among the many topics discussed are Hamilton’s early works and exhibition installation practice, postwar British biotechnology and architecture, “Hippie Modernism,” and the visual strategy of Giedion’s books.
Published on the occasion of the exhibition "Reaper. Richard Hamilton and Sigfried Giedion" at the Graphische Sammlung ETH Zürich (May 3–June 25 2017), a cooperation between Graphische Sammlung ETH Zürich, gta exhibitions, and gta archive.
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256 S., 27x22 cm, Auflage: 800, 2 Stück. ISBN/ISSN 978-3-946803-87-4
Hardcover
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Die Publikation Old Habits Die Hard umfasst einen Großteil der zwischen 2013 und 2020 entstandenen künstlerischen Arbeiten Felix Burgers:
raumgreifende Settings, bühnenhafte Arrangements und Filme. Beigefügt ist eine Sammlung von Texten in Form von Interviews, die seine Arbeitsweise, gedankliche Einzugsgebiete und persönliche Konfliktbereiche zum Gegenstand haben.
The publication Old Habits Die Hard incorporates a majority of the artistic works created by Felix Burger between 2013 and 2020: space-consuming settings, stage-like arrangements and films. Accompanying this is a series of texts in form of interviews focussing on his working methods, conceptual spheres of influence, and personal areas of conflict.
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Richard Saltoun July - December 2018
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40 S., 28x21 cm, signiert, keine weiteren Angaben vorhanden
Drahtheftung
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Katalog als Dokumentation der Ausstellungen der Londoner Galerie sowie ihrer Vertretungen von Künstlern auf Messen u. a. in Brüssel, Turin und Paris -darunter auch Annegret Soltau, Frieze Masters auf der Spotlight London vom 04.-07.10.2018 - und ihren Partizipationen an Museumsausstellungen u. a in London und Venedig.
Beitrag von Annegret Soltau signiert
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Richard Saltoun January - June 2020
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44 S., 28x21 cm, signiert, keine weiteren Angaben vorhanden
Katalog, drahtgeheftet, signiert mit einem Gruß v. Annegret Soltau auf Seite 6
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Katalog als Dokumentation der Ausstellungen der Londoner Galerie sowie ihrer Vertretungen von Künstlern auf Messen u. a. in Genf, Bologna, New York, Dublin - darunter auch Annegret Soltau mit der Einzelausstellung "spider" vor Ort in London, sowie in der Gruppenausstellung "family matters" im Dom Museum in Wien.
Die Richard Saltoun Galerie wurde 2012 gegründet mit einem Schwerpunkt auf Feminismus, Konzept und Performance.
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