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Occupy Chelsea - Die New Yorker Buchhandlung Printed matter verkauft Künstlerbücher und versteht sich als Stimme der Dissidenz
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1 S., 58x40 cm, keine weiteren Angaben vorhanden
Artikel in der Süddeutschen Zeitung Nr. 29, S. 19
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28 S., 29,7x21 cm, Auflage: 2.500, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung
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occupy art birthday party anonymus 2013
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22x11,3 cm, keine weiteren Angaben vorhanden
Inkjetdruck nach PDF, cards unlimited
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dOCUMENTA(13), 100 Gedanken - Nr. 089 Ecce occupy: Fragments from conversations between free persons and captive persons concerning the crisis of everything everywhere, the need for great fictions without proper names, the premise
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[48] S., 25x17,6 cm, ISBN/ISSN 9783775729383
aus der Reihe 100 Gedanken zur dOCUMENTA (13), Drahtheftung,
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128 S., 24x16,2 cm, ISBN/ISSN 9783863357528
Broschur mit Klappumschlag
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I wanted to show how cars appear in typical street view, which is rarely the subject of photographs. Cars are usually avoided in photography - one waits until a car has exited a view. The ordinary presence of cars is rarely worthy of representation. It's always the special car, or the extreme traffic jam or, of course, the exciting crash that is being pictured. The Cars pays tribute to the shapes and forms we look at every day. How much time we spend with them, sitting inside them, the endless hours we stare at a dashboard. Even if we don't own a car ourselves, their presence is unavoidable. Cars are everywhere. Their sheer number is the most crazy thing about them. They appear in our lives with excessive omnipresence. In their volume cars intrude upon public space, and the way they occupy streets and open areas is rarely challenged.
Ich wollte zeigen, wie Autos in typischen Straßenansichten erscheinen, die selten Gegenstand von Fotos sind. Autos werden in der Fotografie in der Regel gemieden - man wartet, bis ein Auto die Ansicht verlassen hat. Die gewöhnliche Anwesenheit von Autos ist selten der Darstellung würdig. Es ist immer das besondere Auto, der extreme Verkehrsstau oder natürlich der aufregende Unfall, der abgebildet wird. The Cars ist eine Hommage an die Formen und Gestalten, die wir jeden Tag sehen. Wie viel Zeit wir mit ihnen verbringen, in ihnen sitzen, die endlosen Stunden, die wir auf ein Armaturenbrett starren. Auch wenn wir selbst kein Auto besitzen, ist ihre Anwesenheit unvermeidlich. Autos sind überall. Ihre schiere Anzahl ist das Verrückteste an ihnen. Sie tauchen in unserem Leben mit übermäßiger Allgegenwart auf. In ihrer Masse dringen Autos in den öffentlichen Raum ein, und die Art und Weise, wie sie Straßen und Freiflächen besetzen, wird selten in Frage gestellt.
Text von der Webseite, übersetzt mit DeepL.
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keine weiteren Angaben vorhanden
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1 S., 64x42 cm, keine weiteren Angaben vorhanden
Plakat,
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Ausstellung der Privatsammlung Anastasios Gkekas bei VOLKS 10.09.-13.10.2015.
A key to a potential approach is possibly the innerness, the esoteric and sometimes confessional character of the works, but also the place they occupy in the collective work of the artists - as I am of the opinion that one can find more comprehensible examples within their work. It seems that as if from a recurring tic, I wanted to catch them red-handed, naked I would say, within their own work. To a lesser extend, it is perhaps a sort of innocence.
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146 S., 17,8x12,8 cm, ISBN/ISSN 9781604860917
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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.
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124 S., 18x11 cm, ISBN/ISSN 9780241964019
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Radikale Interventionen zur Occupy-Bewegung in den USA. Noam Chomsky ist Professor fur Linguistik und Philosophie am Massachusetts Institute of Technology in Cambridge. DEr Band enthalt Abschriften seiner Beitrage zu Occupy-Veranstaltungen in den USA.
Occupy is the first major public response to thirty years of class war.
Since its appearance in Zuccotti Park, New York, in September 2011, the Occupy movement has spread to hundreds of towns and cities across the world. No longer occupying small tent camps, the movement now occupies the global conscience as its messages spread from street protests to op-ed pages to the highest seats of power. From the movement's onset, Noam Chomsky has supported its critique of corporate corruption and encouraged its efforts to increase civic participation, economic equality, democracy and freedom. ...
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... And there was evening and there was morning
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29x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, 2 Flyer und 1 Einladungskarte sind beigelegt.
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"So it was evening, then it was morning: and it was the first day." How does the beginning of everything look like? That eternal energy that generated the first beginning, the early morning of all time, for Simona has to do with an explosion: the fire, linked to the Latin verb foveo and to the Greek words φῶς (phos), light. Imploded energy, the Genesis of all moments. It is with one of the simplest destruction tools, the Molotov bomb, that the artist opens her personal exhibition, where an explosion accompanies us on a journey that with great delicacy investigates the boundaries of human exploration, in its higher sense. That man who wants to know, measure, ennoble. How much space does the highest point of the Earth occupy? "I asked Silvio Mondinelli, the sixth mountaineer in the world to have climbed all fourteen of the eight-thousand of the Himalayan chain, (without the help of oxygen) to recover through memory the space of the summit of Everest. He traced its perimeter in 1: 1 scale on a piece of paper" says Simona. This perimeter was used as a template to create a marble base, where Silvio Mondinelli’s signs and writings make that memory immortal in the most faithful way possible. In that memory, Francesco Šljiva Venturi gives life to a primordial sound that once again seeks a point of contact with the origin, through the use of his voice and a single instrument: a shamanic drum, purpose-built by a craftsman for the performance.
He will climb "on the top of Mount Everest" to sing a variation of Ives' Unanswered Question, in the lowest possible pitch. It is the elaboration of an impossibility: to go as high as possible while going as low as possible.
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what is an art book? volume 4
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[2] S., 14,7x10,4 cm, 2 Stück. keine weiteren Angaben vorhanden
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Es wird zur Teilnahme an der dreitägigen Veranstaltung zur Frage "What is an art book?" eingeladen.
We are excited to invite you to contribute to our fourth edition of “What is an Art Book?” at Space NN, in Munich. This will coincide with Super BOOKS 6, at Haus der Kunst, which is curated by Sabine Brantl (Haus der Kunst) with Hubert Kretschmer (AAP Archiv Künstlerpublikationen), and Lilian Landes (Bayerische Staatsbibliothek). We are pleased to announce that Hubert Kretschmer will also write an introduction for this fourth edition.
An Art Book today can be seen to occupy various positions, including that of a piece of theory, a catalogue of artworks, a printed exhibition, a supplement to a pre-existing piece or a piece of art in itself. It can be a proposal for the future, an examination of the present, or what has passed. “What is an Art Book?” is the continued investigation of what an Art Book is in terms of material, conceptual, industrial and political concerns within our existing TMLE network and Munich art makers. Over 50 artists, writers, curators, and other practitioners are invited to respond to the project's title by contributing their interpretation of what an Art book means to them and their practice.
As a contributor, you can propose text, drawings, photographs, sculpture, performance, audio recordings, video or any other concept/theory as long as it can ultimately be realised in A4 paper format and in black and white. Each contributor will be given one copy of the finished book, and a PDF version will be available to download.
Over the three days, the contributors will supply/produce their artworks at Space NN, which will serve as an exhibition space, a production house, and a place of discourse as we create the actual art book together. Text der Website entnommen.
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