Bending and fusing different genres of music, Al Qadiri has released a handful of largely instrumental albums that often imply narratives wrapped in a dystopian atmosphere, evoking an uncanny imagery of our increasingly oversaturated and disorienting information age. It is a simple yet complicated sound that owes as much to electronic music and video game soundtracks as it does to Russian composers and Arab musical traditions.

Edmund de Waal is a potter. His pots, plates, and vessels are the result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained.

This book is a collection of drawings, poems & texts on the subject of Martian Gardening. (Engl.)

The John Huston film Freud the Secret Passion (1962) presented the discovery of psychoanalysis as a detective story in which Sigmund Freud, played by Montgomery Clift, descends into the darkest depths of the psyche. (Engl.)

Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book. Spanning the beginning of his “career” as a young curator in his Zurich kitchen to his time most recently as the Co-Director of Exhibitions and Programs, and Director of International Projects at the Serpentine Gallery in London, the book is a “production of reality conversations.” It undertakes the impossible: pinning down this peripatetic curator, attempting to map his psychogeography so that silences may be transcribed. In a sense, it organizes a “protest against forgetting” and affirms the sagacity of an artist who told this dontstop curator “don’t go” when he “contemplated leaving the art world” for other fields—“to go beyond the fear of pooling knowledge”—in lieu of bringing other fields into the (then) hermetic art world.

Smoke Screen is a subjective exploration into the condition of digital screenship.

In the spring of 2007, in New York, as part of an exhibition organized by Gavin Brown's enterprise, Nick Mauss and Ken Okiishi produced One Season in Hell, an installation whose point of departure was Arthur Rimbaud’s famous extended poem Une saison en enfer.

Ähnlich Paul McCarthys berühmten »Trunks«, die ab 1982 mit den Props seiner Performances gefüllt wurden, sind die »Three Boxes« konzipiert, die Videofilme aus den Jahren 1970-75 enthalten und als geschlossene, aufeinander gestapelte Kisten ausgestellt werden. Ihr Inhalt wird in der vorliegenden Publikation erstmals und einzigartig öffentlich gemacht und dokumentiert.

In Playground Land has tried to create a scene of being trapped in an insubstantial reality.

"The photographs taken by Georg Philipp Pezold document the etsate of an Austrian family that was driven from Vienna in 1938. After theiremigration to Paris the tax authorities sold a large part of the possessions left behind by the journalist Berta Zuckerkandl, her son, her daughter-in-law and her grandson Emile. The four of them were able to escape from France to North Africa." (Forward: Ruth Pleyer)

Pamphlet on art and etiquette published by Paper Monument, with contributions from 38 artists, critics, curators, and dealers on the sometimes serious and sometimes ridiculous topic of manners in the art world.

Rules of Hypergraphy was an investigation into the concept of hypergraphy through an exhibition, a publication, a typeface, a workshop and an evening of performances.

The playful principles of the competition are supported by a text by Ian Borden (architectural historian) about how skateboarders adopt urban environments as concrete playground, and a chapter from Jocko Weylands The Answer is Never on the rise of skateboard culture in the eighties.

Margaret Salmon (1975, New York, USA) creates stylized portraits that weave together poetry and documentary.

OCA launched its autumn/winter 2009 semesterplan with the presentation of Sol LeWitt's 'Sentences on Conceptual Art.

Das Buch zur Ausstellung RADICAL BUSTS von Marianne Maderna.

arts for living takes a close look at the abrons arts center, a community art facility in the lower east side, as a case study for an architecture designed to address issues of public space and community life.

Sound Pages is a publishing project that shows how the complexity of John Cage’s thought, but also its disarming simplicity, added "beauty" to the printed page to prevent sound space from dissipating at the moment the sound is interrupted and fixing in time its translation into visual space.

Begleitheft zur Ausstellung von Ezara Spangl, Josef Zekoff & Rainer Spangl (21.11.2013) im Ausstellungsraum Mauve, 1090 Wien.

Zin Taylor has become known internationally for his elaborate installations encompassing elements of performance and sculpture along with drawing, printing, and video.

The following collection of accounts, transcriptions, and approximations are all connected in one way or another to a particular area of Zagreb. These stories introduce characters and settings that you might find there.

Thinking about it takes a reprint of Alfred North Whitehead’s “Objects & Subjects” as the point of departure for five essays and an artist contribution by Audrey Cottin. It is a delicate, pocket-sized book that travels easily and is meant to stimulate free-form contemplation over hard analysis. There are two main questions the readers can bring to the book: they can wonder about new potentials and needs for thinking about subject-object relations in art, or they can ask what it is that sets artistic thinking apart from other types of cognitive engagements with the world.
Seven contributors bring six perspectives: Janine Armin pauses on how thinking in art may transpose the self; Brian G. Henning analyzes Whitehead’s proposition; Larissa Harris and Ajay Kurian talk about ontological turns; Jonas Zakaitis tries out a spam stream of consciousness; and Sarah Demeuse & Manuela Moscoso envision contemporary artistic thinking as a shifting, untimely grid; Audrey Cottin shares visual research materials from her ongoing project, O.perating T.heatre.
This book project is edited by the curatorial office Rivet and is the fourth iteration of Quarter System an exhibition organized at the University Museum in Pamplona, Spain in spring 2013.

Sam Thorne’s School: A Recent History of Self-Organized Art Education is a chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000.

Although the short-lived Brazilian cultural movement known as Tropicália is most commonly associated with music and the visual arts, its sense of playfulness and strategies of appropriation have stimulated many of the country’s filmmakers from the 1960s to the present.

This text recalls the origins of his taste for the book form, through an auto-biographical account of Oscar Tuazon parent's book-bindery and a further reflection on his sculptural work.

By way of word games and schematics, Anna M. Szaflarski searches for the ‘emergent properties’ that materialize between texts.

Following Everything You Always Wanted to Know About Curating But Were Afraid to Ask, this second volume in the series on international curator Hans Ulrich Obrist presents a selection of his key writings from the past two decades, which elaborate on the manifold thinkers, curators, and events that influence his interdisciplinary practice of exhibition making.

This is the dissertation I wrote and designed in the course of my MA at Central Saint Martins College in London – it deals with the relationship between content and form in literature, specifically in contemporary novels whose authors employ visual clues in order to tell a story.

In Douglas Coupland's writing, the doldrums of a world afflicted by the pains of dotcom booms and busts, the ascendency of subcultures to pop cultures, and the subsequent struggle for identity are counterbalanced by droll, personal, and incisive analyses. This collection of nonfiction essays provides an illuminating meander through what we call culture today.

The first six dialogues are the result of a transcription of a recording which took place on September 28th, 2005. The authors have attempted to maintain the confabulatory character of the dialogues, making as few changes as possible. (Engl.)

Can we speak of composition when we are in a state of unfathomable decomposition?

An incomplete guide for life. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold.

Limited edition, hand-numbered of a booklet that analyzes the cultural and social relevance of graffiti in Tokyo.

Die vorliegende Publikation gibt erstmals einen umfassenden Überblick über das Werk des in London lebenden Tessiner Künstlers Andrea Crociani. Sie erscheint zu seiner Einzelausstellung aus Anlass der Verleihung des Manor-Kunstpreises 2004 des Kantons Tessin im Museo Cantonale d’Arte in Lugano.

This small text book contains 37 provocative graphic design assignments from the famed Gerrit Rietveld Academy in Amsterdam.

Das Schaffen von Joan Jonas situiert sich am Schmelzpunkt von Performance, Video, Zeichnung und Installation. Ihr Werk ist ein seit 1968 beständig anwachsender Komplex zu Fragen von Identität, transkulturellem Austausch und narrativen Strategien.

Is the relationship between commerce and creative youth culture really improving or is it merely another marketing trick?

“Technically, everything you read in this book is true...”

"Is it possible to make something beautiful for everybody?
Should I compromise?
What are the things I can't compromise on?"

In the fall of 2013, Dan Graham and Mieko Meguro traveled with Donatien Grau to a town in the French Alps to meet Michel Butor, one of the foremost innovators of postwar literature. This is their conversation.

Grapus ist ein französisches Grafikdesign-Kollektiv, das sich unmittelbar nach der Studenten- revolte im Mai 1968 in Paris gründete. Die Gruppe verstand das Leben als ein Experimentierfeld, in dem neue politische, soziale und kulturelle Debatten durch grafische Umsetzungen in der Öffentlichkeit diskutiert werden konnten.

What does it mean to do something for free versus asking a lot? How much can we ask?

In cooperation with the Academy of Fine Arts and the University of Applied Arts, the Kunsthalle Wien Prize is awarded for outstanding final projects at the two universities of art in Vienna.

Visueller Jazz. Einige Bemerkungen über die gemeinsame Arbeit an Künstlerbüchern z.B.

Available for the first time on DVD, Steve Reinke’s The Hundred Videos covers the artist’s highly varied output between 1989 and 1996.

These 20 Openings for a Novel are Creative Commons (CC) license and thus free of use. Please notify the artist if you actually use them and make note of it in the credits.
Thank you and enjoy – for a world with no more writers‘ block.

The poetic travelogue A Sixth Part of the World and the "visual symphony" The Eleventh Year mark the beginning of Dziga Vertov's most creative period, which peaked in the canonical film Man with the Movie Camera.
(Russ./Germ./Engl.)
(Subtitles Germ./Engl)

In 2008, Jamie Hilder, a Vancouver artist and critic became a "Downtown Ambassador" to make downtown public space more accommodating for commercial needs. Hilder soon quit the program and kept his uniform so he could assist people downtown in ways more to his liking, giving tourists information that the Business Improvement Association wouldn't want them to have and civic policies aimed at removing visible poverty from the downtown core.

Alison Knowles ist Gründungsmitglied der New Yorker Fluxus-Gruppe und seit den inauguralen Fluxuskonzerten von 1962 an deren Aktionen und Ausstellungen beteiligt.

A witty and elegant visual exchange around the uses and functions of chairs doubles as an excuse to address a number of the artists’ interests and working methodologies.

An essay on the forms or purposes of writing, books and libraries.

The film on this DVD explores the artist's experience of watching the attacks on the Twin Towers happen from his apartment window in New York.

Bowers and Opie reveal the many similarities in their backgrounds and discuss ideas concerning documentary methodologies and community based work. The conversation spans many of the topics they regard central to their practices and responsibilities as artists, from memories and community, to activism, documentary, feminism, war, and environmentalism.

Addressing a perceived gap in existing literature on the subject, the series focuses on three broad strands: the issue of temporality, the role of contemporary media and computational technologies, and how artistic practice makes epistemic claims.

The contemporary moment is comprised of many overlapping speeds, rhythms, and periods of time.

In the media theatre of contemporary culture, a drama unfolds: While the human sense of “the present” is challenged by the immediacy of analog signal transmission and the delays of digital data processing, a different (non-)sense of time unfolds within technologies themselves.

It is said that we know more about far-away galaxies than we do about the bottom of the oceans on earth.

Three interconnected palimpsest essays.

An endless bunk bed, resembling a stack of single beds. - Dimensions are reduced to child size. - Furnishings are identical. - Mattresses and duvets are covered with - white sheets.

Reviewing several bodies of work the two artists expose their working strategies, interests and inspirations. The conversation ranges from, among other topics, climate changes to personal ads, from Seth Siegelaub’s “Artist’s Contract” to Duchamp’s “Monte Carlo Bond,” and from the machinations of capital to American game shows