This book is not a proper catalogue raisonné, but rather an invitation to browse the library of an amateur. It allows us to consider an important aspect of Richard Prince’s work,

Stijn van der Linden's photobook is an exploration of how spaces become spaces and how photography can influence this process, presenting a scientifically detailed, in-depth analysis of an urban feature seen in every city: the concave corner.

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,

“Casa Azul” (Blue House) is part of a socio-visual developed with the sociologist research Chloé Constant, about the life histories of five trans women imprisoned in a male penitentiary in Mexico City. Nr. 302/460, Nr. 277/460

Felicity is an Australian sound artist, composer and educator based in Berlin and her latest effort "Train Tracks Recorded And Edited By Felicity Mangan" will be out world wide on tape and digital December 9.

arbitrary presents the third in the “Black Box” series of releases by Mads Emil Nielsen. The release, which showcases a more sample and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

Over the years 1919–20, the celebrated medical scientist and doctor Carl Julius Salomonsen began giving public lectures and publishing pamphlets regarding a new “epidemic” that had begun to affect the European populace: the increasing ubiquity of modernist art.

First publication to document the use and potential of Decentralised Autonomous Organisations in the arts that use blockchain technology and build on NFT innovations. Decentralised Autonomous Organisations (DAOs) offer unique tools for translocal peers to encode rules, relations and values into their joint ventures using blockchain technology.

“Where Do You Draw The Line Between Art and Politics?” consists of a series of interviews with individuals who have been active in various capacities at the intersection of art and politics.

“Urban Kitsch”, originally written in 1996, explores the forms of vernacular visual culture that emerged in the city of Baroda following the liberalization of the Indian economy. Plastic toys, celebrity mud flaps, and postmodern architecture collide into a new formal category—both celebrated and derided—as Praneet Soi traverses the city on his trusted Yamaha RX 100.

An account of an album about Albania by British experimental musicians made in the eighties.

Der Medienkünstler, Schauspieler, Theoretiker, Musiker und Museumsleiter Peter Weibel der in den 1960er- und 1970er-Jahren zu den österreichischen „Rebellen“ zählte, wurde in diesem Jahr für sein künstlerisches Gesamtwerk mit dem Oskar-Kokoschka-Preis 2014 ausgezeichnet.

With contributions by Richard Artschwager, Jo Baer, Stanley Brown, Jenny Holzer, On Kawara, Sherrie Levine, Ad Reinhardt, Gerhard Richter, Robert Ryman, Rosemarie Trockel and Andy Warhol which were shown in this context once again made it overly clear how radically the definition of the concept 'picture' has changed in this century. Erschienen anlässlich der Ausstellung - Das Bild nach dem letzten Bild in der Galerie Metropol, Wien. Mit Beiträgen folgender Künstler / innen: Jean Christophe Ammann, Hubert Damisch, Jenny Holzer, On Kawarar, Gerhard Richter, Rosemarie Trockel und Andy Warhol u.a. Texte in Deutsch und Englisch.

Standing on top of a building: film 2008-2019 is liam gillick's first publication dedicated to his video-film production. eight works, created from 2008 to today, together with a selection of the artist's sculptural production, on display at the mother museum in Naples curated by alberto salvadori and andrea viliani: the most 'intimate' elements of his artistic research - film for the most conceived in his home-studio in New York where inspiration takes concrete form - original scripts with notes and images, as well as site specific installation views. Since the early 1990s, Gillick has been creating installations, sculptures, films, digital animations and sound works, stitched together from an intense critical and theoretical production, between the political-social dimension and the personal sphere. questions the parameters of the fruition of art and the interdependence between the economy, art and institutions, inviting the viewer to participate in the generation of meaning. to highlight how the critical potential and utopian ambitions of avant-garde movements risk being absorbed and neutralized by the structures of contemporary entertainment, communication, urban furniture and corporate culture.

"The textual whole forms that empty space in which the eyes can both rest and open to see the unexpected."
With Martina Steckholzer painting is documentary, deconstructive and poetic. In large-format room images, she looks at exhibition architecture and

Seit den 1960er-Jahren haben Künstler verstärkt begonnen, die Bedingungen der Entstehung von Kunst - Produktion, Präsentation und Rezeption - in den Blick zu nehmen. Mit Minimal Art, Institutionskritik und Kontextkunst hat sich eine ambivalente Haltung gegenüber dem Objekt entwickelt.

Ein Ausnahmekünstler gibt sich die Ehre: Der großartige Jannis Kounellis stellt aus, und der Rahmen könnte angemessener nicht sein. In der Monnaie de Paris, der alten Börse von Paris, ist in einem furiosen Streich ein begehbares Gesamtkunstwerk in situ' entstanden, das den Pionier der Arte povera angemessen würdigt.

Anlässlich des 70. Geburttages von Günter Brus veranstaltete das BRUSEUM der Neuen Galerie Graz am Landesmuseum Joanneum 2008 "Ein Fest für Günter Brus", das aus einem Symposium mit internationalen Referenten und Referentinnen,

The oceans are rising. On the rise are the metrics of accelerated human activities: sea level, water temperature, acidity, algal blooms, and the depletion of fish communities and marine life. The loss of abundance and diversity has devastating effects on the services the oceans render to the earth, exhausting their unrecognized labor of

With 2 to 3 issues a year, the members of the team publish their magazine around their personal encounters and artistic interests. Each issue present around fifteen contributions, in both texts and images. Artists, writers, scientists and specialists in all kind of fields are invited to contribute and intervene in a sober and efficient layout already acknowledged by the London Design Museum in its exhibition Best European Design 2005.

Der Kurator Harald Szeemann (1933–2005) war eine Schlüsselfigur der Kunstszene des 20. Jahrhunderts. Anarchisch, hellsichtig, traumwandlerisch und Grenzen sprengend leitete er sowohl Institutionen wie die Kunsthalle Bern (1961–1969), wie er auch freie Ausstellungen zusammenstellte und die Rolle des Kurators neu erfand.

In Fischerspooner's new project, two things remain constant: the physical space--Casey Spooner's apartment--and the cast--the artists

Noa the Boa is a slave to fashion with the heart of an actor and an obsession with celebrity. He becomes luxurious leather accessories for illustrious clients - from Grace Kelly\ s pillow to the codpieces at the Folies Bergere.&Uumlber den Autor.

Based on intuition, humor and affection, Jeremy Deller (London, 1966) has explored the ethos of the popular in English culture, that is, the manifestations of social imagination within the framework of a post-industrial capitalist society. .

The publication is developed as a reflection on books as archives of touch. Visiting our local public library, the Philipp Schaeffer Bibliothek in Berlin, we checked out a selection of books that caught our attention. Bringing them home, we took photographs of handling and reading the books, which we then printed out and inserted back into the books. Following this, we returned books to the library with these hidden pages added.

The photographs that are included in this book form part of the archive of the photographer Alberto Flores Varela. The majority were taken

C21ST RECENT HISTORY: Handmade in an edition of 100, B&W digital and four-colour riso plates on Munken Pure smooth 120gsm paper, Stardream Metallic SILVER 120gsm, Xerox Bright White coated 170gsm with matt black foil debossed Fedrigoni Ultra Black 185gsm boards; pearl Plastikoils binding;

Sarah Dobai’s The Donkey Field weaves a link between a racist attack in on a young boy and the story of the persecution of Marie and Balthazar in the acclaimed film Au Hasard Balthazar (Robert Bresson, 1966).

»Von wunderbarer Klarheit« – mit diesen Worten beschrieb Friedrich Simony die Aussicht vom Gipfel des Dachsteins im Jahr 1847. Diesen Pionier der Alpenforschung und Geografie faszinierte

Während sie Damwild in einem Gebiet verfolgt, in dem früher Tagebau betrieben wurde, entdeckt Kat Dogtok ein Zickzack-Symbol, das mit einer schmalen Stiftspitze in einer dunklen Unterführung für Wildtiere geschrieben wurde. Die anschließenden unheimlichen Begegnungen und der zeitliche sowie räumliche Zauber, den dieses Zeichen ausstrahlt, sind so beeindruckend, dass Dogtok ihnen nicht mehr entkommen kann. Was oder wer steckt hinter den Zickzack-Markierungen?

Rab-Rab Press announces the publication of “Free Jazz Communism“, a new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962.

A collective effort from a vital scene in Kampala, KIKOMMANDO takes its name from Ugandan street food of flat bread and beans.

he first monograph by the Taiwanese artist Chen Chieh-jen (*1960 Taoyuan, Taiwan) appears in the Secession's publication series. The book, designed applying various shades of black, includes the artist’s introduction to his recently completed film Worn Away (2022–23), which is presented at the Secession, sketches and handwritten notes, as well as a selection of video stills. In his essay, Jon Solomon, professor of sinology in Lyon and Paris and a proven expert on the work of Chen Chieh-jen, provides an interesting background analysis to the new film, among other things. Each book contains a paper bookmark printed with the image of a disposable RFID wristband, which plays a key role in the film. The artist has also hand-stamped the Chinese film title on each bookmark.

Selbstinszenierung, Selbstentblößung, Selbstauslöschung – das sind die Themen, die Michaela Moscouw (*1961) über drei Jahrzehnte kompromisslos, exzessiv und einprägsam bearbeitete. Bis Anfang der 1980er-Jahre malte die Wiener Künstlerin abstrakte Bilder, dann zerstörte sie ihr gesamtes Werk und filmte sich dabei. Damit wechselte sie das Medium und verwendete

What happens to curatorial practices when treated as multi-voiced, pluralistic, and process-based? Politics of Curatorship: Collective and Affective Interventions asks what curatorship could be when it is freed from its elitist notions.

Supplement 7 traces Joar Nango's artistic process, mapping the development of his temporary installation and sculpture Uncle Doug’s Fishing Shack presented at Plug In ICA (Winnipeg) in 2019 as part of Stages. The publication features an interview between Nango and Indigenous architect David Thomas about an abandoned military barracks’ transformation into Canada’s largest urban reserve.

A multifaceted play with language and meaning can be grasped in their work and exhibition titles. In their practice, they have been working against the grain of some of the art world’s conventions, from medium specificity to questions of branding and commodification.

Los Angeles Studio Conversations ist der vierte Band einer laufenden Interviewserie, die 2013 von der Kunsthistorikerin Stephanie Buhmann in New York ins Leben gerufen wurde. Mit bislang siebzig bis publizierten Gesprächen zielt dieses Projekt darauf ab, ein permanentes und wachsendes Forum für internationale zeitgenössische Künstlerinnen zu schaffen.
Los Angeles Studio Conversations stellt die folgenden Künstlerinnen vor: Lita Albuquerque, Sarah Cain, Andrea Fraser, Liza Lou, Shana Lutker, Kristen Morgin, Catherine Opie, Silke Otto-Knapp, Monique Prieto, Alison Saar, Analia Saban, Fran Siegel, Lisa C. Soto, Despina Stokou, und Diana Thater.

The book is the outcome of research on the themes of sex, sexuality and performativity which started in summer 2019 and was concluded in autumn 2021. The investigation starts from a curatorial perspective, situated in the field of contemporary Italian visual and performing arts, and evolves by absorbing contents from a variety of disciplines (philosophy, literature, history and pornography). The research is based on the firm conviction – here turned into a method – that a critical theory able to go beyond the disciplinary compartments of knowledge is an important practical tool for facing the political challenges of our contemporary world.

X is an annual magazine focusing on visual culture and experimental literature: a collective artwork, a material flow of reality that eludes any prediction. X freezes on paper the power of contemporary art and writing, welcoming with joy the delirum of participating in such pursuits. Pain, battles, sequences of errors, vanished memories and unwanted prophecies; X is born because we can still be against everything and also against ourselves.

How does clothing 'work' socially? Combines images and notes by the artist with sources of inspiration from film, art, literature and philosophy

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of

Inside this box is a book that holds thirteen letters written between 2019 and 2022 by the artist Yamine Elmelegy to the sculptor and industrialist Fathy Mahmoud (1918-1982). Yasmine never met Fathy Mahmoud but started writing

Gehfotografen, literally “walking photographers”, were active on the streets of cities and tourist destinations across Europe between 1927 and 1935. This type of profession became increasingly popular with the Great Depression, when the 1929 collapse of the New York stock exchange led to an economic crisis throughout Europe. Unemployment and poverty eventually led to a civil war in 1934.

Archive und Depots … und Lager und Halden und Haufen und Bunker und Verliese und Kammern. Der Lockdown hat den Schädlingen – Motten, Schimmelpilzen und Käfern – in den Archiven gutgetan. Die relative Ruhe, Dunkelheit und fehlende Störungen durch Besucher und Mitarbeiter*innen haben seit März perfekte Bedingungen für Larven und erwachsene Tiere gleichermaßen geboten.

This groundbreaking account of postwar American art traces the profound influence of Antonin Artaud. Proposing an original reassessment of art from the 1950s to the 1970s, No More Masterpieces reveals how artistic practice in postwar America was profoundly shaped by the work of the rebellious French poet and dramatist Antonin Artaud (1896–1948).

Plunder the silver crust. Fill the stained valleys. Deeper into the subterranean. The shocks, the rocks, the flash. Echoes of our old faith tearing loose the earth. Photographs from the Wheal Maid Copper Mine, Gwennap, Cornwall, 2023.

Cocoon or Carcass. Past or Future. Building the ruin. This edition pays close attention to the metaphorical structures and cultural crisis in South West Cornwall.

The book ...Umas […Some] begins before I existed. First of all, because of the artist's own connection with the newspaper: Lenora de Barros worked for many years behind the production of magazines and newspapers, artistically thinking the process of some of the main publications that still circulate in Brazil. The newspaper Folha de São Paulo, as it is known today, also has a lot of her touch.

Eine blecherne Taschenlampe mit einer runden Glaslinse und diesem kleinen Schalter, an dem immer wieder der Fingernagel hängenblieb. Eine Farbfilmdose von Agfa, die grobe, altmodische Küchenreibe (ich benutze sie immer noch) und vieles mehr… Dinge.

Zum 100. Geburtstag von Inge Morath in diesem Jahr erscheint in der FOTOHOF>EDITION ein Doppelband von zwei selten gezeigten Fotoserien. Beide Bücher nehmen sich Themen im Werk von Inge Morath an, die nicht zum Mainstream ihrer Arbeit gehören, die aber eine ganz besondere Qualität besitzen.

Thomas Feuerstein hat die Räume der Galerie im Taxispalais Innsbruck in ein zusammenhängendes Ensemble aus Gewächshaus, Laborküche, Kühlraum und Fabrik verwandelt. Schläuche mäandern durch die Ausstellung, sie verbinden Apparaturen und Objekte, aus Algen und Pilzen wird

Lois Weinberger - Debris Field. Publikation, Herausgeber: documenta und Museum Fridericianum GmbH, Kassel 2017, 218 Seiten, ca. 500 Abbildungen, Design: VIER5/Paris, Texte: Harald Stadler, Beatrix Nutz und Lois Weinberger.

BLINDER RAUM is the first major monograph of FRANZ VANA, an artist based in the south of Burgenland. The book offers

Olivier Richon provides a detailed examination of Walker Evans’s now-iconic 1936 photograph Kitchen Corner; in doing so he reveals an unexpected set of visual and literary associations that lie beneath the surface.

View India brings together recent works by Saumya Khandelwal, Selvaprakash Lakshmanan, Ritesh Uttamchandani, Ajit Bhadoriya, Apoorva Guptay, Venkatesh Peevee Perumal, Anoop Ray, Anisha Baid, Nihaal Faizal, Gayatri Ganju, Anushree Fadnavis, Arshad Hakim, Ram Krishna Ranjan, Chinar Shah, Vivek Mariappan, Sl Shanth Kumar, Cheena Kapoor, Vaibhav Bhardwaj and Chandan Gomes.

In Text und Fotografie hinterfragt das Buch von Claire Laude anhand von Beispielen aus zwei Mittelmeerländern, Italien und Griechenland, unsere Beziehung zur Erde und den Begriff der Spuren und ihrer Beständigkeit in der Landschaft. Welche Spuren können die Geschichte und die Aktivitäten der Menschen in einer ländlichen Landschaft hinterlassen?

For the first time, this publication brings together the Mosaic works by the British artist Stephen Willats, which were created in Great Britain and Finland in the 1990s. In these works, Willats uses the medium of the book to enter into an exchange with people and to create a space in neighborhoods, museums, and bookstores where social bonds can be established. It is a collaborative process through which Willats redefines the web of relationships between artist, artwork, audience and society; a process of instituting in which the artwork becomes its own institution.

With contributions by Jamie Allen, Bernhard Garnicnig, Elsa Himmer, Lucie Kolb and Stephen Willats.