World Food Books

Notes on Anarchism

Softcover (staple-bound), 20 pages, 15 x 21 cm
1st Edition, Out of print title / Used*,
Published by Jura Books / NSW

$15.00 - Out of stock

An undated Australian reprint of this seminal essay by American linguist, philosopher, cognitive scientist, historian, social critic, and political activist, Noam Chomsky, first published in the 1973 collection For Reasons Of State. Published by Sydney's Jura Books.

Condition: Very Good – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Jura Books Noam Chomsky Jura Books / NSW Anarchism Counterculture Out-of-print / Rare Theory / Essay

Autonomy: The Cover Designs of Anarchy, 1961–1970
edited by Daniel Poyner

2013, English
Softcover, 304 pages, 24 × 17 cm
Published by Hyphen Press / London

$55.00 $30.00 - Out of stock

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Anarchy was a journal of ideas published in London in the 1960s. Although its contributors were many and diverse, Anarchy was essentially the creation of one person, Colin Ward (1924–2010). With this journal, and throughout his work as a writer, editor, and activist, Ward proposed the idea that anarchist principles of mutual aid and autonomous organization outside a centralized state can be achieved here and now. This book gives attention for the first time to the covers of Anarchy, designed mostly by Rufus Segar. These little-known works provided the enticing entry to the plain text pages of the journal. The book reproduces all of the covers in a sequence that suggests, incidentally, something of the history of graphic design in Britain in those years. And it goes beyond the images, with an array of supporting texts that give a full picture of Anarchy and its context.

Contents
Daniel Poyner, Introduction

The covers of Anarchy

Raphael Samuel, ‘Utopian sociology’
Daniel Poyner, A conversation with Rufus Segar
Richard Hollis, ‘Anarchy and the 1960s’
Robin Kinross, An index to Anarchy

‘Autonomy’ doesn’t try to present Segar as some great innovator of graphic design. He wasn’t one and makes no claim to be. What the book sets out to do, and it succeeds magnificently without visual or verbal hyperbole, is to enrich and add nuance to our understanding of a 1960s graphic landscape we might think we know inside out by acquainting us with unfamiliar work that provided an important forward-thinking publication with its public face. Segar believed in the journal’s cause and 40 years later, he reports, he and his wife Sheila are still anarchists.
Rick Poynor, Creative Review, January 2013

File under: Richard Hollis Rufus Segar Daniel Poyner Richard Hollis Robin Kinross Hyphen Press / London Anarchism Counterculture Graphic Design / Typography Illustration / Graphic Art / Bandes Dessinées Theory / Essay SALE

Texte Zur Kunst No. 106
JUNE 2017 : "THE NEW NEW LEFT“

2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin

$30.00 - Out of stock

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The theme of this issue - The New New Left - is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. But as the discourses and strategies long associated with the Left (workerism, identity politics, or the mode of the avant-gardist troll) have been adopted by anti-progressive outlets, it has become increasingly complex to locate a Left stance from which to effectively speak and act. This issue explores the affective mechanisms and media strategies – from the rise of viral content (memes) to the harvesting and right-wing politicization of emotions – that are producing our post-millennial, post-financial crisis, post-Brexit/Trump present.

Issue No. 106 / June 2017 "The New New Left“

Table Of Contents

Preface
Cultural Resources / Sabine Hark And Sighard Neckel In Conversation On Feelings Of Resentment And Revenge

Verena Dengler
Fake Left, Punch Right

Jaleh Mansoor
Unveiling And/Or Re-Masking / Notes On The Political Dialectics Of The Opacity Of The Sign

Seth Price
Wrong Seeing, Odd Thinking, Strange Action

Matt Goerzen
Notes Toward The Memes Of Production

Diedrich Diederichsen
The Tough Stuff / “Populism," "Political Correctness," And The Like

Simon Denny
Face The Market On Your Own

Klaus Walter
Liberté, Egalité, Beyoncé?

Dan Bodan
Europe, 2016-17 / Selected Status Updates Of Recent Months
Bildstrecke

Kayode Ojo
Become What You Fear

New Development
Ana Teixeira Pinto
Artwashing / Nrx And The Alt-Right

Rotation
Obsessive, Compulsive, Disorder / Johanna Burton On Douglas Crimp’s “Before Pictures”
Probing Attitudes / Philipp Ekardt On “Putting Rehearsals To The Test” (Buchmann, Lafer, Ruhm, Eds.)
In Experimenten Seine Vernunft Aufs Spiel Setzen / Stefan Römer Über Hans-Jörg Rheinberger, „Der Kupferstecher Und Der Philosoph. Albert Flocon Trifft Gaston Bachelard“

Reviews
Nachrichten Aus Der Ideologischen Antike / Georg Imdahl Über Wade Guyton Im Museum Brandhorst
Schwere Verspannungen Lösen / Eva Scharrer Über Nairy Baghramian Im S.M.A.K. In Gent
Deviant Art / Dena Yago On Danny Mcdonald At House Of Gaga, Los Angeles
Put Your Money Where Your Mouth Is / Tina Schulz Über Nora Schultz Bei Isabella Bortolozzi, Berlin
Reverse Cubism Als Betrachtungsirrtum / Gunter Reski Über Pieter Schoolwerth Bei Capitain Petzel, Berlin
Mad World / Steven Warwick On Liz Craft & Pentti Monkkonen At Liszt, Berlin
Public Viewing / Moritz Scheper Über Sadie Benning In Der Kunsthalle Basel
Eye In The Sky / Ilya Lipkin On Ned Vena At Societé, Berlin
Kritische Stoffe, Shoppinglust Und Andere Ambivalenzen / Ines Kleesattel Über Ines Doujak (Und John Barker) Im Württembergischen Kunstverein
In Einem Anderem Land / Christian Kravagna Über „The Color Line“ Im Musée Du Quai Branly, Paris
Mehr Epistemischer Ungehorsam! / Susanne Witzgall Über „Postwar: Kunst Zwischen Pazifik Und Atlantik 1945–1965“ Im Haus Der Kunst, München
With Or Without / Christian Philipp Müller On Yuji Agematsu At Miguel Abreu Gallery, Nyc
Kommunikation Ist Kein Objekt / Fiona Geuß Über Ian Wilson In Den Kw Institute For Contemporary Art, Berlin

Nachruf
Gustav Metzger (1926–2017): Ein Nachruf Von Sabine Breitwieser

Edition

Anne Imhof
Sean Landers

File under: Anne Imhof Danny McDonald Dena Yago Ian Wilson Liz Craft Nairy Baghramian Ned Vena Nora Schultz Pentti Monkkonen Sadie Benning Sean Landers Simon Denny Wade Guyton Yuji Agematsu Ana Teixeira Pinto Christian Philipp Müller Dan Bodan Dena Yago Diedrich Diederichsen Douglas Crimp Eva Scharrer Ilya Lipkin Johanna Burton Kayode Ojo Klaus Walter Matt Goerzen Philipp Ekardt Sabine Hark Sighard Neckel Steven Warwick Tina Schulz Texte Zur Kunst / Berlin Art Film / Video Periodicals Theory / Essay

Dissect 3

2016, English
Softcover, 302 pages, 13 x 19 cm
Published by Dissect / Melbourne

$20.00 - Out of stock

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The cultural framework and biopolitics of capitalist globalisation has resulted in an increased concentration on the body as a site of production—in contemporary art as in life. Just as the historical avant-gardes sought to overcome art’s autonomous and isolated relationship to society by way of inviting in the ‘praxis of life’; so do contemporary artists whose focus is bodies and subjectivities. In an ever-emergent bio-economy, it is not just the body, but subjects and their lives that are crucial to value creation.

Contributors
Philip Auslander, Dodie Bellamy, Eva Birch, Cristine Brache, Ramsay Burt, Travis Chamberlain, Amy Charlesworth, James Ferraro, Karen Finley, Andrea Fraser, Tim Gentles, Isabelle Graw, Amelia Groom, Aurelia Guo, K8 Hardy, Chris Kraus, Ruth O’Leary, Tanja Ostojic, Carol Que, Ander Rennick, Audrey Schmidt, Phebe Schmidt, Eleanor Ivory Weber, Katie West, Amelia Winata, Jarrod Zlatic

Designed by Clare Wohlnick
Edited by Audrey Schmidt, Chloe Sugden and Zoe Theodore

File under: Ander Rennick Andrea Fraser Aurelia Guo Bunny Rogers Chris Kraus James Ferraro Jarrod Zlatic K8 Hardy Phebe Schmidt Ruth O’Leary Amelia Groom Audrey Schmidt Aurelia Guo Carol Que Chris Kraus Cristine Brache Dodie Bellamy Eleanor Ivory Weber Eva Birch Isabelle Graw Jarrod Zlatic Philip Auslander Ramsay Burt Tanja Ostojic Tim Gentles Dissect / Melbourne Art Australian Art Performance / Dance / Theater Periodicals Theory / Essay

REAL LIFE Magazine: Selected Writings and Projects 1979-1994

2007, English
Softcover, 21 x 28 cm, 320 pages
Published by Primary Information / New York

$59.00 - In stock -

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REAL LIFE Magazine: Selected Writings and Projects 1979-1994 highlights a selection of writings and artists' projects from REAL LIFE magazine, which was originally edited by artist, writer, and curator, Thomas Lawson and writer, Susan Morgan. Published in twenty-three issues from 1979-1994 as an intermittent black and white magazine, REAL LIFE featured artists and art historians writing on art, media and popular culture interspersed with pictorial contributions. The development of the magazine through its 15 year history, traces the influences, development and transitions of artists through the 80s.

The anthology features writings by and about Dara Birnbaum, Eric Bogosian, Rhys Chatham, Mark Dion, Jack Goldstein, Felix Gonzalez-Torres, Kim Gordon, Dan Graham, Thomas Lawson, Louise Lawler, Sherrie Levine, Allan McCollum, John Miller, Dave Muller, Matt Mullican, Adrian Piper, Richard Prince, David Robbins, Ed Ruscha, Cindy Sherman, Laurie Simmons, Michael Smith, John Stezaker, Bernard Tschumi, Jeff Wall, Lawrence Weiner, and James Welling among others.
Table of Contents:
Thomas Lawson and Susan Morgan: Various Histories of REAL LIFE Magazine
Matthew Higgs: REAL LIFE

Susan Morgan: an interview with Robert Moskowitz, 1979
Valentin Tatransky: Collage And The Problem Of Representation: Sherrie Levine's new work, 1979
Grahame Shane: Crime as Function, 1979
Susan Morgan: an interview with Steve Gianakos, 1979
Barbara Kruger: Game Show, 1979
James Welling: Untitled, 1979
Thomas Lawson: Every Picture Tells A Story Don't It? 1979
Thomas Lawson: Fashion Moda, 1980
Richard Prince: Primary Transfers, 1980
Dan Graham: The Destroyed Room of Jeff Wall, 1980
Kim Gordon: Trash Drugs And Male Bonding, 1980
Thomas Lawson: Going Places, 1980
Susan Morgan: Michael Hurson, 1980
Barbara Kruger: Devils With Red Dresses On, 1980
Thomas Lawson: Long Distance Information, 1980
Joseph Bishop: Desperate Character, 1980
Richard Prince: Menthol Pictures, 1980
Laurie Simmons: Sam and Dottie Dance, 1980
Jim Bradley: Radical Genitalia, 1980
Allan McCollum: Matt Mullican's World, 1980
Michael Smith: Mike In... What Should I Do About The Car? 1980
Sherrie Levine: Two Photographs After Walker Evans, 1980
Kim Gordon: Honeymoon Habit, 1980
Post-Modernism: a symposium, 1981
Dan Graham: BOWWOWWOW (the Age of Piracy), 1981
Howard Singerman: The Artist as Adolescent, 1981
Elsa Bulgari: Your Everyday Critic, 1981
Thomas Lawson: Too Good to be True, 1981
Jenny Bolande: Elk Grazed as if Nothing Had Happened, 1981
David Robbins: Notes toward film, 1981
Eric Bogosian: Fascination, 1981
Fulton Ryder: Pissing on Ice, 1981
Joan Wallace and Geralyn Donohue: Edit deAk, 1982
Rex Reason: Democratism, 1982
The Holy Ghost Writers: Condensation and Dish-Placement, 1982-3
Howard Singerman: Paragraphs toward an essay entitled 'Restoration Comedies', 1982-3
John Roberts: Ruins in the Realm of Thought, 1983
Paul McMahon: From The Permanent Collection, 1983
Jo Baer and Bruce Robbins: Beyond the Pale, 1983
Kathi Norklun: Courage, 1983
Tim Rollins: Particles, 1980-1983, 1983-4
Doug Ashford: Kiss of Death, 1983-4
Thomas Lawson: Komar & Melamid, 1983-4
Robin Winters: The Secret Agent: an interview with Jacki Ochs , 1983-4
Robert C. Morgan: a conversation with Lawrence Weiner , 1983-4
Judith Kirshner: A Blinding Light , 1983-4
Rex Reason: Brie Popcorn: an interview with the directors of Nature Morte Gallery, 1983-4
John Miller: Morality and the Poetic, 1984
Susan Morgan: Portraits of the Artists/Composite Drawings, 1984
B.P. Gutfreund: Four Photographs, 1984
Susan Morgan: Each and Every One of You, 1985
Mark Dion: Tales From The Dark Side, 1985
Jeff Wall: Dan Graham's Kammerspiel Parts I and II, 1985
Jana Sterbak: Premeditated: an interview with Ed Ruscha, 1985
Walter Robinson: The Quest For Failure, 1985-6
Derek Boshier: John Dugger, 1985-6
John A.Walker: Unholy Alliance: Chairman Mao, Andy Warhol, and the Saatchis, 1985-6
Kellie Jones: David Hammons, 1986
John Miller: Swiss Family Robbins, 1986
Adrian Piper: An Open Letter to Donald Kuspit, 1987-8
Susan Morgan: when X does not equal Y , 1987-8
Thomas Lawson: Critical Art Ensemble, 1988-9
Christine N. Lea: Beyond Belief, 1988-9
Felix Gonzalez-Torres: Untitled 1988: Detail of a Sculpture (Endless Copies), 1988-9
Thomas Lawson: No Bull, 1990
Allan McCollum: Photo from TV (with Paintings), 1990
Dara Birnbaum: The Wondering Of Context, 1990
James Welling: Corridors, 1989, 1990
Michael Smith and R. Sikoryak: Mike, 1990
Felix Gonzalez-Torres: Untitled, 1990
Judith Barry: Drive-In or Walk-In Museum, 1990
Group Material: AIDS Timeline, 1990
David Robbins: Three Cancelled TV Families, 1990
Louise Lawler: Untitled 1988, 1990
Susan Morgan: Carlos Gutierrez-Solana, 1994
Josef Strau and Stephan Dillemuth: Friesenwall 120, 1994
David A. Muller: Three Day Weekend, 1994
Spencer Finch: Amnesia And Saying Nothing, 1994

File under: Adrian Piper Allan McCollum Andy Warhol Barbara Kruger Critical Art Ensemble Dan Graham Dara Birnbaum David Hammons Ed Ruscha Felix Gonzalez-Torres Group Material Jack Goldstein James Welling Jeff Wall Jo Baer John Miller Josef Strau Judith Barry Kim Gordon Lawrence Weiner Louise Lawler Matt Mullican Rhys Chatham Richard Prince Robin Winters Sherrie Levine Stephan Dillemuth Matthew Higgs Miriam Katzeff Susan Morgan Thomas Lawson Primary Information / New York Art Fiction / Poetry Photography Sculpture / Installation Theory / Essay Group Shows / Collections Painting Periodicals

F.R. David
Spring 2017 : Inverted Commas

2017, English
Softcover, 240 pages, 12 x 19 cm
Published by KW Institute for Contemporary Art / Berlin Uh Books / Amsterdam

$20.00 - Out of stock

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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

Includes: Michael Asher, Joan Didion, Harun Farocki, Sven Lütticken, Lucy Lippard, Barbara Guest, A.H. Nijhoff, Will Holder, Pauline Oliveros, and many more.

File under: Harun Farocki Michael Asher Pauline Oliveros Will Holder A.H. Nijhoff Barbara Guest Harun Farocki Joan Didion Sven Lütticken Will Holder Lucy R. Lippard KW Institute for Contemporary Art / Berlin Uh Books / Amsterdam Art Graphic Design / Typography Fiction / Poetry Film / Video Periodicals Poetry Sound / Music Theory / Essay

Open Spatial Workshop
Converging in Time

2017, English
Softcover (saddle-stitch w. acrylic book cover), 384 pages, 26 cm x 20 cm
Published by MUMA / Victoria

$44.00 - Out of stock

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Open Spatial Workshop: Converging in Time was published on the occasion of the first major museum exhibition by Open Spatial Workshop (comprising artists Terri Bird, Bianca Hester and Scott Mitchell). The exhibition is part of MUMA's much anticipated annual survey exhibition series that presents the practices of Australia's most exciting and innovative mid-career artists. Converging in Time continues OSW's sculptural investigation into the forces of material formation. Drawing on earth sciences research and studies of the Anthropocene, this major book explores the relationship between the mineral make-up of a site and the societies they produce and sustain.

Designed by Paul Mylecharane and Ziga Testen
Artists: Open Spatial Workshop (comprising of Terri Bird, Bianca Hester and Scott Mitchell)
Text: Open Spatial Workshop, Saskia Beudel, Kathryn Yusoff, Matt Poll

File under: Bianca Hester Open Spatial Workshop Paul Mylecharane Scott Mitchell Terri Bird Žiga Testen Bianca Hester Kathryn Yusoff Matt Poll Saskia Beudel Scott Mitchell Terri Bird MUMA / Victoria Art Performance / Dance / Theater Theory / Essay Australian Art

Mario García Torres
An Arrival Tale

2017, English
Softcover, 226 pages, 16.5 x 24 cm
Published by Sternberg Press / Berlin Thyssen-Bornemisza Art Contemporary / Vienna

$74.00 $15.00 - Out of stock

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Edited by Daniela Zyman, Cory Scozzari
Contributions by Armen Avanessian, Daniel Garza-Usabiaga, Carl Michael von Hausswolff, Anke Hennig, Chus Martínez, Eva Wilson, Daniela Zyman

Appropriation, storytelling, reenactment, and reportage are some of the strategies that Mario García Torres deploys to highlight the limitations of factual evidence and the agency of historical records and objects. An Arrival Tale detaches the Mexican artist’s works in the TBA21 collection from their original contexts and offers them as a collection of narratives and artistic experiments open for reinscription in order to address the conditions and urgencies of our contemporary societies. It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return.

This publication follows the eponymous exhibition at TBA21 – Augarten. While conceived in relation to the exhibition, this book is not a documentation, but rather the start of a journey that expands, explores, complicates, and undoes the thematic threads of spatial disjunction, recollection, asynchronicity, fictionality, and the politics of visibility.

Copublished with Thyssen-Bornemisza Art Contemporary, Vienna
Design by Studio Folder

File under: Mario García Torres Anke Hennig Armen Avanessian Carl Michael von Hausswolff Chus Martínez Cory Scozzari Daniel Garza-Usabiaga Daniela Zyman Eva Wilson Sternberg Press / Berlin Thyssen-Bornemisza Art Contemporary / Vienna Art Theory / Essay SALE

The Silent University : Towards a Transversal Pedagogy
Florian Malzacher, Ahmet Öğüt, Pelin Tan (Eds.)

2016, English / German
Softcover, 140 pages, 16.5 x 23.5 cm
Published by Sternberg Press / Berlin

$49.00 $15.00 - Out of stock

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Edited by Florian Malzacher, Ahmet Öğüt, Pelin Tan
With contributions by Florian Malzacher, María do Mar Castro Varela, Chantal Mouffe, Ahmet Öğüt, Rubia Salgado, Pelin Tan, and the Silent Universities in Amman, Athens, Hamburg, London, Mülheim/Ruhr, and Stockholm

The Silent University, initiated by artist Ahmet Öğüt in 2012, is an autonomous platform for academics who cannot share their knowledge due to their status of residence, because their degrees are not recognized or regaining access to academia is blocked for other reasons. It is a solidary school by refugees, asylum seekers and migrants who contribute to the program as lecturers, consultants and researchers.

The Silent University proposes a new institution outside of the restrictions of existing universities, migration laws and the other bureaucratic or juridical obstacles many migrants face. At the same time it mimics the idea of exiting universities, using their representational logics by developing alternative structures of pedagogy beyond border politics, race/ethnicity and normative education.

This first comprehensive publication about the Silent University introduces the initiative and contextualizes it in the wider framework of both radical pedagogy and socially engaged art projects. In addition, all current branches of the Silent University—in Amman, Athens, Hamburg, London, Mülheim/Ruhr, and Stockholm—describe their very different achievements as well as their struggles and failures.

The book contextualizes this initiative within a broader picture of migration policies, critical pedagogy, artistic involvement and institutional engagement. It also hopes to be an introduction for all those who might want to get involved in the Silent University—as contributors, lecturers, students in the existing branches, or by initiating new SUs wherever they are needed: a need which is becoming urgent in more and more cities and countries all around the world.

This book is published as an edition of Impulse Theater Festival, which initiated the foundation of Silent University Ruhr in Mülheim in June 2015.

Design by Fons Hickmann m23

File under: Ahmet Öğüt Sternberg Press / Berlin Art Theory / Essay SALE

Donna J. Haraway
Simians, Cyborgs and Women : The Reinvention of Nature

1996, English
Softcover, 290 pages, 15.4 x 23 cm
2nd ed.,
Published by Free Association Books / London

$50.00 - Out of stock

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Simians, Cyborgs and Women is a powerful collection of ten essays written between 1978 and 1989. Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as "creatures" which have had a great destabilizing place in Western evolutionary technology and biology.
Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called "outstanding," "original," and "brilliant," by leading scholars in the field.

First published in 1991.

File under: Donna J. Haraway Free Association Books / London Ecology Feminism Theory / Essay

Film As A Subversive Art
by Amos Vogel

2005, English
Softcover, 335 pages, 22.5 x 16 cm
2005 edition, Out of print title / used*,
Published by D.A.P. / New York

$95.00 - Out of stock

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The now scarce 2005 reprint edition of one of the greatest books on film. A classic returns! The original edition of Amos Vogel's seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. According to Vogel--founder of Cinema 16, North America's legendary film society--the book details the "accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored."
So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.
This 2005 edition, published by D.A.P./C.T. Editions, also quickly went out of print and it has not been available since.

Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert Maysles and David Maysles, to name only a few of the hundreds of film-makers whose works are featured in this essential film book.

Condition: Good (tight, clean copy throughout with only light creasing to covers and light wear) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Agnès Varda Akira Kurosawa Albert Maysles and David Maysles Alfred Hitchcock Andrei Tarkovsky Andy Warhol Arrabal Bruce Conner Carolee Schneemann Charlie Chaplin Chris Marker Dušan Makavejev Federico Fellini Frans Zwartjes Frederick Wiseman Fritz Lang Hans Richter Ingmar Bergman Jack Smith Jacques Rivette Jan Svankmajer Jean Cocteau Jean Genet Jean-Luc Godard Jean Renior Jonas Mekas Joseph Losey Kate Millett Ken Jacobs Kenneth Anger Lindsay Anderson Louis Malle Luchino Visconti Luis Buñuel Manuel Octavio Gomez Marcel Duchamp Marguerite Duras Martin Scorcese Maya Deren Michael Snow Michelangelo Antonioni Morgan Fisher Norman Mclaren Otto Muehl Paul Morrissey Paul Sharits Peter Watkins Rainer Werner Fassbinder Robert Bresson Robert Frank Roberto Rossellini Roman Polanski Russ Meyers Sam Peckinpah Sergei Eisenstein Shuji Terayama Stan Brakhage Stan VanDerBeek Stanley Kubrick Tony Conrad Vera Chytilova Walérian Borowczyk Werner Herzog William Klein Woody Allen Yoko Ono John Cassavetes Amos Vogel D.A.P. / New York Art Film / Video Out-of-print / Rare Performance / Dance / Theater Surrealism Theory / Essay

Forensic Architecture - Violence at the Threshold of Detectability
By Eyal Weizman

2017, English
Hardcover (w. dust jacket), 368 pages, 192 x 233 cm
Published by Zone Books / New York

$76.00 - Out of stock

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In recent years, the group Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN. Forensic Architecture has not only shed new light on human rights violations and state crimes across the globe, but has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.

In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed. Traversing multiple scales and durations, the case studies in this volume include the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. The practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

About the Author
Eyal Weizman is Professor of Spatial and Visual Cultures at Goldsmiths College, University of London and a Global Scholar at Princeton University. A founder of Forensic Architecture, he is also a founding member of the architectural collective DAAR in Beit Sahour/Palestine. His books include Mengele’s Skull, The Least of All Possible Evils, and Hollow Land.

Endorsements
“The investigative work of Eyal Weizman and his colleagues at Forensic Architecture is truly remarkable, breaking novel theoretical ground while actively supporting struggles for justice. Again and again, landscapes of power, violence, resistance and ecological stress are transformed in stunning new ways. Among the many revelations in these pages is a new mapping of the connections between climate-change, drought, drones and armed conflict. These are powerful analytic tools that will be indispensable to the construction of a new human rights framework.”
—Naomi Klein, author of This Changes Everything and The Shock Doctrine

“In many respects Forensic Architecture is the current reincarnation of Soviet Russia’s Factography, a collective enterprise that, in the 1920’s and 30’s, was geared towards the construction of facts, as opposed to merely documenting them. The difference between both endeavors, each similarly brazen in taking advantage of unprecedented advances of media technology, is that the facts that Forensic Architecture wishes to (re)construct are for the most part acts of state violence that the perpetrating state deliberately conceals. Those facts are registered in buildings (or traces thereof), which Weizman and his team equate both to photographs (sensors) and to tools for decoding other sensors (such as the clouds of smoke hovering over a bombed city). Analyzing the vast bank of images provided by social media in conflict zones through a computation of differential parallaxes, Forensic Architecture is fast becoming the most efficient visual machine against the suppression of evidence by the authors of crimes against humanity. Recent history tells us that its work will be evermore needed.”
—Yve-Alain Bois

“In a world where environmental crimes are increasingly linked to human rights violations, Forensic Architecture has become an essential practice. Weizman and his team have understood how the tools of science and architecture can influence and transform the juridical system.”
—Baltasar Garzón, former Spanish investigating judge and president of the human rights foundation FIBGAR

File under: Eyal Weizman Zone Books / New York Architecture / Interior Ecology Theory / Essay

Hearings: A Reader
Contour Biennale 8

2017, English
Softcover, 248 pages, 15 x 22 cm
Published by Sternberg Press / Berlin

$64.00 $15.00 - Out of stock

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Edited by Natasha Ginwala

The Contour Biennale 8, “Polyphonic Worlds: Justice as Medium,” curated by Natasha Ginwala, brings together twenty-five international and local artists and art collectives working in lens-based media, sound, performance, drawing, and installation, to address questions related to the nation-state system and the realm of justice today. Taking place in Mechelen, Belgium, “Polyphonic Worlds” embraces the communal spirit of the biennale by including the many-sided voices that assemble in collective formations as well as discrete, individual creative positions.

This reader proposes a series of beginnings—it is a polyphonic approach that borrows from juridical and musical spheres. Launched as the online journal of the biennial, Hearings pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices. Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst.

Featuring texts and illustrated contributions by Agency, Lawrence Abu Hamdan, Eric Baudelaire, Rossella Biscotti, Hunter Braithwaite and Trevor Paglen, Filipa César, Cooking Sections, Council, T. J. Demos, Denise Ferreira da Silva, Pedro Gómez-Egaña, Rana Hamadeh, Louis Henderson, Adelita Husni-Bey, Ho Tzu Nyen, inhabitants, Arvo Leo, Sven Lütticken, Basir Mahmood, Samuel Mareel, Dirk de Meyer, Otobong Nkanga, Pallavi Paul and Anish Ahluwalia, Elizabeth A. Povinelli, Judy Radul, Beatriz Santiago Muñoz, Ritu Sarin and Tenzing Sonam, Madonna Staunton, Ana Torfs, Trinh Thi Nguyen, Susanne M. Winterling and Gayatri Chakravorty Spivak, and Ghassan Zaqtan.

Copublished with Contour Biennale on the occasion of Contour Biennale 8: “Polyphonic Worlds: Justice as Medium” (March 11–May 21, 2017).

Design by Studio Remco van Bladel

File under: Natasha Ginwala Sven Lütticken T. J. Demos Sternberg Press / Berlin Art Performance / Dance / Theater Photography Sound / Music Theory / Essay SALE

Goldin+Senneby
The Exquisite Corpse of August Nordenskiöld

2017, English
Softcover, 154 pages, 12 x 18.5 cm
Published by Sternberg Press / Berlin

$35.00 - Out of stock

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Edited by Goldin+Senneby with Kim Einarsson
Contributions by Ronny Ambjörnsson, Mara Lee, Donald MacKenzie, Malin Nilsson, Mary Poovey, Natascha Sadr Haghighian, Michael Taussig

“Off now, little paper, around the world, and destroy the tyranny of money, so that gold, silver and precious stones may one day cease to be the idols and tyrants of the world!”
—August Nordenskiöld, 1787

In the ancient art of alchemy, some elements can change to other states of matter while others cannot. At least not without magic. And a touch of trickery. For some time now, Goldin+Senneby have been interested in a utopian alchemist named August Nordenskiöld (1754–1792) who sought to create enough gold from inferior metals to permanently abolish its value, and the tyranny of money with it. But gold is not only money, just as money is not only gold. Gold is a substance, and money is a measure of value—for substances, feelings, ideas—that is open to magical projections, deceits and impurities, faulty counts, stealthy hacks, and hasty cover-ups. In The Exquisite Corpse of August Nordenskiöld, Goldin+Senneby initiate a parallel comedy of interpretation. As in the surrealist parlor game cadavre exquis, each of the book’s seven essays—by a historian of ideas, a sociologist of finance, a literary and cultural historian, a stage magician, an artist, an anthropologist, and a poet, in precisely that order—responds directly to the preceding essay only. What is magic, after all, if not a story line performed in near darkness—with little knowledge of what came before and even less of what will follow?
—Brian Kuan Wood

Design by Johan Hjerpe

File under: Goldin+Senneby Donald MacKenzie Malin Nilsson Mara Lee Mary Poovey Michael Taussig Natascha Sadr Haghighian Ronny Ambjörnsson Sternberg Press / Berlin Art Theory / Essay

The Smell of Ink and Soil
The Story of [Edition] Hansjörg Mayer

2017, English / German
Softcover, 272 pages + DVD, 23 x 17 cm
Published by Walther König / Köln

$45.00 - Out of stock

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This is a long-awaited account of the work of the great publisher and designer Hansjörg Mayer in the fields of concrete poetry, typography, artist’s publications and ethnographic books over six decades. It includes the first bibliography of his works.

Identified as a print prodigy by Max Bense in the late 1950s, Mayers unique expertise and virtuosity with print technologies of the time allowed for the casting of works in various experimental formats which stretched, fragmented and expanded the concept of the poem.

He combined an interest in chance and randomness with a mathematically precise attention to use of graphic space, which makes his works now seem anticipatory of networked systems whilst holding a more modernist purity of form. His works made seminal explorations into the possibilities of concrete and computational convergence.

Mayer had a retrospective exhibition at Haags Gemeentemuseum in 1968 at the young age of 25. After this he concentrated on making experimental publications with artists.

Through his edition hansjörg mayer he issued publications of Dieter Roth, Richard Hamilton, Tom Phillips, André Thomkins and Emmett Williams.

From the late 1970s he also began to research, collect and publish an extraordinary series of books about vanishing cultures.

English and German text.

File under: Dieter Roth Emmett Williams Hansjörg Mayer Richard Hamilton Bronac Ferran Emmett Williams Walther König / Köln Art Graphic Design / Typography Theory / Essay

Twentieth Century Type Design
by Sebastian Carter

1987, English
Hardcover (w. dust jacket), 168 pages, 24 x 25 cm
1st edition, Out of print title / used*,
Published by Trefoil / London

$35.00 - Out of stock

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First edition of this reference compilation of biographies of the most famous type designers of the 20th century. A must for every type book collection.

Since its first publication in 1987, Twentieth Century Type Designers has become a standard reference work for typographers, designers and students alike.
This book serves as an introduction to the concept of typefaces and to some of the personalities who have created them--Goudy, Rogers, Koch, Gill, Morison, Van Krimpen, Trump, Tschichold, Frutiger, Zapf and others--and places them in the context of the enormous changes that have occurred in typography.
The introduction in the 1880s of the Linotype and Monotype hot-metal composing machines, and in particular the Benton pantographic punchcutter, revolutionized the manufacture of type, and caused a flood of new typefaces. More recently, filmsetting and digital typesetting have brought new opportunities--as well as new disciplines. This book examines the conflicts arising from these technological advances, which have pitted craftsmanship against commercial interests, and forced designers to come to terms with the new creative opportunities.
Whatever motivates type designers--whether it is the practical need to create new faces for machines, the ideal of producing the perfect letter-form for our age, or whether type is designed as an offshoot of other artistic activities--their work has had a far-reaching impact on our culture.

Designers featured:

Frederic Goudy, Bruce Rogers, Rudolf Koch, William Addison Dwiggins, Eric Gill, Victor Hammer, Stanley Morison, Hans (Giovanni) Mardersteig, Jan van Krimpen, Georg Trump, Joseph Blumenthal, Robert Hunter Middleton, Jan Tschichold, Berthold Wolpe, Roger Excoffon, Herman Zapf, Adrian Frutiger.

Condition: Very Good (tight, clean copy, protected in plastic wrap w. very good dust jacket - ex-library card) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Adrian Frutiger Aldo Novarese Berthold Wolpe Bruce Rogers Eric Gill Frederic Goudy Georg Trump Hermann Zapf Jan Tschichold Jan van Krimpen Joseph Blumenthal Robert Hunter Middleton Roger Excoffon Rudolf Koch Stanley Morison Victor Hammer William Addison Dwiggins Sebastian Carter Trefoil / London Art Graphic Design / Typography Out-of-print / Rare Theory / Essay

HRD / CF Newsletter
Issue 1-4 set

2017, English
Softcover (4 x newspapers), 16 pages each, 29 x 40 cm
Published by Mode and Mode / Melbourne

$10.00 - In stock -

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The HRD / CF Newsletter is a periodical publication produced within the exhibition ‘Hi$h Risk Dressing / Critical Fashion’ at RMIT Design Hub. The exhibition centres on the local fashion organisation active in Melbourne between the years 1983-1993, the Fashion Design Council. The FDC (as they are often shortened to), founded by Robert Buckingham, Kate Durham and Robert Pearce, were a self―organised group set up to foster independent designers and artists dealing with fashion. Influenced by the post―punk scene of Northern fashion capitals, the FDC put on shows in clubs and venues, as well as organising exhibitions, and eventually setting up a shop serving as a platform for alternative fashion in Melbourne. Throughout their active period, the FDC were prolific self―publishers. Print collateral was central to their success as an organisation. Postcards, invites, catalogues, business cards and other ephemera were shared with members and the broader public, promoting their officialdom. Particularly significant was the FDC newsletter, designed by co-founder Robert Pearce, disseminating a manifesto as well as news and events with its members. The newsletters were ad hoc; informal in language and design but expressed the energy and creative spirit of both the FDC community and available technology.

Using the model of the FDC newsletter, the HRD / CF Newsletter is a take―away publication released each week of the exhibition program. Each of the issues is framed around an emerging aspect of the FDC captured in the exhibition ― the archive, the bar, the shop and the office ― with texts, interviews and contributions from local and international practitioners. The ‘HRD / CF Newsletter also includes facsimiles of print ephemera from the FDC archive, which was donated to the RMIT Design Archives in 1998 by co-founder Robert Buckingham. This new newsletter functions as a platform for disseminating ideas about the FDC then, and critical fashion now, allowing for new dialogues to emerge from the legacy of FDC.

Edited by Laura Gardner
Designed by Ziga Testen
Edition of 500

Contributors include: Agniezska Chabros, Annie Wu, Blake Barns/HB Peace, Christopher LG Hill, Clare Wohlnick, Jessie Kiely/Monica's Gallery, Kate Meakin, Matthew Linde, Sasha Geyer, Winnie Ha Mitford, Bryan Collins, D&K (Ricarda Bigolin and Nella Themelios), James Deutsher, Lewis Fidock, Brighid Fitzgerald, Amanda Horowitz, Chantal Kirby, Jessie Kiely and Monica’s Gallery (Spencer Lai and Jake Swinson), Christopher LG Hill, Matthew Linde, Kate Meakin, Olivia O’Donnell, Yair Oelbaum, Virginia Overell, Sean Peoples, Joshua Petherick, Jen Shear, Flannery Silva, Adele Varcoe, Alex Vivian and more.

File under: Adele Varcoe Amanda Horowitz Annie Wu Blake Barns Brighid Fitzgerald Bryan Collins Chantal Kirby Christopher LG Hill Clare Wöhlnick Flannery Silva H.B. Peace James Deutsher Jen Shear Jessie Kiely Joshua Petherick Kate Meakin Lewis Fidock Matthew Linde Monica's Gallery Olivia O’Donnell Sasha Geyer Sean Peoples Spencer Lai Virginia Overell Winnie Ha Mitford Yair Oelbaum Agnieszka Chabros D & K Jake Swinson Mode and Mode / Melbourne Art Australian Art Fashion Periodicals Theory / Essay

Hans Ulrich Obrist
Conversations in Mexico

2016, English
Hardcover (w. dust jacket), 352 pages, 28.7 x 20 cm
Published by Fundación Alumnos47Cosentino / Mexico City

$50.00 - Out of stock

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Edited by Karen Marta. Text by Patrick Charpenel, Hans Ulrich Obrist, Pedro Ramírez Vázquez, Teodoro González de León, Graciela Iturbide, Esquivel!, Santiago Genovés, Carlos Fuentes, Margo Glantz, Elena Poniatowska, Alejandro Jodorowsky, Leonora Carrington, Felipe Ehrenberg, Pedro Friedeberg, Juan Soriano and Eduardo Terrazas

In 2002 Hans Ulrich Obrist began his conversation with a diverse and influential group of Mexican pioneers during an exhibition at Luis Barragán's house in Mexico City. Over a decade in the making, Conversations in Mexico beautifully captures how the Mexican cultural scene has pivoted several times--perhaps most importantly around the student protests at the 1968 Olympic Games--to cultivate a wholly radical and innovative aesthetic, one that is illuminated in the iconic buildings of Pedro Ramírez Vázquez and Teodoro González de León; the people and landscapes photographed by Graciela Iturbide; the music of Esquivel!; the incredible voyages of Santiago Genovés; the utopian politics and literature of Carlos Fuentes, Margo Glantz and Elena Poniatowska; the singular vision of Alejandro Jodorowsky; and the uncompromising art of Leonora Carrington, Felipe Ehrenberg, Pedro Friedeberg, Juan Soriano and Eduardo Terrazas.

Published by Fundación Alumnos47Cosentino, Mexico City

File under: Alejandro Jodorowsky Eduardo Terrazas Felipe Ehrenberg Graciela Iturbide Juan Soriano Leonora Carrington Pedro Friedeberg Pedro Ramírez Vázquez Teodoro González de León Luis Barragán Hans Ulrich Obrist Fundación Alumnos47Cosentino / Mexico City Architecture / Interior Art Film / Video Performance / Dance / Theater Photography Sound / Music Theory / Essay

Jimmie Durham
Waiting To Be Interrupted. Selected Writings 1993 - 2012

2014, English
Softcover, 372 pages, 21 x 15 cm
Published by M HKA / Antwerp Mousse Publishing / Milan Walther König / Köln

$45.00 - Out of stock

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Jimmie Durham, artist, poet and political activist, has been one of the most influential figures of recent decades.

This volume of writings comprise a selection of essays and conferences on art and society, critical reflections on ‘Eurasia’, the history of US-American Indian relations, and observations on the city and nature.

A recurrent theme is his interrogation of the ideological complicity between monumental architecture and scripture – ‘architexture’ – as the foundation of Eurocentric belief and tool of others’ disenfranchisement.

Here, words, like the stones and motley materials he gathers for his assemblages, are remobilised otherwise; they become agents for ‘interrupting’ received ideas through writings that both disturb and delight, but never cease to provoke questions about the forces that shape our world.

Jimmie Durham is a rare and liberating voice in the architextural wilderness of contemporary life.

File under: Jimmie Durham Jimmie Durham M HKA / Antwerp Mousse Publishing / Milan Walther König / Köln Art Fiction / Poetry Poetry Theory / Essay

Mike Kelley
Educational Complex (Afterall Books: One Work)

2015, English
Softcover, 120 pages, 15 x 21.6 cm
Published by Afterall / London The MIT Press / Massachusetts

$40.00 - Out of stock

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One of the most influential artists of our time, Mike Kelley (1954–2012) produced a body of innovative work mining American popular culture as well as modernist and postmodernist art—relentless examinations of subjectivity and of society that are both sinister and ecstatic. With a wide range of media, Kelley’s work explores themes as varied as post-punk politics, religious systems, social class, and repressed memory. Using architectural models to represent schools he attended, his 1995 work,Educational Complex, presents forgotten spaces as frames for private trauma, real or imagined. The work’s implications are at once miniature and massive. In this book, John Miller offers an illustrated examination of this milestone work that marked a significant change in Kelley’s practice.

A “complex” can mean an architectural configuration, a psychological syndrome, or a political apparatus, and Miller approaches Educational Complex through corresponding lines of inquiry, considering the making of the work, examining it in terms of education and trauma (sexual or otherwise), and investigating how it tests the ideological horizon of art as an institution. Miller shows that in Educational Complex, Kelley expands his political and aesthetic focus, including not only such artifacts as generic forms of architecture but (inspired by the infamous McMartin Preschool case) popular fantasies associated with ritual sex abuse and false memory syndrome. Through this archaeology of the contemporary, Miller argues, Kelley examines the mandate for education and the liberal democratic premises underpinning it.

Author John Miller, Professor of Professional Practice in the Department of Art History at Barnard College, is an artist and critic whose work has been exhibited internationally. He was Mike Kelley’s friend and colleague from 1978 until Kelley’s death in 2012.

File under: John Miller Mike Kelley John Miller Afterall / London The MIT Press / Massachusetts Art Sculpture / Installation Theory / Essay

Forms of Education: Couldn't Get a Sense of It

2017, English
Softcover, 448 pages, 14.5 x 20 cm
Published by INCA Press / Seattle

$40.00 - Out of stock

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"Three years ago, during a talk at a university, a student asked me, “What is the relationship between your work and your teaching?” I realized then that there was none. I might teach experimental forms and aesthetic vernaculars, but the way I taught it looked like any other art class from Mumbai to New York, part of that dominant sameness that is global art education. Also, my work happens neither in the studio nor through “research”, but in ways that I could not quite name back then. I usually would describe it, and sometimes still do, as “looking like ethnography from the outside” with important differences in purpose and method, observational, and then, Boalian or rooted in experimental histories of theater and film. It struck me that I could not teach all of this, in practice and in a way that encompassed all the surprise, boredom, hesitation, fear, improvisation and pleasure that the process can produce. I resolved to change the form and spirit of what and how I taught."

-Beatriz Santiago Munoz excerpt from her text The Third Teacher.

With texts, essays, and art by:
Gregory Sholette, Eunsong Kim, Pablo Helguera, Duba Sambolec, MFA no MFA, Shelly Asquith, Roee Rosen, Aurora Harris, Ted Heibert, Mohamed Ali Fadlabi, Beatriz Santiago Muñoz, Marjetica Potrč, Escuela de Garaje, Vancouver Institute for Social Research, Judy Chicago, Bisan Hussam Abu-Eisheh, Diego Bruno, Clare Butcher, Chus Martinez, Sezgin Boynik, Audun Mortensen, Aeron Bergman & Alejandra Salinas, Irena Boric, Sondra Perry & Nicole Maloof, Robert Paul Wolff, Chris Kraus, Martha Rosler, Tadej Pogačar, and Walid Raad.

Editors: Aeron Bergman, Alejandra Salinas, Irena Borić
Advisor: Gregory Laynor
Copy-editing: Justen Waterhouse

Design by: Rafaela Dražić

File under: Audun Mortensen Aurora Harris Beatriz Santiago Muñoz Bisan Hussam Abu-Eisheh Chris Kraus Chus Martínez Clare Butcher Diego Bruno Duba Sambolec Escuela de Garaje Eunsong Kim Gregory Sholette Irena Boric Judy Chicago Marjetica Potrč Martha Rosler Mohamed Ali Fadlabi Pablo Helguera Robert Paul Wolff Roee Rosen Sezgin Boynik Shelly Asquith Tadej Pogacar Ted Heibert Vancouver Institute for Social Research Walid Raad Nicole Maloof Sondra Perry Aeron Bergman Alejandra Salinas INCA Press / Seattle Art Theory / Essay

Art Handling in Oblivion
A Catalogue about Conspiracy, Theft, Possession and Heritage. (by Rob van Leijsen)

2017, English
Softcover, 384 pages, 14.5 x 20 cm
Published by Edition Fink / Zürich

$27.00 - Out of stock

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A Catalogue about Conspiracy, Theft, Possession and Heritage.

Art Handling in Oblivion assembles five art collections that have been stolen during key historical events, either by regimes or organised individuals. Seizure of art is one of most hidden and underestimated objectives of war. Behind conquering campaigns lurk hidden stories of deprived cultural heritage and devastation of the enemy's cultural identity. Bringing home the enemy's treasures is first of all a tangible proof of victory. The booty entails an enrichment of the very own culture and shifts the composition of cultural heritage on a global scale. Some of the discussed collections have been found and restituted, others are still in hostile possession or missing.

Art Handling in Oblivion is published as Volume 1 (# 501) of the paperback series "fink twice" by Edition Fink, originally presented by Rob van Leijsen as his master thesis for the Spaces & Communication course at HEAD – Genève in 2012.

File under: Rob van Leijsen Edition Fink / Zürich Art Theory / Essay

Spike #51
Spring 2017 "Can Art Help?"

2017, English / German
Softcover, 180 pages, 21.7 x 28 cm
Published by Spike / Berlin

$20.00 - Out of stock

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Spike #51 raises the question of the social role of art, and many more, with: Grzegorz Kowalski; Bob Flanagan's Visiting Hours; Angela Bulloch on Damien Hirst; Cyprien Gaillard's Desniansky Raion; a roundtable with Chus Martínez, Michaela Meise and Dieter Lesage; Dorothea Von Hantelmann; Kenny Schachter; Daniel Baumann; the portraits of Dorothy Iannone, Tetsumi Kudo, and Marie Angeletti; an interview with Josef Strau; an essay by Jan Verwoert; the TV series The Crown; Andrew Berardini on Jimmie Durham's retrospective in LA…

The power of art and its social role are the subjects of a roundtable discussion with curator Chus Martínez, artist Michaela Meise and philosopher Dieter Lesage at Spike Berlin. Josef Strau talks about how art saved him, while Kenny Schachter finds it both a remedy and a defence. Daniel Baumann delves into the promise of form, and for the critic Jan Verwoert a key function of art is that it teaches forms of conduct. Profiles on the painter Dorothy Iannone and her connections to Fluxus, and the Japanese artist Tetsumi Kudo and his “philosophy of impotence”, are joined by pieces taking on the decline of the supermodel, the Netflix series The Crown, Jimmie Durham's retrospective at the Hammer Museum, and much more.

Founded by the artist Rita Vitorelli in 2004, Spike Art Quarterly is a quarterly magazine on contemporary art published in English and German which aims at sustaining a vigorous, independent, and meaningful art criticism. At the heart of each issue are feature essays by leading critics and curators on artists making work that plays a significant role in current debates. Situated between art theory and practice and ranging far beyond its editorial base in Vienna and Berlin, Spike is both rigorously academic and stylishly essayistic. Spike's renowned pool of contributing writers, artists, collectors and gallerists observe and reflect on contemporary art and analyse international developments in contemporary culture, offering its readers both intimacy and immediacy through an unusually open editorial approach that is not afraid of controversy and provocation.

File under: Bob Flanagan Cyprien Gaillard Damien Hirst Dorothy Iannone Grzegorz Kowalski Jimmie Durham Josef Strau Marie Angeletti Michaela Meise Tetsumi Kudo Andrew Berardini Angela Bulloch Chus Martínez Daniel Baumann Dieter Lesage Dorothea von Hantelmann Jan Verwoert Kenny Schachter Spike / Berlin Art Film / Video Performance / Dance / Theater Periodicals Photography Theory / Essay

Mousse 58
Learning from Athens : An Issue about documenta 14. April-May 2017

2017, English / Italian
Softcover, 296 pages, 24 x 35 cm
Published by Mousse Publishing / Milan

$18.00 - Out of stock

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This issue dedicated to documenta 14 addresses themes, artists, and projects spanning between Athens and Kassel. Including: Moyra Davey by Quinn Latimer; Vivian Suter & Elisabeth Sussman; Roee Rosen; “Preliminary notes for a Black manifesto” by Rasheed Araeen; Khvay Samnang “; The Globalised Museum?” by Bonaventure Soh Bejeng Ndikung; articles by Kirsty Bell, Irena Haiduk, Pierre Bal-Blanc, Neni Panourgiá, Dieter Roelstraete, and more.

Mousse is a bimonthly magazine published in Italian and English. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format. Mousse keeps tabs on international trends in contemporary culture thanks to its city editors in major art capitals such as Berlin, New York, London, Paris, and Los Angeles.
Mousse (Mousse Publishing) is also publisher of catalogues, essays and curatorial projects, artist books and editions.

File under: Geoffrey Farmer Irena Haiduk Khvay Samnang Moyra Davey Rasheed Araeen Roee Rosen Vivian Suter Bonaventure Soh Bejeng Ndikung Dieter Roelstraete Elisabeth Sussman Kirsty Bell Neni Panourgiá Pierre Bal-Blanc Quinn Latimer Mousse Publishing / Milan Art Curatorial Film / Video Performance / Dance / Theater Periodicals Photography Theory / Essay