World Food Books

Stephen Little
FLOOR SHOW (John Nixon & Ivor Tønsberg)

2000, English
Softcover (staple-bound), 8 pages, 21 x 15 cm
1st Edition, Out of print title / as new
Published by Den Frie Udstillings Bygning Oslo Plods / Denmark

$25.00 $5.00 - In stock -

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Stephen Little catalogue booklet, published as part of FLOOR SHOW, an Australian / Danish exhibition curated and organized by John Nixon & Ivor Tønsberg, May 13th — June 4th 2000, with Den Frie Udstillings Bygning Oslo Plods, Denmark. This is 1 of 18 booklets published on occasion of the exhibition. Each booklet is edited exclusively by the represented artist. Artist's included in the series were Stephen Bram, Tine Borg, Vicente Butron, A.D.S. Donaldson, Jørgen Fog, Leonard Forslund, Marco Fusinato, Signe Guttormsen, Kent Hansen, Peter Holm, Henrik Jørgensen, Torben Kapper, Stephen Little, Anne-Marie May, John Nixon, Rose Nolan, Ivar Tønsberg, Gary Wilson.

About Floor Show

It must have been a great show; the one Vincent van Gogh and Paul Gaugin had in the first version of The Fri in 1893. The style of that house and the style of their paintings must have suited each other just right. And that's the problem nowadays -when you are exhibiting in The Fri, you are dealing with spatial conditions that - even though the present house is a later version than the one Van Gogh and Gaugin used - are related not to our time but to the late 19th century. Those were the days of golden frames and lots of different pictures hanging close to one another. It was long before pop, minimalism and conceptual art, and it didn't matter whether the paintings were hung directly on nails or in strings from the ceiling, as they do in The Fri, which is one charismatic exhibition building in the city of Copenhagen, but unfortunately also a most impossible one.

In a strictly formal manner Floor Show is, so to speak, tailor made for The Fri. The majority of the artists included in the exhibition are painters, but - due to the spatial circumstances of the exhibition house - the organizers gave them the task to exhibit only on the floor in The Fri. The walls were not to be used, and the relatively few works (approximately one per Artist) were to be shown in a manner not too close to the installation genre.

What you might extract from Floor Show is, when working with painting you can't take the wall for granted as the only site for display. On the floor the works of the contributing artists explores a range of different media indicating the diversity of their practice and its relation to painting.

With Floor Show, the artists have radicalised the space and the organisers intentions have been realized.

— John Nixon & Ivor Tonsberg

File under: Stephen Little John Nixon Ivor Tønsberg Den Frie Udstillings Bygning Oslo Plods / Denmark Art Minimal Art Sculpture / Installation Painting Out-of-print / Rare Group Shows / Collections Curatorial Australian Art Conceptual Art SALE

A FATAL ATTRACTION: ART AND THE MEDIA

1982, English
Softcover, 24 pages, 21.5 x 28 cm
1st Edition, Out of print title / used / very good
Published by The Renaissance Society / Chicago

$20.00 - In stock -

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"To consume in America is not to buy; it is to dream. Advertising is the suggestion that the dream of entering the third person singular might possibly be fulfilled." — Don DeLillo

These are the artists who put the load-bearing post in postmodern, making the visual politics of media, marketplace and patriarchy the crucial issues for the 1980s: Sarah Charlesworth, Eric Bogosian, Nancy Dwyer, Jeff Koons, Barbara Kruger, Robert Longo, Richard Prince, David Salle, Cindy Sherman. A Fatal Attraction brought these and other artists who share these concerns together at a seminal point in this movement. This exhibition catalogue is a valuable reference for scholarship of this period of contemporary art, not to mention a cultural relic from an important moment in recent art history. Tom Lawson's essay links the artists within a set of shared concerns-deconstruction of institutionalized pleasure, demystification of representation-that follow from the discourse of 1960s and 70s conceptual art, but takes this critique of ideology from the insulated art world out into the streets and living rooms of America.

File under: Barbara Kruger Cindy Sherman David Salle Eric Bogosian Jeff Koons Nancy Dwyer Richard Prince Robert Longo Sarah Charlesworth Tom Lawson The Renaissance Society / Chicago Art Out-of-print / Rare Photography Sculpture / Installation Painting Conceptual Art Group Shows / Collections Curatorial Film / Video

The Halifax Conference

2019, English
Softcover, 184 Pages, 12 x 19 cm
Published by New Documents / Los Angeles

$36.00 - Out of stock

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The Halifax Conference presents a transcript of a conference held at the Nova Scotia College of Art and Design on October 5–6, 1970, transcribed and adapted by artist Craig Leonard. Organized by Seth Siegelaub, the Conference was conceived as a means of bringing about a “meeting of artists…[from] diverse art making experiences and art positions…in as general a situation as possible.” Infamously, the conference was held in the college’s boardroom, while students and other interested parties watched the proceedings on a video monitor in a separate space. The result was a conversation that devolved—technologically and ideologically—into a quasi-tragicomic farce, punctuated by remarkable moments of rupture initiated by activist resistance to the Conference from the outside and dissenting voices from within. Attendees at the Conference included Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co. (Iain and Ingrid Baxter), Richard Serra, Richard Smith, Robert Smithson, Michael Snow, and Lawrence Weiner.

Edited by Jeff Khonsary

File under: Carl Andre Joseph Beuys Ronald Bladen Daniel Buren Gene Davis Jan Dibbets Al Held Mario Merz Robert Morris Robert Murray Iain Baxter Ingrid Baxter Richard Serra Richard Smith Robert Smithson Michael Snow Lawrence Weiner Jeff Khonsary New Documents / Los Angeles Conceptual Art Minimal Art Sculpture / Installation Painting Curatorial Art Arte Povera

Materializing Six Years
Lucy R. Lippard and the Emergence of Conceptual Art

2012, English
Hardcover, 304 pages, 216 x 254 mm
Published by The MIT Press / Massachusetts

$79.00 - Out of stock

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Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book.

“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized.’” — Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: 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, anti-form, 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. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard’s celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book.

The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard’s own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices.

With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard’s curatorial experiment full circle.

Edited by Catherine Morris and Vincent Bonin

Published on the occasion of the exhibition The Six Years' Project: Lucy R. Lippard and the Emergence of Conceptual Art, September 14, 2012-February 3, 2013, organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center at the Brooklyn Museum, and the independent scholar Vincent Bonin.

File under: Vito Acconci Bas Jan Ader Dennis Adrian Carl Andre Eleanor Antin Keith Arnatt Art-Language Richard Artschwager Michael Asher David Askevold John Baldessari Robert Barry Frederick Barthelme N.E. Thing Co. Mel Bochner Alighiero Boetti Stanley Brouwn Daniel Buren Victor Burgin Donald Burgy Ian Burn Jack Burnham James Lee Byars Hanne Darboven Agnes Denes Jan Dibbets Peter Downsbrough Gerald Ferguson Rafael Ferrer Barry Flanagan Dan Graham Guerrilla Art Action Group Hans Haacke Charles Harrison Michael Heizer Douglas Huebler Peter Hutchinson Stephen Kaltenbach Allan Kaprow On Kawara Joseph Kosuth Christine Kozlov John Latham Barry Le Va Sol LeWitt Richard Long Lee Lozano Bruce McLean Walter de Maria Robert Morris Bruce Nauman Claes Oldenburg Yoko Ono Dennis Oppenheim Adrian Piper Michelangelo Pistoletto Sigmar Polke Mel Ramsden Allen Ruppersberg Edward Ruscha Robert Ryman Gerry Schum Richard Serra Willoughby Sharp Seth Siegelaub Tony Smith Robert Smithson Michael Snow Keith Sonnier Athena Tacha Spear Bernar Venet Wolf Vostell Franz Erhard Walther William Wegman Lawrence Weiner William Wiley Ian Wilson La Monte Young Lucy Lippard Joseph Beuys Gilbert & George Lucy R. Lippard The MIT Press / Massachusetts Art Curatorial Theory / Essay Feminism Conceptual Art Minimal Art

Seth Siegelaub: Better Read Than Dead
Writings and Interviews 1964–2013

2020, English
Softcover, 384 pages, 19 x 27.5 cm
Published by Walther König / Köln Stichting Egress Foundation / Amsterdam

$79.00 - In stock -

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An essential sourcebook on conceptual art’s famed champion, reproducing his texts as scans to immerse the reader in this deep archival dive.

“Better Read Than Dead” was the title that the great American art dealer, curator, author and researcher Seth Siegelaub (1941-2013) had chosen for an anthology of his own writings—one of the projects for which he never found the time, busy as he was running his global one-man operation. Here, happily, that project is now fulfilled.

The selected writings, interviews, extended bibliography and chronology gathered in this Siegelaub sourcebook fill the historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub’s life’s work.

Here, Siegelaub’s writings are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion. Interspersed with these “writings” are interviews and talks, several newly transcribed. The majority of interviews from 1969-1972 are reprinted here.

File under: Seth Siegelaub Walther König / Köln Stichting Egress Foundation / Amsterdam Art Theory / Essay Conceptual Art Minimal Art Curatorial

TEXTE ZUR KUNST #116
DECEMBER 2019 "EVIL"

2019, English
Softcover, 272 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin

$32.00 - Out of stock

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"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity today, we offer texts that investigate what this thing we call “evil” is, as it so often functions as the polar opposite of that which people hold to be just and right. Indeed, who could argue that point, and yet. In this issue, we look specifically at evil’s manifestations in the art world, and in film, politics, and theory, always with an eye toward evil as something potentially playful and ironic.

TABLE OF CONTENTS
PREFACE
OLIVER PRECHT
TALKING ABOUT EVIL / Reflections on Moral Judgment
SUPERNATURE / Amanda Schmitt in Conversation with Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile
MAX CZOLLEK
EVIL / Some Thoughts on the Contemporaneity of a Category
REMAIN IN DARK / Interview between Colin Lang and Stephen O’Malley
A BRIEF GLOSSARY OF SOCIAL SADISM / by Ana Teixeira Pinto and Kerstin Stakemeier
NEW DEVELOPMENT
BESEELTE GABEN IM TAUSCHSYSTEM / Überlegungen zur Malerei von Jack Whitten anlässlich der Ausstellung “Jack Whitten. Jack’s Jacks“ im Hamburger Bahnhof, Berlin
ROTATION
BEING POROUS / Alice Blackhurst on Chantal Akerman’s My Mother Laughs
IMPURITY AND ENTANGLEMENT / Adam Butler in Conversation with Ben Lerner
REVIEWS
A CHIROGRAPHIC IMAGINARY / Colin Lang on Edmund de Waal at Galerie Max Hetzler, Berlin
ANDERE ORTE / Elisa R. Linn über Ariane Müller bei Schiefe Zähne, Berlin
ARCHIVING INSPIRATION / Dave Beech on Albert Oehlen at the Serpentine Gallery, London
MYALGIE / Jessica Aimufua über Diamond Stingily im Kunstverein München
GO TELL IT ON THE ISLAND / Nadja Abt über die 16. Istanbul Biennale
INTIMATE INVESTIGATIONS / Jesi Khadivi on Sharon Hayes at Tanya Leighton Gallery, Berlin
ICH BIN ELEKTRISCH / Hans-Christian Dany über Puppies Puppies (Jade Kuriki Olivo) in der Halle für Kunst Lüneburg
HUNGRY MINDS / Rachel Haidu on Leidy Churchman at the Hessel Museum of Art, Bard College, Annandale-on-Hudson
VERFREMDEND NAH / Stephanie Holl-Trieu über „The Making of Husbands: Christina Ramberg in Dialogue“ in den KW Institute for Contemporary Art, Berlin
POETS AND ARTFANS / Pujan Karambeigi on Sarah Rapson at Essex Street, New York
EROSION UND WACHSTUM / Markues über „Soil Is an Inscribed Body. Über Souveränität und Agrarpoesien“ bei SAVVY Contemporary, Berlin
MATERIAL FUTURES / Adrienne Ange Rooney on Lubaina Himid at the New Museum, New York
DIES IST KEIN PHALLUS / Francesca Raimondi über „Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf“
WHICH SIDE ARE YOU ON? / Chris Reitz on Latoya Ruby Frazier at the Renaissance Society, Chicago
MAGISCHE POLITIK / Fiona Geuß über Andrea Bowers in der Weserburg, Museum für moderne Kunst, Bremen
MOTHER OF PEARL / Enzo Shalom on Nicolás Guagnini at Bortolami, New York
(BE-)ZEUG DICH! / Alida Müschen über Julia Phillips im Kunstverein Braunschweig
GHOSTS NOT WELCOME / Nina Prader on Omer Fast at the Salzburger Kunstverein
CRITICAL AFFECTIONS / Sophie Goltz über „Awakenings: Art in Society in Asia 1960s–1990s“ in der National Gallery in Singapur
ZWISCHEN ALLEN STÜHLEN / Dorothea Zwirner über Senga Nengudi im Lenbachhaus, München
NACHRUFE / OBITUARIES
SARAH SCHUMANN (1933−2019) by Vojin Saša Vukadinović
DOUGLAS CRIMP (1944–2019) by Marc Siegel
DOUGLAS CRIMP (1944-2019) by Louise Lawler
DOUGLAS CRIMP (1944-2019) by Juliane Rebentisch
EDITION
JESSICA STOCKHOLDER
RAPHAELA VOGEL
JORINDE VOIGT

File under: Jessica Stockholder Raphaela Vogel Jorinde Voigt Louise Lawler Omer Fast Andrea Bowers Nicolás Guagnini Lubaina Himid Sarah Rapson Puppies Puppies (Jade Kuriki Olivo) Christina Ramberg Chantal Akerman Latoya Ruby Frazier Sharon Hayes Leidy Churchman Stephen O’malley Loretta Fahrenholz Madeline Hollander Monica Mirabile Diamond Stingily Jack Whitten Douglas Crimp Marc Siegel Juliane Rebentisch Dorothea Zwirner Hans-Christian Dany Pujan Karambeigi Rachel Haidu Jesi Khadivi Colin Lang Stephen O’malley Amanda Schmitt Adam Butler Ben Lerner Ana Teixeira Pinto Kerstin Stakemeier Max Czollek Texte Zur Kunst / Berlin Periodicals Theory / Essay Fiction / Poetry Art Painting Sculpture / Installation Film / Video Group Shows / Collections Curatorial Photography

Rosemarie Trockel
A Cosmos

2012, English
Hardcover, 240 pages, 29 x 23 cm
1st Edition, Out of print title / used / very good
Published by The Monacelli Press / New York Museo Nacional Centro De Arte Reina Sofia / Madrid

$180.00 - Out of stock

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First edition of the scarce English-language edition of this stunning and long out-of-print hardcover Rosemarie Trockel catalogue, published in 2012 by The Monacelli Press on the occasion of the touring exhibition "A Cosmos" curated by Lynne Cooke, former Deputy Director and Chief Curator, Museo Centro de Arte Reina Sofía, in collaboration with Rosemarie Trockel.

The German artist Rosemarie Trockel (b. 1952) has gained international renown for a multifaceted practice encompassing painting, sculpture, video, and drawing. Issues including a concern with natural history, the creative expression of diverse species, and the representation and role of women in contemporary culture fuel her work. A Cosmosa world shaped by Trockels ideas and affinitiesis presented in this volume, companion to a major exhibition, which places her in the company of others whom she regards as kindred spirits. Juxtaposing her work with objects that range across eras and cultures, borrowed from the fields of art history, botany, craft, and outsider art, this exceptional ensemble illuminates Trockel's highly influential practice of the past thirty years.

Profusely illustrated throughout with all works and installations, includes the work of artists James Castle, Morton Bartlett, Judith Scott, Manuel Montalvo, Günter Weseler, Ruth Francken, and more. Includes essays by Lynne Cooke, Dore Ashton, Suzanne Hudson, and Anne M. Wagner.

Very Good copy. Highly recommended.

File under: Rosemarie Trockel James Castle Morton Bartlett Judith Scott Manuel Montalvo Günter Weseler Ruth Francken Lynne Cooke Dore Ashton Suzanne Hudson Anne M. Wagner The Monacelli Press / New York Museo Nacional Centro De Arte Reina Sofia / Madrid Art Sculpture / Installation Art Brut / Folk / Visionary / Fantastic Out-of-print / Rare Curatorial Ecology

The Joke Book
Collected By Seth Siegelaub

2018, English
Softcover, 216 pages, 20 x 13 cm
Published by Kunstverein / Amsterdam

$34.00 - Out of stock

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'The Joke Book' is the first printed edition of the complete jokes & messages file that was found on the computer of famed American art dealer, curator, author, researcher and champion of conceptual art Seth Siegelaub (1941-2013) by his partner Marja Bloem. It contains jokes, quotes, and pieces of advice, that he collected since 1999 and regularly redistributed via email amongst his friends.

With contributions by Alex Alberto, John Baldessari, Marja Bloem, Myrna Bloom, Martin Browne, Alan Kennedy, David Kunzle, Joel Miller, Loren Miller, Kay Robertson, Laurent Sauerwein, Seth Siegelaub, Joan Simon, Kira Simon-Kennedy, Peter Sinclair, Steven Wright, and an introduction by Huan Hsu (written after a long conversation with Marja Bloem).

File under: John Baldessari Seth Siegelaub Kunstverein / Amsterdam Curatorial Theory / Essay Conceptual Art Art Fiction / Poetry

Project Phalanstère at CAC Brétigny, or “Of museum orgy or mixed omnigamy in composite and harmonic order”
Edited by Pierre Bal-Blanc

2017, English / French
Softcover, 268 pages, 25 x 18.9 cm
Published by Sternberg Press / Berlin CAC / Brétigny

$59.00 $10.00 - Out of stock

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Contributions by Atelier Van Lieshout (AVL), Robert Breer, Daniel Buren, Maurizio Cattelan, Nicolas Chardon, Marie Cool Fabio Balducci, Lionel Estève, Esther Ferrer, Cyprien Gaillard, Jens Haaning, David Lamelas, François Laroche-Valière (Cie Studio Laroche-Valière), Mathieu Lehanneur, Teresa Margolles, Dominique Mathieu, Hans Walter Müller, Rainer Oldendorf, Roman Ondák, Christodoulos Panayiotou, Gianni Pettena, Pratchaya Phinthong, R&Sie(n) (François Roche, Stéphanie Lavaux, Jean Navarro), Matthieu Saladin, Gabriel Sierra, Santiago Sierra, Xavier Veilhan, VIER5, Annie Vigier & Franck Apertet (les gens d’Uterpan), Lois Weinberger

Organized by curator Pierre Bal-Blanc, the experimental architectural program “Project Phalanstère” consisted of a series of site-specific artworks in the Parisian suburbs. Taking place from 2003 to 2014, these projects developed a creative space extended in time. Here, in contrast with the duration of the work schedule, in which one task follows another, the simultaneity of life’s forces asserted its rhythm. Some works exceeded the conventional time and space of an exhibition: Lionel Estève’s myope et amnésique (2005), for example, was conceived to be larger than any one viewer can see; through the displacement of existing objects, both Cyprien Gaillard and Lois Weinberger reflected upon permanence and the monument; Christodolous Panayiotou and Jens Hanning made subtle alterations to existing architecture, playing with the material presence and experience of light; and so on.

This book proposes to adopt a new syntax. It does not simply call for a renewal of the terminology used in the field of contemporary art programming. Its syntax has taken shape by progressively building on the complex materiality of artworks in a specific context—an art center located in the Parisian suburbs—and not by contriving itself with the help of words and discourses uttered from an abstract perspective. The political aims of “Project Phalanstère” appear in the ungrammatical formulas that the works articulate and in the active resistance that they manifest against a normative authority that, although it accepts the play of words, continues to enforce the disciplinary activity of arts administration. Over one hundred pages of images of the installed works opens the volume, followed by the individual artworks according to a score that denotes use, nature, and location, annotated to place each work within a larger cultural context. A comprehensive timeline of the exhibitions concludes the volume.

Copublished with CAC Brétigny and Work Method, Paris
Design by VIER5

File under: Atelier Van Lieshout Robert Breer Daniel Buren Maurizio Cattelan Nicolas Chardon Marie Cool Fabio Balducci Lionel Estève Esther Ferrer Cyprien Gaillard Jens Haaning David Lamelas François Laroche-Valière Mathieu Lehanneur Teresa Margolles Dominique Mathieu Hans Walter Müller Rainer Oldendorf Roman Ondák Christodoulos Panayiotou Gianni Pettena Pratchaya Phinthong Matthieu Saladin Gabriel Sierra Santiago Sierra Xavier Veilhan Lois Weinberger Pierre Bal-Blanc Sternberg Press / Berlin CAC / Brétigny Group Shows / Collections Art Sculpture / Installation Performance / Dance / Theater Film / Video Conceptual Art Curatorial Theory / Essay SALE

Helke Bayrle
Portikus Under Construction 1992–2016

2017, English / German
Softcover, 144 pages, 21 x 29.5 cm
Published by Portikus / Frankfurt Sternberg Press / Berlin

$69.00 $15.00 - Out of stock

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Edited by Fabian Schöneich
Texts by Helke Bayrle, Kirsty Bell, Daniel Birnbaum, Sunah Choi, Nikola Dietrich, Nikolaus Hirsch, Brigitte Kölle, Kasper König, Angelika Nollert, Melanie Ohnemus, Sophie von Olfers, Philippe Pirotte, Fabian Schöneich, Jochen Volz

In 1992, Helke Bayrle began videotaping the installation of each exhibition at the Portikus exhibition space. These videos form a remarkable and intimate archive of the storied Frankfurt contemporary art institution and the exceptional artists and personnel that have worked within it. Coinciding with the launch of a website containing all of Bayrle’s Portikus videos, this publication pays tribute to the artist’s extraordinary work, through a comprehensive timeline, video stills, and statements by past and current directors and curators. Art critic and historian Kirsty Bell writes about the history of Portikus and the meaning of Bayrle’s work. Also included in the book is a conversation with the artist and Sunah Choi, who, since 2001, has edited the videos that comprise Bayrle’s truly unique undertaking.

Copublished with Portikus, Frankfurt am Main
Design by Ronnie Fueglister

File under: Gareth James Isa Genzken Jana Euler John Armleder John Kelsey Jos de Gruyter & Harald Thys Josef Strau Lutz Bacher Mark Leckey Michael Krebber Morgan Fisher Sigmar Polke Wolfgang Tillmans Angelika Nollert Brigitte Kölle Daniel Birnbaum Fabian Schöneich Helke Bayrle Jochen Volz Kasper König Kirsty Bell Melanie Ohnemus Nikola Dietrich Nikolaus Hirsch Philippe Pirotte Sophie von Olfers Sunah Choi Portikus / Frankfurt Sternberg Press / Berlin Art Film / Video Sculpture / Installation Group Shows / Collections Photography Curatorial SALE

Bauhaus / Documenta : Vision and Brand

2020, English
Harcover, 304 pages, 23.7 x 32.4 cm
Published by Spector Books / Leipzig

$77.00 - Out of stock

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Bauhaus and documenta are two globally successful cultural brands, representing a modern Germany that is both cosmopolitan and innovative. They both came into being at a time when civilization was in a state of collapse, and they both exemplify the idea of the liberating power of art and culture. Looking at them in parallel brings out their similarities and differences and reveals that to some extent they serve to complement one another: for the one, the focus is on mass-produced articles and their everyday usage; the idea of universalism; and the design of consumer goods; for the other, encounters with unique artworks; the experience of diversity; and the critiquing of capitalist consumerism. In a series of critical essays, bolstered by a selection of original material, the publication examines fundamental, yet frequently overlooked aspects of the two cultural brands, whose profile is now once again a controversial subject of debate. The book is published in conjunction with the exhibition presented at the Neue Galerie Kassel from 24 May to 8 September 2019.

Text: Gerda Breuer, Bazon Brock, Kathryn M. Floyd, Andreas Gardt, Walter Grasskamp, Martin Groh, Birgit Jooss, Christiane Keim, Harald Kimpel, Gila Kolb, Julia Meer, Philipp Oswalt, Anna Rühl,
Nora Sternfeld, Daniela Stöppel, Annette Tietenberg, Fred Turner, Daniel Tyradellis, Wolfgang Ullrich, Frank Werner a.o.

File under: Gerda Breuer Bazon Brock Kathryn M. Floyd Andreas Gardt Walter Grasskamp Martin Groh Birgit Jooss Christiane Keim Harald Kimpel Gila Kolb Julia Meer Philipp Oswalt Anna Rühl Nora Sternfeld Daniela Stöppel Annette Tietenberg Fred Turner Daniel Tyradellis Wolfgang Ullrich Frank Werner Spector Books / Leipzig Art Theory / Essay Group Shows / Collections Curatorial Furniture Architecture / Interior Graphic Design / Typography Sculpture / Installation

Other Mechanisms

2018, English
Softcover, 144 pages, 22 x 21 cm
Published by Secession / Vienna

$75.00 - Out of stock

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This catalogue accompanies "Other Mechanisms", a major group show at Secession in Vienna, 2018, that continues on from the exhibition "Mechanisms", held at CCA Wattis in San Francisco.

"Other Mechanisms" points to a present moment when machines don't look much like machines. Many aren't even called machines. Heavy and greasy machinery is absent from the smooth surfaces of digital interfaces and the weightlessness of cloud computing. Tool, appliance, device, apparatus, instrument, computer, hardware, software, program, server, processor, microchip, setting, algorithm, infrastructure, system, logistic, protocol, parameter - the terms for today's machines accumulate, evolve, and overlap.

Machines are part of the air we breathe, overseeing our lives and our bodies, from the way we communicate and consume to the way we trade and travel. Some are made of metal, but many others are made of rules or algorithms, which are infinitely more fluid and flexible. Some are objects or devices, but others are systems and infrastructures - a machine can be a thing as well as a method for organizing things. Objects yield to infrastructure. Work turns to management. Machines become mechanisms.

The works in this exhibition reflect on what it could mean to contest the regime of the machine. They compromise its tools, misuse its technologies, reroute its engineering, complicate its measurements. These other mechanisms add detours or dead ends to circulation routes, or insert delinquent trajectories that create distortions over time. They are made of knots, blanks, and incompatible settings. They demand more from their "users," forgoing protocols of convenience and immediate intelligibility. They reinsert the awkwardness of the human body, with all of its irregularities and inefficiencies.

Art can't stop the machine - nothing can. The question is not whether or not to embrace the machine - it's too late for that - but how to complicate it by testing existing systems with impossible tools and elaborate protocols that misalign outputs from their inputs.

Texts by: Jennifer Alexander, Franco Berardi, Benjamin H. Bratton, Gilles Châtelet, Gilles Deleuze & Felix Guattari, Keller Easterling, Vilém Flusser, Sigfried Gideon, Martin Heidegger, Anthony Huberman, K.G. Pontus Hultén, Maurizio Lazzarato, Pamela Lee, Les Levine, Jean-François Lyotard, Robert King Merton, Meredith Meredith, Lewis Mumford, Gerald Raunig, Nishant Shah, Robert Snowden, and Joseph Vogl.

With works by artists: Zarouhie Abdalian, Lutz Bacher, Nairy Baghramian, Eva Barto, Patricia L. Boyd, Nina Canell & Robin Watkins, Jay DeFeo, Trisha Donnelly, Harun Farocki, Howard Fried, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Frederick Kiesler, Pope.L, Louise Lawler, Sam Lewitt, Park McArthur, Jean-Luc Moulène, Cameron Rowland, Sturtevant, and Danh Vo.

File under: Zarouhie Abdalian Lutz Bacher Nairy Baghramian Eva Barto Patricia L. Boyd Nina Canell & Robin Watkins Jay DeFeo Trisha Donnelly Harun Farocki Howard Fried Jacob Kassay Garry Neill Kennedy Frederick Kiesler Louise Lawler Sam Lewitt Park McArthur Jean-Luc Moulène Cameron Rowland Sturtevant Danh Vo William Pope.L Jennifer Alexander Franco Berardi Benjamin H. Bratton Gilles Châtelet Keller Easterling Vilém Flusser Sigfried Gideon Martin Heidegger Anthony Huberman K.G. Pontus Hultén Maurizio Lazzarato Pamela Lee Les Levine Jean-François Lyotard Robert King Merton Meredith Meredith Lewis Mumford Gerald Raunig Nishant Shah Robert Snowden Joseph Vogl Gilles Deleuze Felix Guattari Secession / Vienna Art Sculpture / Installation Conceptual Art Group Shows / Collections Curatorial

Conceptual Art In A Curatorial Perspective: Between Dematerialization And Documentation
by Nathalie Zonnenberg

2019, English
Softcover, 272 pages, 17 x 24 cm
Published by Valiz / Amsterdam

$58.00 - Out of stock

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Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not object-based, creates challenges in exhibiting or re-exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonization.
The aim of the book is not to offer clear-cut practical solutions, but to raise awareness of the issue and the different ways of dealing with it within the traditional curatorial field. It is relevant for students of art and culture (particularly in museum and curatorial studies), art and museum professionals, and everyone interested in the art of the 1960s and 1970s.

Nathalie Zonnenberg is an art historian and curator. She holds a PhD in Art History from Vrije Universiteit, Amsterdam (NL). Zonnenberg regularly writes on contemporary art, and she lectures at the post-graduate Curatorial Studies programme at KASK/the Royal Academy of Fine Arts in Ghent (BE).

File under: Robert Morris Douglas Huebler Sol LeWitt Stanley Brouwn Markus Raetz Robert Ryman Adrian Piper Charlotte Posenenske Richard Tuttle Niele Toroni Michael Snow Sarkis Reiner Ruthenbeck Keith Sonnier Sherrie Levine John Latham El Lissitzky Richard Long Gordon Matta-Clark Piero Manzoni Brice Marden Bruce McLean Mario Merz Ludwig Mies van der Rohe Claes Oldenburg Yoko Ono Pino Pascali Barry Flanagan Dan Flavin Lucio Fontana Piero Gilardi Eva Hesse Joseph Kosuth Jannis Kounellis Barbara Kruger Richard Prince On Kawara Jo Ann Kaplan Rem Koolhaas Robert Filliou Robert Barry Alighiero Boetti Daniel Buren Victor Burgin Joseph Beuys Hanne Darboven Maria Eichhorn Jan Dibbets Marcel Duchamp Lynda Benglis John Baldessari Bernd and Hilla Becher Gilbert & George László Moholy-Nagy Michelangelo Pistoletto Valiz / Amsterdam Theory / Essay Curatorial Conceptual Art Arte Povera Fluxus Dada Minimal Art Group Shows / Collections

Melbourne Artist Facilitated Biennial publication (Endless Lonely Planet 9)

2020, English
Softcover, 150 pages, 21 x 29.7
Ed. of 100,
Published by Endless Lonely Planet / Melbourne

$25.00 - In stock -

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Melbourne Artist Facilitated Biennial publication by Melbourne artist Christopher LG Hill is both the ninth issue of his ongoing publishing imprint Endless Lonely Planet, and a major survey art book marking the end of his 12 year artist facilitated biennale project, spanning 2008-2020.

"Multiple sites and moments, artist facilitated biennials extending on structures and limitations set by Signs of life: Melbourne International Biennial 1999. Abstracting and bringing new meaning to the form of a biennial as a more casual and independent entity, the project has seen many participants and collaborators over the last 12 years. This book hopes to document some of these moments, but more so to be a catalyst for different modes and models that it may inspire." — publisher

Includes extensive photographic documentation of The (self initiated, Artist funded) second (fourth) Y2K Melbourne Biennial of Art (& Design), TCB art inc., 2008; The First & Final Y3K Second (third) Inaugural Melbourne Biennial of International Arts, Y3K, 2011 (curated by Joshua Petherick, James Deutsher, and Christopher L G Hill); Third/Fourth Melbourne Biennial, Margaret Lawrence Gallery, 2013; 4th/5th Melbourne Artist Facilitated Biennial, TarraWarra Museum of Art, 2016 (as part of TarraWarra Biennial 2016: Endless Circulation curated by Victoria Lynn and Helen Hughes/Discipline); 5th/6th final Melbourne Artist Facilitated Biennial, Dec 2018 -Dec 2020 (co-facilitated by Virginia Overell and Christopher L G Hill in their apartment/ the ex-Telecom building that was the site of the Melbourne International Biennial 1999)

Includes the work of ACW, Liz Allen, Animal Charm, Dan Arps, Sean Bailey, Liv Barrett, Matthew Brown, Ruth Buchannan, Jon Campbell, Jane Caught, Xin Cheng, Fiona Connor, Ying Lan Dann, James Deutsher, Daniel du Bern, Ida Ekblad, ffiXXed, Pat Foster & Jen Berean, Justin K Fuller, Matt Griffin, Ardi Gunawan, Hao Guo, Bianca Hester, Christopher L G Hill, Matt Hinkley, Helen Johnson, Lisa Kelly, Devin Kenny, Taree Mackenzie, Simon McGlinn, Rob Mckenzie, Nick Mangan, Scott Mitchell, Tahi Moore, Kate Newby, Geoff Newton, John Nixon, OSW, Alexander Ouchtomsky, Damon Packard, Spiros Panigriakis, Sean Peoples/ Cheese Peoples, Joshua Petherick, Kain Picken, Janneke Raaphorst, Nick Selenitsch, Christopher Schueler & Matthew Hopkins, Gregory P Sharp, Kate Smith, Sriwhana Spong, Dylan Statham, Masato Takasaka, Ben Tankard, Simon Taylor, Alex Vivian, Annie Wu, Hany Armanious, Andreas Banderas, Mikala Dwyer, Katherine Huang, Tobias Kaspar, Piotr Łakomy, Taree Mackenzie, Tahi Moore, Michael O’Connell, Ester Partegas, Natalie Rognsoy, John Spiteri, Dan Arps, Sean Bailey, Olivia Barrett, Matthew Benjamin, Jon Campbell, Trevelyan Clay, Fiona Connor and Michala Paludan, James Deutsher, DoubleFly, George Egerton-Warburton, Endless Lonely Planet, ffiXXed, Alicia Frankovich, Justin K Fuller, Marco Fusinato, Greatest Hits, Ardi Gunawan, Hao Guo, Christopher L G Hill, Matt Hinkley, David Homewood, Matthew Hopkins, Lou Hubbard, Renee Jaeger, Helen Johnson, Kenneth Biennale (curated by Kenny Pittock and Amy May Stuart: Chris Clarke, Christo Crocker, Christina Hayes, Chris L G Hill, Christine Pittock, Christopher Sciuto), Legendary Hearts (Kieran Hegarty and Andrew Cowie), S.T. Lore, Patrick Lundberg, Carrie McGrath, Rob McKenzie, Taree McKenzie, Nick Mangan, Gian Manik, Kate Meakin, Adelle Mills, Tahi Moore, Kate Newby, Elizabeth Newman, Virginia Overell, Sean Peoples, Joshua Petherick, Kain Picken, Lisa Radford and Sam George, Nick Selenitsch, Kate Smith, Studio Masatotectures, Sydney (Esther Edquist), Masato Takasaka and Madeline Kidd, Ben Tankard, Alex Vivian, Nicki Wynnychuk, y3k, Lauren Burrow, Counterfeitnessfirst, James Deutsher, Laurel Doody, George Egerton-Warburton, ELP3 Vine, Endless Lonely Planet, Lewis Fidock, Aurelia Guo, Christopher L G Hill, Lou Hubbard, Lucina Lane, Kate Meakin, Tahi Moore, Elizabeth Newman, Liam Osborne, Virginia Overell, Joshua Petherick, Lisa Radford, Zac Segbedzi, Nick Selenitsch, Nicholas Tammens, Alex Vivian, Rudi Williams, Gavin Bell, Jarrah de Kuijer and Simon McGlinn, Candida ((Gian Manik and Ricarda Bigolin) in collaboration with Agnieszka Chabros, Samuel Heatley and Jaala Jensen), Xin Cheng, Fiona Connor, Renee Cosgrave, Christo Crocker, Ying Lan Dann, Endless Lonely Planet, Richard Frater, Aurelia Guo, HB Peace, Hoggle, Lou Hubbard, Olivia Koh, Spencer Lai, Laurel Doody Library Supply, Patrick Lundberg, Kate Meakin, Olivia O’Donnell, Jason Willers, and more...

More info at http://www.christopherlghill.com

File under: ACW Liz Allen Animal Charm Dan Arps Sean Bailey Liv Barrett Matthew Brown Ruth Buchannan Jon Campbell Jane Caught Xin Cheng Fiona Connor Ying Lan Dann James Deutsher Daniel du Bern Ida Ekblad ffiXXed Pat Foster & Jen Berean Justin K Fuller Matt Griffin Ardi Gunawan Hao Guo Bianca Hester Christopher L G Hill Matt Hinkley Helen Johnson Lisa Kelly Devin Kenny Taree Mackenzie Simon McGlinn Rob Mckenzie Nick Mangan Scott Mitchell Tahi Moore Kate Newby Geoff Newton John Nixon OSW Alexander Ouchtomsky Damon Packard Spiros Panigriakis Sean Peoples/ Cheese Peoples Joshua Petherick Kain Picken Janneke Raaphorst Nick Selenitsch Christopher Schueler & Matthew Hopkins Gregory P Sharp Kate Smith Sriwhana Spong Dylan Statham Masato Takasaka Ben Tankard Simon Taylor Alex Vivian Annie Wu Hany Armanious Andreas Banderas Mikala Dwyer Katherine Huang Tobias Kaspar Piotr Łakomy Michael O’Connell Ester Partegas Natalie Rognsoy John Spiteri Olivia Barrett Matthew Benjamin Trevelyan Clay Fiona Connor and Michala Paludan DoubleFly George Egerton-Warburton Endless Lonely Planet Alicia Frankovich Marco Fusinato Greatest Hits David Homewood Matthew Hopkins Lou Hubbard Renee Jaeger Christo Crocker Christina Hayes Chris L G Hill Christine Pittock Christopher Sciuto) Legendary Hearts (Kieran Hegarty and Andrew Cowie) S.T. Lore Patrick Lundberg Carrie McGrath Rob McKenzie Taree McKenzie Gian Manik Kate Meakin Adelle Mills Elizabeth Newman Virginia Overell Sean Peoples Lisa Radford and Sam George Studio Masatotectures Sydney (Esther Edquist) Masato Takasaka and Madeline Kidd Nicki Wynnychuk y3k Lauren Burrow Counterfeitnessfirst Laurel Doody ELP3 Vine Lewis Fidock Aurelia Guo Lucina Lane Liam Osborne Lisa Radford Zac Segbedzi Nicholas Tammens Rudi Williams Gavin Bell Jarrah de Kuijer and Simon McGlinn Renee Cosgrave Richard Frater HB Peace Hoggle Olivia Koh Spencer Lai Laurel Doody Library Supply Olivia O’Donnell Jason Willers Amy May Stuart Kenny Pittock Madeline Kidd A Constructed World Agnieszka Chabros Ricarda Bigolin Samuel Heatley and Jaala Jensen Chris Clarke Christopher Sciuto Candida Esther Edquist S.T. Lore Endless Lonely Planet / Melbourne Art Painting Sculpture / Installation Australian Art Australian Photography Film / Video Performance / Dance / Theater Conceptual Art Curatorial Group Shows / Collections Periodicals Sound / Music Textiles

Chambres d'Amis
Edited by Jan Hoet

1986, English / Dutch / German / French / Italian
Hardcover (cloth w. dust jacket, inc. ephemera, guide/ticket, prints), 366 pages, 27 x 24 cm
1st Edition, Out of print title / used / very good
Published by Museum van Hedendaagse Kunst / Gent

$220.00 - Out of stock

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First and only edition of this very special, scarce exhibition catalogue / photo-book published to document and accompany the innovative exhibition Chambres d'Amis (‘friends’ rooms’), organised by Jan Hoet in Ghent in 1986, awarding him an international reputation as a leading artistic figure in Belgium. Chambres d'Amis featured about 50 European and American artists invited by Hoet to create works for 50 private homes in Ghent, which were then opened to the public for several weeks between June 21 - September 21, 1986. Artists included are Carla Accardi, Christian Boltanski, Raf Buedts, Daniël Buren, Michaël Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol LeWitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio.

The entire city-wide exhibition is comprehensively documented herein (from the domestic interior installations themselves to behind-the-scenes photography, social and working imagery of the artists installing and meeting, public events, etc.) in colour and b/w on various paper stocks with many fold-out panels and reproductions of artist's sketches, alongside extensive texts by Jan Hoet and statements accompanying the work of each artist all in Dutch, English, French, German, and Italian. Includes a list of all hosts/hostesses alongside the artists.

An incredible document of one the most important and unique contemporary art exhibitions in Belgium's history. Jan Hoet (23 June 1936 – 27 February 2014) was the Belgian founder and director of SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (director from 1975 until 2003) and subsequently managed several important exhibitions all over the world including curating Documenta IX in Kassel in 1992, presenting several hundred works by 190 artists from nearly 40 countries.

“Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior. Art here no longer offers a mirror or a window, nor constitutes the privileged sign of a choice, but is an actual, provocative presence, confirming its difference both from the museum space, which has lost its sanctity, and from the contextual frame in which the object serves as a fetish.”—Pier Luigi Tazzi, “Albrecht Dürer would have come too”, Artforum, September 1986

Very Good copy w. some wear/light spine fading to Good dust jacket, now preserved under mylar wrap. This special copy comes most complete, including exhibition guide/work checklist, Ghent map of exhibit locations, and a selection of 4 loose photographic press prints of featured installations.

File under: Carla Accardi Christian Boltanski Raf Buedts Daniël Buren Michaël Buthe Jacques Charlier Nicola de Maria Luciano Fabro Günther Förg Jef Geys Dan Graham Milan Grygar François Hers Kazuo Katase Niek Kemps Joseph Kosuth Jannis Kounellis Bertrand Lavier Sol LeWitt Danny Matthys Gerhard Merz Mario Merz Marisa Merz Helmut Middendorf Juan Muñoz Hidetoshi Nagasawa Bruce Nauman Maria Nordman Oswald Oberhuber Heike Pallanca Panamarenko Giulio Paolini Royden Rabinowitch Norbert Radermacher Roger Raveel Wolfgang Robbe Claude Rutault Reiner Ruthenbeck Remo Salvadori Rob Scholte Ettore Spalletti Paul Thek Niele Toroni Charles Vandenhove Philip van Isacker Jan Vercruysse Jean-Luc Vilmouth Martin Walde Lawrence Weiner Robin Winters Gilberto Zorio Jan Hoet Museum van Hedendaagse Kunst / Gent Art Conceptual Art Minimal Art Architecture / Interior Out-of-print / Rare Group Shows / Collections Arte Povera Curatorial Painting Sculpture / Installation

The Transhistorical Museum
Mapping the Field

2018, English
Softcover, 222 pages, 17 x 24 cm
Published by Valiz / Amsterdam

$55.00 - Out of stock

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In the 21st century we have witnessed a significant expansion in the field of transhistorical exhibition practice. A range of curatorial efforts have emerged in which objects and artefacts from various periods and art historical and cultural contexts are combined in display, in an effort to question and expand traditional museological notions such as chronology, context, and category. Such experiments in transcending art historical boundaries can result in fresh insights into the workings of entrenched historical presumptions, providing a space to reassess interpretations of individual objects. With contributions by Mieke Bal, Hendrik Folkerts, Nicola Setari, Maria Iñigo Clavo, and others.

File under: Ann Demeester Mieke Bal Olga Fernandez Lopez Christa-maria Lerm Hayes Alexander Nagel Ruth Noack Eva Wittocx Abigail Winograd Jasper Sharp Nicola Setari Jean-Hubert Martin Peter Carpreau Melanie Bühler Xander Karskens Bruce Curiger Penelope Curtis Hendrick Folkerts Hanneke Grootenboer María Íñigo Clavo Valiz / Amsterdam Theory / Essay Art Curatorial Film / Video Sculpture / Installation

Sovereign Words : Indigenous Art, Curation and Criticism

2018, English
Softcover, 288 pages, 16 x 23 cm
Published by Valiz / Amsterdam

$55.00 - Out of stock

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Now out-of-print, last copies.

Artists and cultural practitioners from indigenous communities around the world are increasingly in the international spotlight. As museums and curators consider the global reach of their collections and exhibitions, this publication draws upon the challenges faced by cultural workers today, both indigenous and non-indigenous, to engage meaningfully and ethically with the histories, presents, and future of indigenous cultural practices and world views. Through sixteen indigenous voices the book charts perspectives across art and film, ethics and history, theory and museology.

Editor: Katya García-Antón
Contributors: Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna’i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura, and the OCA contributors: Liv Brissach, Katya García-Antón, Drew Snyder, Nikhil Vettukattil

File under: Hannah Donnelly Katya García-Antón Daniel Browning Kabita Chakma Megan Cope Santosh Kumar Das Léuli Māzyār Luna'i Eshrāghi David Garneau Biung Ismahasan Kimberley Moulton Máret Ánne Sara Venkat Raman Singh Shyam Irene Snarby Ánde Somby Megan Tamati-Quennell Prashanta Tripura Sontosh Bikash Tripura Valiz / Amsterdam Theory / Essay Curatorial Art Australian Art

Disorientation: Bernard Rudofsky in the Empire of Signs (Critical Spatial Practice 7)
by Felicity D. Scott

2016, English
Softcover (w. dust jacket), 144 pages, 10.5 x 15 cm
Published by Sternberg Press / Berlin

$49.00 $25.00 - Out of stock

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Felicity D. Scott
Disorientation: Bernard Rudofsky in the Empire of Signs
Critical Spatial Practice 7

Edited by Nikolaus Hirsch, Markus Miessen
Featuring artwork by Martin Beck

Viennese émigré architect Bernard Rudofsky (1905–1988) is most frequently recalled for curating “Architecture without Architects,” the famous 1964 photography exhibition of vernacular, preindustrial structures at the Museum of Modern Art in New York. Far from simply a romantic or nostalgic invocation of cultures lost to industrial modernity, Rudofsky’s exhibition drew on decades of speculations about modern architecture and urbanism, particularly their semantic, technological, institutional, commercial, and geopolitical influences.

Focusing on Rudofsky’s encounters with Japan in the 1950s—he described postwar Japan as a “rear-view mirror” of the American way of life—architectural historian Felicity D. Scott revisits the architect’s readings of the vernacular both in the United States and Japan, which resonate with his attempts to imagine architecture and cities that refused to communicate in a normative sense. In a contemporary world saturated with visual information, Rudofsky’s unconventional musings take on a heightened resonance.

Design by Zak Group

File under: Bernard Rudofsky Martin Beck Felicity D. Scott Markus Miessen Nikolaus Hirsch Sternberg Press / Berlin Architecture / Interior Curatorial Graphic Design / Typography Theory / Essay SALE

Flows and Counterflows - Globalisation in Contemporary Art
by Marcus Verhagen

2017, English
Softcover, 196 pages, 14.5 x 20 cm
Published by Sternberg Press / Berlin

$65.00 $30.00 - Out of stock

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Over the past quarter century, artists have made powerful interventions in debates around globalisation, addressing various dimensions of cross-border exchange, from mass migration to the dynamics of translation, and devising new ways of conceptualising them. Marcus Verhagen’s Flows and Counterflows: Globalisation in Contemporary Art tells the story of those interventions, dwelling in particular on projects that draw out both the dangers and the tangible or imaginable benefits of global exchange.

"Marcus Verhagen is one of the finest art critics writing today, and in these essays he maps the shifting terrain of the global art world with subtle, sceptical intelligence."
—Malcolm Bull, Professor of Art and the History of Ideas, Ruskin School of Art, University of Oxford

"Flows and Counterflows offers an incisive and highly original account of contemporary art’s mutating relationship to the processes of globalisation. In its historical timeliness and critical urgency, it will no doubt become a seminal volume in this field."
—Anthony Downey, Professor of Visual Culture in North Africa and the Middle East, Birmingham City University

"Verhagen’s complete survey of globalisation—covering how art addresses global markers such as tourism and border control; how the art system itself has been reshaped; and how artists resist by building informal networks—is so packed with well-explained contemporary artworks that the result, in practice, is an indispensable history of art for our times."
—Gilda Williams, Goldsmiths MFA Curating, University of London

Design by A Practice for Everyday Life

File under: Marcus Verhagen Sternberg Press / Berlin Art Curatorial Theory / Essay SALE

What Ever Happened to New Institutionalism?
James Voorhies (Ed.)

2016, English
Hardcover, 192 pages, 17 x 24 cm
Published by Sternberg Press / Berlin Carpenter Center for the Visual Arts / Cambridge

$79.00 $25.00 - Out of stock

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Contributions by Martin Beck, Nina Beier, Silvia Benedito, Ulla von Brandenburg, Katarina Burin, Simon Dybbroe Møller, Jonas Ekeberg, Alex Farquharson, Fernanda Fragateiro, Simon Fujiwara, James Goggin, Tone Hansen, Owen Hatherley, Henriette Huldisch, Damon Krukowski, Le Corbusier, Maria Lind, Markus Miessen, Eline Mugaas, Elise Storsveen, Gloria Sutton, James Voorhies, Naomi Yang, Amy Yoes

New Institutionalism, a mode of curating that originated in Europe in the 1990s, evolved from the legacy of international curator Harald Szeemann, the relational art advanced by French critic and theorist Nicolas Bourriaud, and other influential factors of the time. New Institutionalism’s dispersed and varied approaches to curating sought to reconfigure the art institution from within, reshaping it into an active, democratic, open, and egalitarian public sphere. These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art. Practitioners engaged the art institution with renewed confidence by imbuing it with the potential for new aesthetic experiences and different relationships among artists, institutions, and spectators beyond engrained modernist ideologies. Working in these new modes, the art institution could become a site of fluidity, unpredictability, and risk.

What Ever Happened to New Institutionalism? reflects upon the aspirations of these curatorial strategies and assesses their critical efficacy today within the landscape of contemporary art and globalized culture. The first in a series of readers examining changing characteristics of art institutions, this publication thinks through New Institutionalism by bringing together facsimiles of seminal texts, new critical essays, a history of trends and practices, and commissioned artist projects and contributions. These are complemented by documentation from the inaugural year of programming at the Carpenter Center for the Visual Arts at Harvard University focused on reimagining CCVA as a twenty-first-century institution.

Copublished with Carpenter Center for the Visual Arts
Design by James Goggin, Practise

File under: Amy Yoes Damon Krukowski Eline Mugaas Elise Storsveen Fernanda Fragateiro Gloria Sutton Henriette Huldisch James Voorhies Katarina Burin Le Corbusier Maria Lind Martin Beck Naomi Yang Nina Beier Owen Hatherley Simon Dybbroe Møller Simon Fujiwara Ulla von Brandenburg Alex Farquharson Eline Mugaas James Voorhies Jonas Ekeberg Markus Miessen Silvia Benedito Tone Hansen Sternberg Press / Berlin Carpenter Center for the Visual Arts / Cambridge Art Curatorial Theory / Essay SALE

Performing the Curatorial With and Beyond Art
Maria Lind (Ed.)

2012, English
Softcover, 162 pages, 18 x 21.5 cm
1st Edition, Out of print title / as new
Published by Sternberg Press / Berlin

$160.00 $60.00 - Out of stock

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First and only edition of this quickly out-of-print volume edited by Maria Lind.
Features contributions by Doug Ashford, Beatrice von Bismarck, Boris Buden, Clémentine Deliss, Helmut Draxler, Eungie Joo, and Marion von Osten, with a preface by Johan Öberg. Introduction by Maria Lind.

Within contemporary art, the curator’s mediating function has developed into “the curatorial” itself. The curatorial is akin to methodologies used by artists that focus on post-production approaches—that is, principles of montage, with disparate images, objects, as well as other material and immaterial phenomena that are brought together within a particular time and space-related framework. Because the curatorial has clear performative sides, ones that seek to challenge the status quo, it also includes elements of choreography, orchestration, and administrative logistics—like all practices working with defining, preserving, and mediating cultural heritage in a wider sense. Is curating therefore essentially an act of translation? If so, with what purpose, and can it be performed elsewhere? Performing the Curatorial brings together a diverse group of curators, artists, art historians, educators, and thinkers, all of whom reflect on the curatorial motives, tendencies and tactics, pitfalls, and exegeses in translating, and thus performing, cultural heritage.

Design by Luca Frei

File under: Luca Frei Doug Ashford Beatrice von Bismarck Boris Buden Clémentine Deliss Doug Ashford Eungie Joo Helmut Draxler Johan Öberg Maria Lind Marion von Osten Sternberg Press / Berlin Art Curatorial Theory / Essay Sculpture / Installation Out-of-print / Rare SALE

The Apartment
Edited by Thierry Davila

2020, English
Softcover, 132 pages, 22.9 x 15.9 cm
Published by Mamco / Genève

$63.00 $30.00 - Out of stock

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This book documents the scrupulous recreation, inside MAMCO Geneva, of a flat owned between 1975 and 1992 by Parisian collector and self-described agent d’art Ghislain Mollet-Viéville. Mollet-Viéville’s apartment on the rue Beauborg showcased his incredible collection of minimalist and conceptual art; the flat served flexibly as home, gallery and crossroads of international contemporary art. Featuring works by Victor Burgin, Dan Flavin, Donald Judd, Carl Andre, Claude Rutault, Art & Language, John McCracken and Lawrence Weiner, Mollet-Viéville’s collection, and its display in his apartment, defined a radical approach to collecting and played an important role in publicizing the work of these artists in France.

MAMCO acquired Mollet-Viéville’s groundbreaking collection in 2017; The Apartment is the first publication to celebrate and study Mollet-Viéville’s collection and its faithful reinstallation at MAMCO Geneva as a “period room” of contemporary art history. The Apartment features an analysis of each work included in the installation, an interview with Mollet-Viéville conducted by Lionel Bovier and Thierry Davila, and an essay by Patricia Falguières.

File under: Ian Burn Joseph Kosuth Sol LeWitt Victor Burgin Dan Flavin Donald Judd Carl Andre Claude Rutault Art & Language John McCracken Lawrence Weiner Ian Wilson Daniel Buren André Cadere Walter De Maria Ghislain Mollet-Viéville Thierry Davila Lionel Bovier Mamco / Genève Conceptual Art Minimal Art Curatorial Group Shows / Collections Art Sculpture / Installation SALE

1971 : A Year in the Life of Color
by Darby English

2017, English
Hardcover (w. dust jacket), 312 pages, 18 x 23 cm
Published by University of Chicago Press / Chicago

$87.00 $60.00 - Out of stock

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Art historian Darby English is celebrated for working against the grain and plumbing gaps in historical narratives. In this book, he explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of black cultural politics: Contemporary Black Artists in America, shown at the Whitney Museum of American Art, and The DeLuxe Show, an integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.

1971 takes an insightful look at many black artists' desire to gain freedom from overt racial representation, as well as their and their advocates' efforts to further that aim through public exhibitions. Amid calls to define a "black aesthetic" or otherwise settle the race question, these experiments with modernist art favored cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight.

The power and social importance of these experiments, English argues, came partly from color's special status as a racial metaphor and partly from investigations of color that were underway in formalist American art and criticism. From Frank Bowling to Virginia Jaramillo, Sam Gilliam to Peter Bradley, black modernists and their supporters rose above the demand to represent or be represented, compromising nothing in their appeals for racial reconciliation. At a time when many debates about identity sought closure, these exhibitions offered openings; when icons and slogans touted simple solutions, they chose difficulty. But above all, as English demonstrates in this provocative book, these exhibitions and artists responded with optimism rather than cynicism to the surrounding culture's preoccupation with color.

File under: Melvin Edwards Frank Bowling Virginia Jaramillo Sam Gilliam Peter Bradley Darby English University of Chicago Press / Chicago Art Curatorial Painting Sculpture / Installation Theory / Essay Group Shows / Collections SALE

Permanent Recession
a Handbook on Art, Labour and Circumstance

2019, English
Softcover, 448 pages, 10.8 x 17.6 cm
Published by Onomatopee / Eindhoven

$39.00 - Out of stock

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Permanent Recession: a Handbook on Art, Labour and Circumstance is an enquiry into the capitals and currencies of experimental, radical and artist-run initiatives in Australia. Edited by Channon Goodwin, director of Melbourne's Bus Projects, the book excavates a shared history of independent practice stretching back to the 1980s, situating new research within a rich continuum of debate about the Australian artmaking context.

Part research, part advocacy document, part literature review, part reader, part position paper, Permanent Recession is a living contribution to current thought. As a handbook, it is a compilation of useful information in a compact and handy form. It should be used!

Authors include: Esther Anatolitis, Peter Anderson, Hana Pera Aoake, Dr Marnie Badham, Terri Bird, Andrew Brooks, Andy Butler, Colleen Chen, Clare Cooper, Dr David Corbet, Dr Ben Eltham, Dr Léuli Eshrāghi, Channon Goodwin, Sarah Gory. Tristen Harwood, Dr Mark Jackson, Dr Kate MacNeill, Dr Anne Marsh, Lucie McIntosh, Georgie Meagher, Dr Jacqueline Millner, Bernice Murphy, Spiros Panigirakis, Dr Lisa Radford, Macushla Robinson, Dr Francis Russell, Catherine Ryan, Kate Scardifield, Dr Pip Shea, Talia Smith, Philipa Veitch, Amelia Wallin, Pip Wallis, Amelia Winata, Katie Winten and Tian Zhang. Graphic design by Paul Mylecharane and Kim Mumm Hansen of Public Office.

File under: Onomatopee / Eindhoven Theory / Essay Curatorial Australian Art