185 Blatt S., 28x21,5 cm, Auflage: 1.000, keine weiteren Angaben vorhanden Offsetdruck nach original Fotokopierarbeiten, je Künstler 25 Seiten, First Edition
Siegelaub in einem Interview: The Xerox book - I now would prefer to call it the Photocopy book, so that no one gets the mistaken impression that the project has something to do with Xerox – was perhaps one of the most interesting because it was the first where I proposed a series of requirements for the project, concerning the use of a standard size paper and the amount of pages the container within which the artist was asked to work.
Das Buch ist/war die Ausstellung
14,8x10,5 cm, Auflage: 100, signiert, keine weiteren Angaben vorhanden farbige Postkarte mit handgeschriebenen Text: ...diese Karte ist ein Buch, besser: eine Buchverweigerung
The firth issue went through a redesign. Seems as if it was worth the effort, as Der Greif was honored with the reddot Design Award and the ADC Junior Award Silver. Besides that, the submissions are coming from all over the world. The page number was increased again, Der Greif show photography and poetry now on 84 pages. Altogether, the works of 80 photographers and 14 authors are published in the fourth issue.
Text von der Webseite.
Photobooks - affordable collectibles that are soaring in value - Rare editions now sell for ten of thousands, but collectors on a limited budget can invest in emerging photographers
550 photographers and authors from 41 countries submitted their works for the fifth issue. Responsive to the increased number and especially the outstanding quality of the submissions, the page number has now reached 100. In an exciting and intense curation and editing process, the works of 107 photographers and 22 authors were chosen and put into new combinations.
Text von der Webseite.
Was ist DER GREIF?
DER GREIF kuratiert Fotografien und Texte aus aller Welt. Jeder kann Arbeiten einreichen.
DER GREIF ist mobile Galerie und gleichzeitig Forum für die ausstellenden Künstler.
DER GREIF ist thematisch frei. Er lebt von der Kombination der eingesendeten Arbeiten.
DER GREIF steht einem Buch näher als einem herkömmlichen Magazin. Die Spannung der inszenierten Arbeiten wird nicht durch Werbung unterbrochen.
DER GREIF bildet und und konserviert eine zeitgenössische Vorstellung von Fotografie, Literatur und Ästhetik.
DER GREIF ist ein Experiment…
Wie funktioniert der Greif?
Fotografen und Autoren aus allen Teilen der Welt reichen über ein Upload-Formular auf der Magazin-Website bis zu 10 Arbeiten ein. Die Redaktion kuratiert die Einsendungen, kombiniert sie miteinander und stellt daraus neue Bild- und Textkompositionen zusammen. Demnach ist DER GREIF kein Portfolio-Magazin, sondern findet seinen Inhalt aus einer Fülle künstlerischer Arbeiten. Er lebt vom Vertrauen der Künstler in die sensible Kuration und Zusammenstellung durch die Redaktion des Magazins.
Warum gibt es den Greif?
Die Kuration und Gestaltung des Magazins ist ein intensiver Arbeitsprozess, die Intensität wird für den aufmerksamen Betrachter spürbar. DER GREIF ist somit ein Ruhepol in der täglichen Flut aus Bildern und Informationen. Er fordert zum genauen Betrachten, Verweilen, Nachdenken auf – er freut, schockiert, berührt, kurz: DER GREIF entfaltet sich erst voll durch die Emotionen und Gedanken der Betrachter. DER GREIF mäandert zwischen Märchenbuch, Ausstellungsraum und Reflexionsvorlage. Er steht in starker Verbindung zum Netz, bietet der Geschwindigkeit und der daraus resultierenden Oberflächlichkeit Kontra, vor allem durch einen entscheidenden Punkt: Er schafft Raum, der gefüllt werden darf mit eigenen Ideen, Perspektiven und Phantasien
Sarah Bodman made her first artist’s book tribute to Kurt Johannessen after Tanya Peixoto introduced her to his books at bookartbookshop.
She produced ‘An Exercise for Kurt Johannessen’ in 2010, in tribute to his book ‘Exercises’. The titles of the 100 short stories she wrote and buried for her exercise, have since been taken up by BookArtObject an international book arts group, founded in Australia by Sara Bowen, with 84 artists currently making a book using one of Sarah’s short story titles.
As it is now the 10th anniversary of bookartbookshop in February 2012, and the celebrations are based on theme of: x or what is to be done? Sarah asked Kurt Johannessen if she could select a further 10 (x) exercises from his artist’s book to carry out.
The result is ‘X Exercises for Kurt Johannessen’ an image only artist’s book, published as a free download, DIY self-assembly book on 21.02.2012. The exercises can be identified through reading the texts in Kurt Johannessen’s ‘Exercises’. Sarah has made her book as a free PDF download for you to print out and assemble yourself, you will need 4 sheets of A4 paper and a stapler
14,8x9,8 cm, keine weiteren Angaben vorhanden Heft zur Videoinstallation in der PLATFORM3 in München, Drahtheftung
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Für PLATFORM3 konzipiert Edition Taube eine Videoinstallation, die sich mit der Intention und Rezeption von Büchern auseinandersetzt: ›Don’t look now‹ untersucht und verhandelt die Beziehung zwischen Absender und Rezipienten von Büchern und inszeniert die Instanz Buch als Remedialisierung und Psychedelika
4 S., 14,8x9,8 cm, signiert, 2 Stück. keine weiteren Angaben vorhanden Einladungskarte zur Ausstellung, Innenseite Spiegelfolie, mit eingelegter Karte de Plattform3 mit handschriftlicher Einladung
[16] S., 19,9x14,3 cm, Auflage: 20, keine weiteren Angaben vorhanden Drahtheftung, mit Banderole
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Park Guell is Gaudi's failed utopia of a peaceful housing site. Now one of the main tourist attraction in Barcelona. The zine collects photos taken during last Winter, when daylight was almost gone and so were all the visitors of the park. This book is a journey through the sunset of a men's dream.
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16 S., 21x14,8 cm, keine weiteren Angaben vorhanden gefaltetes Plakat mit dem Festival-Programm
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n seiner ersten Ausgabe untersuchte das „Festival of Independents – Munich/Now/Here“ den spezifisch urbanen Kontext Münchens und beschäftigt sich mit den Impulsen, die von der freien Szene ausgehen.
Illustration von Annette Granados Hughes
56 S., 40,1x29 cm, ISBN/ISSN 20442726 eine Ausgabe bestehend aus 3 Zeitungen, Blätter lose zusammengelegt in transparenter Kunststoffhülle
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Eight:48's ninth issue has been renamed Counter-Print, now consists of three papers and runs to 56 pages.
Paper #01 focuses on the art and design of freight, Paper #02 entitled, new work, offers a snap shot of some of the best work out there and Paper #03 is a brief montage of new and old articles, drawn from issues one to eight offers a timely look back on all eight themes that have shaped the papers so far.
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48 S., 17,8x11,2 cm, ISBN/ISSN 9783905999518 Broschur, First Edition
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Erik Steinbrecher is a true art lover. He loves art and makes art ever since he can remember. This small volume for the first time combines a selection of his collected sketches and drawings from the early 80ies up until now. doodles, drafts, gouaches, chalkdrawings, montages on paper. It is about conceptual studies, outlines for artworks and concrete art.
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One of the most well-known of Ruscha's books from his early period is Every Building on The Sunset Strip, showing a famous stretch of real estate along Sunset Boulevard in Los Angeles, published in 1966. In July, 1973 he followed the same procedure while documenting Hollywood Boulevard.
Loading a continuous strip of 33 feet of Ilford FP-4 black & white 35mm film into his motor-drive Nikon F2 and then mounting it on a tripod in the bed of a pickup truck, he drove back and forth across the 12 miles of the street shooting, frame-by-frame, both the north and south sides of its entire length. The negatives were developed, contact sheets were made, and the materials were placed in storage.
Thirty years later, in 2003, a digital record of Hollywood Boulevard was created and it served as a reference guide for the traditional film/still documentary of 2004. For this shoot, the same type of camera equipment was used to re-photograph the street on 35mm color-negative film.
The resulting material of both shoots — 4500 black & white and 13,000 color images — have been scanned and digitally composed into four panoramics of the complete 12 miles. In THEN & NOW, the original 1973 North side view is shown along the top of the page and juxtaposed with its 2004 version underneath. Along the bottom of the page, you find the original 1973 South side view shown upside down, also juxtaposed with its 2004 version. The panoramics face each other and they are aligned.
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352 S., 21x15 cm, ISBN/ISSN 9782915859416 Broschur mit Banderole, eingelegt ein Informationsblatt
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Originalausgabe erschienen bei Artists Press, Bern, 1980.
This book is the third and final version of the first artist’s book published in 1960 by herman de vries, who is currently the author of more than one hundred publications.
The story of this book dates back to 1960. Closely associated with the Zero Group, but also drawn to the buddhist concept of emptiness, herman de vries had just produced a series of white monochromes when he self-published a twenty-page booklet in Arnhem. It had no title, its cover was blank and its pages were unprinted. It contained nothing but a short final poem celebrating, in four languages, the superabundance of white: “wit is overdaad”. In 1962, this manifesto appeared in another version, now entitled wit: two hundred blank pages, four white collages by the artist and an introduction, itself completely blank, by the poet J. C. van Schagen, published in arnhem in only five copies by M. J. Israel. It was followed in 1967 by a second “revised” edition, wit weiss: two hundred and fifty blank pages, pocket-sized, in five hundred copies, published by Hansjörg Mayer in Stuttgart. The only printed elements were the artist’s name, the title and the publisher’s name on the cover, the word “introduction” and the name of its author on the very first page and a colophon on the final page. In 1980 the Artists Press in Berne published the “third revised edition”, in a larger format and with more pages. The original title wit was translated into english and japanese and into sanskrit with a word that means “white” in the sense of bright, pure, immaculate. The title itself does not appear on the book, which remains completely blank. It is printed with the paratext on a broad strip of paper in the form of a detachable publicity strip. The inside flap contains a brief statement initially dating back to the 1962 edition, stating that this book incorporates all aspects of reality. Of the five thousand copies advertised, only a hundred were published. It is this last edition, the most radical, which is republished here, the only addition being the french translation of the statement.
On 1 april 2012, herman de vries wrote of his book, insisting on the importance of the final comma:
white is white
0 = 0
no name
no idea
not even emptiness,
324 S., 19,8x12,8 cm, Auflage: 500, ISBN/ISSN 9781907468216 Softcover, Taschenbuch
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Getting Inside Simon Morris’ Head is a performative retyping of Simon Morris’ conceptual bookwork Getting Inside Jack Kerouac’s Head. Like Morris’ original performance of retyping the scroll edition of Jack Kerouac’s On the Road, Joe Hale’s project first appeared as a blog. At the rate of one page per day, like Morris retyping Kerouac before him, Hale retyped Morris’ entire book and in doing so re-retraces Kerouac’s famous adventure. Morris gave us all of Kerouac’s pages in reverse order: each blog post presented one page and the default settings of the blog platform organised his posts in reverse order, from the newest to the oldest. Now inverted again, as a double negative, Hale has restored the direction of travel to the story and produced a wholly (un)original new text. This first printed edition takes the imitative gesture to a new extreme. It features an introductory essay by poet Kenneth Goldsmith and reuses Morris’ paratext. From the cover design to the choice of paper, Hale tests the limits of conceptual extension.
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2. Auflage.
Christophe von Hohenberg stumbled upon the beginnings of Andy Warhol's Memorial Service at St. Patrick's Cathedral on April 1, 1987. Now published for the first time on the eve of the 20th anniversary of the Pop legend's death, von Hohenberg's lens captured a veritable time capsule of the social swirl of the era that Warhol had such a hand in shaping.
144 S., 30x22 cm, Auflage: 350, ISBN/ISSN 9781907468209 Broschur mit Klappeinband
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The Nabokov Paper is an experiment in novel-reading. The project takes as its starting point a now famous class taught during the 1950s by Vladimir Nabokov at Cornell University, New York State, entitled Literature 311-312: Masters of European Fiction. Nabokov’s approach to teaching literary reading was notoriously idiosyncratic. Convinced that one must teach the books themselves, not ideas or generalities, Nabokov would make diagrams of the floor plans of fictional buildings, map the routes taken by characters through the spaces of the novel, and draw items of clothing or furniture, he would also propose to track the course of a single letter, offer a visual representation of a stylistic device, and uncover what he called the mysteries of literary structures. His methods are striking for the range of gestures they call for in the name of good reading. The published Lectures on Literature (New York: Harcourt, 1980) concludes with an appendix of sample exam questions. Responding to those questions some sixty years after the fact offers a means to explore what Nabokov’s take on how to read might have to teach us today: about the novel, about how reading works across practices and disciplines, and about the past, present and future forms of literary criticism.
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28,2x43,8 cm, keine weiteren Angaben vorhanden Mehrfach gefaltetes Poster, doppelseitig bedruckt
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Die Arbeit ist Teil des "Equilibrium Projects": Equilibrium is a collaborative initiative to develop creative contexts for women in towns and cities to explore practices that stay immersed in everyday. The project gave a platform for artists from Europe and Asia to come together, interact and work with the women members of self-help groups from Partapur and nearby villages. The artists and women members worked together as equals through sharing their experiences, skills, stories, and recipes through several creative projects. Now these creative projects are going to be displayed in an interactive exhibition at Walpodenakademie Mainz from May 08, 2015.Equilibrium is a project of Walpodenakademie (Mainz), Sandarbh (Partapur/ New Delhi), and Beneshwer Lok Vikas Sansthan (Partapur), curated by Shilpa Upadhyay and h.i.s.(Tanja Roolfs and Stefan Brand).
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[20] S., 18x14 cm, Auflage: 3.000, ISBN/ISSN 9783868740080 Drahtheftung
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Ruscha der Fischotter aka: Printed Matter And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As After Ruscha aka: One Hundred Views Of One Hundred Views Of Mount Fuji, If Someone Says So aka: SIX HANDS AND A CHEESE SANDWICH is a book about books, a catalogue and an art/bookwork in its own right.
Content: By now the appropriation and paraphrasing of Ed Ruscha constitutes a genre of its own. The first were 1968 Bruce Nauman with 'Burning Small Fires' and 1971 'Ed Ruscha' (actually Joel Fisher) with 'Six Hands and a Cheese Sandwich', with further appropriations or hommages over the decades, and in the last years it almost became fashionable, the evidence is massive.
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22,5x19,5 cm, keine weiteren Angaben vorhanden Drahtheftung. 16 mehrfach gefaltete einseitig bedruckte Plakate. Heft und Plakate in Kartonhülle eingeschoben
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The exhibition CONCRETE UTOPIAS provides a space for artistic works that explore the area of potentiality between not-yet-realised and but-possible. The art on display will be showing visions that are predominantly about the Now, offering playful alternatives and new approaches to socio-cultural questions, addressing political power structures in an urban environment and above all defying rules.
Der Realismus Club wurde 2014 als Plattform für zeitgenössische Kunstproduktion in Berlin gegründet, mit dem Ziel, vor allem jüngere künstlerische Entwicklungen in der zeitgenössischen bildenden Kunst zu fördern und einem breiten Publikum zu präsentieren.
Als eine private Organisation ist unser Ziel, die unabhängige Organisation von zwei Ausstellungen pro Jahr an wechselnden Orten in Berlin. Wir wollen Künstlern nicht nur ein Forum bieten, um ihre Werke auszustellen, sondern auch durch die Bereitstellung eines Budgets die Produktion von neuen Werken unterstützen. Der Realismus Club sieht sich selbst als einen Ort des Experimentierens mit Organisationsmodellen und als Möglichkeit neue Kollaborationspraktiken auszuprobieren. Letztendlich zielt das Format des Realismus Clubs darauf ab, eine konkrete Utopie in sich selbst zu sein.
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Erschienen zur Ausstellung vom 16.01.-15.03.2015 in der Galleri Susanne Ottensen Kobenhagen. (Anm. Im Katalog werden drei verschiedene Daten für die Dauer der Ausstellung angegeben).
Text von Magnus Thorø Clausen. Interviews von Hans Ulrich Obrist.
Per Kirkeby and Lawrence Weiner have known each other for many years. The idea of making a collaborative work and an exhibition together already evolved in the mid eighties, but due to practical reasons the project was not realized back then. Last year during the fall, the idea returned to us in a new form, and we decided together with the artists that now was the time to make it happen. Per Kirkeby shows two brick works built directly within the gallery space. One work is a tall stele with a deep niche, a black line or a "metaphysical shadow" running vertically through it. The other piece is a monumental quadrangular block, an open/closed building or, if you will, a hollow slightly rotten tree. This new installation is made in collaboration with Lawrence Weiner, who has contributed with texts across the inner and outer brick walls, so that words, matter and space overlap and transform the whole. Lawrence Weiner is also showing two other textbased sculptures made site specifically for the gallery space.
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32 S., 34x20,5 cm, Auflage: 1.000, ISBN/ISSN 9789070478285 Drahtheftung. 2 Formate: Heft und Sticker-Buch. In Versandtasche
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Exhibition catalogue New York Photo Festival 2010 (12 to 16 may), curated by Erik Kessels. Catalogue designed by Angela Lidderdale.
Use me Abuse me looks at the trend toward exploring new technology within an image-rich culture. The exhibition focused on how today’s dominance of images and image-making technology influences artists and photographers. Now more than ever before photographs are easy to come by, easy to make and easy to distribute. Anyone, it seems, has the freedom to do pretty much anything. This glut sees photographers experimenting with pre-existing images and using them within their work like never before.
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128 S., 26,9x20,5 cm, Auflage: 12.000, 2 Stück. keine weiteren Angaben vorhanden KlappBroschur
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Ausstellung vom 14.10.2015-10.01.2016 im Stadtmuseum München im Rahmen des Festivals Fotodoks und der Wanderausstellung 2016/17 durch die Länder des ehemaligen Jugoslawiens, in Kooperation mit dem Goethe Institut.
Fotodoks ist ein anspruchsvolles und familiäres Festival für aktuelle Dokumentarfotografie, das alle zwei Jahre im Oktober in München stattfindet. Den Blick auf ein jeweils anderes Partnerland und Thema gerichtet, versteht sich das Festival als Forum, um unabhängig von den Reglements der Printmedien und des Kunstbetriebs offen nach den Beweggründen der Fotografen, den Produktionsbedingungen und den Interessen von Auftraggebern und Konsumenten zu fragen.
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134 S., 26,7x19 cm, Auflage: 100.000, keine weiteren Angaben vorhanden Broschur mit Prägedruck auf dem Cover. Beilage zu Brand eins
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Die Geschäftsberichte informieren ausführlich über die Geschäftsentwicklung und die Ertrags-, Vermögens- und Finanzlage des Audi Konzerns. Der Audi Geschäftsbericht gliedert sich auf in einen Magazinteil und einen Finanzteil.
Text von Website
4 S., 21x14,9 cm, 2 Stück. keine weiteren Angaben vorhanden Einladungsflyer, beiliegend ein beidseitig bedrucktes Informationsschreiben zur Ausstellung
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zur Ausstellung vom 21.05.-04.06.2016 im Neo Toum - Neoterismoi Toumazou, Nikosia, Zypern.
He was dancing steadily. He could see the backs of people’s heads moving in the darkness and was aware of the shifting spaces between their bodies. He did not register the music except as a sort of vibration. He felt as if he was dancing in perfect silence. He saw the already dim room growing ever darker around him. He became less conscious of his surroundings and more aware of himself. His introspection grew but his body was now moving automatically, softly cycling through a short loop of set motions. He noticed dust under his feet, and soon the realisation reached him that he was slowly wearing a shallow hole in the wooden floor. His body was locked in an efficient cycle. Before too long he was six inches below floor level, his head parallel with some of the shorter dancers. Yet he could not stop. Gradually he sank deeper into the ground until his face was level with people’s waists. No one noticed, below the eye level of the crowd, he was almost invisible. Presently his eyes came level with the soles of dancing shoes. He could see shards of coloured light flashing through a forest of legs casting jagged shapes across the floor. There were points where soft reflected light shone through looming figures like sunlight into a clearing. Eventually he was entirely submerged. He could look up through the hole and see foreshortened bodies moving above him oblivious to his plight. Still his feet moved, wearing away damp, pungent earth. The vibrations from the music lessened until the dull thump of the kick drum was all that he could feel. When it stopped he realised he too was still, and looking up he saw the sphere of light was gone.
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Reprint des Hefts der Ausstellung in Lódż,. NOW was first published as part of my exhibition at the PWSSP (today the Wladyslaw Strzeminski Academy of Fine Arts and Design) in Lódż, Poland, from 6 - 22 June 1986. The book was printed by silkscreen at the school's print department, as access to offset was not possible at the time. The school censor allowed us to print 49 copies “for in-school use” with the obligatory inclusion of the colophon on page 3.
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[60] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09640973 Drahtheftung, Rückseite mit Silberprägung, in transparenter Kunststoffhülle mit beigelegtem Blatt, Aufkleber
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HEROES II the second edition of the Heroes series, with new and till now unreleased drawings from the deep vaults of the Sex Tags drawing archive. This issue features some lost and found heroes from across the universe, mainly unkown till this day. The drawings are of course in the same caracteristic wonky style as last issue. So be prepared for some real eyeball action!
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As a visual artist, Simon Cutts is a poet, and as a poet he is a visual artist. This is no glib turn of phrase, but a lived reality insofar as he conceives how one artistic practice can show the ways of opening the other. For some time now he has insisted that the book is not merely (or simply) a vehicle for poetry, but is itself part of a poem’s form. He extends the idea of a poem being a field of dynamic action beyond the boundaries of the page so as to encompass the book as whole. To read Letterpress is to become a participant in its total and encompassing range. Text von der Webseite
44 S., 28,8x22,5 cm, ISBN/ISSN 9788862084901 Drahtheftung
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nur Bilder, ohne Text
The 13th issue of Maurizio Cattelan and Pierpaolo Ferrari's surrealist and provocative magazine Toilet Paper presents 22 new surreal scenes. After his final rétrospective at the Guggenheim Museum, New York, in early 2012, Maurizio Cattelan now focuses on his new magazine/artist's book project Toilet Paper together with photographer Pierpaolo Ferrari (Le Dictateur). In the wake of his previous cult magazines (Permanent Food, Charley), Maurizio Cattelan subverts the codes of established media iconography, digging into fashion, ads, movies & commercial photography to investigate our contemporary obsession with images, our overdose of visual consumption
kostenlose Zeitung für Kunst und Kultur. Mit Beiträgen u. a. über Luftmuseum Amberg, NOW and THEN - Zwischen den Realitäten, Gemeinschaftswerk, Ilya Kabakov, Daniel Spoerri, Lovis-Corinth-Preis 2016
[80] S., 33,5x25,5 cm, ISBN/ISSN 9783869308029 Hardcover, fadengeheftet, in Schutzumschlag, CD in Karton-Booklet eingeklebt
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Twenty years after Modern Lovers, a body of work on androgyny and transgender created when AIDS was at its peak, Bettina Rheims now presents Gender Studies. In the light of current controversial debates on gender theory, Rheims’s models display remarkable courage by questioning, modifying and celebrating their identities. CD Sound Design von Frederic Sanchez.
Text von Verlagswebsite
128 S., 29,7x21 cm, Auflage: 150, ISBN/ISSN 9789963225101 Softcover, Klebebindung
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Christophoros Kyriakides was born in Nicosia, Cyprus in 1949. He was an architecture draughtsman and considered himself an inventor. In 1988 he self-published “Six Continents Stars Compass”, ‘an entertaining and educational’ board game. He considered the game inventive, recreative and formative for all ages and intended its global distribution. The game received no recognition from the public and now only a few copies exist.
In the board game, Kyriakides draws a journey with impossible objects, invented maps, landscapes and anagrammatic poetry with mathematical diagrams. One comes across an abstracted reflection of 80s locality, world politics, obsession with the American dream, an isolated emotional darkness but also a universal landscape. A chance encounter of Marina Xenofontos with this game catalysed a strong fascination that led to the uncovering of his archive. This publication, a part of Xenofontos’ practice-based research, brings to the fore the rich universe of Kyriakides’ personal symbolism that shecreatively harnesses as a means of an alternative, atypical handling and systematisation of themes and issues that she finds affinities with.
Evagoras Vanezis.
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24 S., 29,5x21 cm, 2 Stück. keine weiteren Angaben vorhanden Drahtheftung, matt-glänzendes Umschlagpapier, dünne hellgraue Innenseiten, farbiges Beiheft mit Abbildungen, ebenfalls Drahtheftung
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"A musical adaptation of the multifaceted, facetious, ongoing project «How to Start a Revolution» by – Anna McCarthy. It deals with the romanticization and synaesthetic manipulation tactics entailed in depictions – of revolution, rebellion and recent history acted out by an ever-same group of bored rebels. Facts are mixed with fiction, layers are built upon layers, translations occur to create scenarios that manipulate a viewer’s perception of what was and is truly real. 2-D actors and scenarios mix with 3-D action going on onstage. The «How To Start A Revolution» project has thus far manifested itself in the form of arrests, archives, films, photographs, and songs. But now it is time for the ultimate grand romantic gesture: A MUSICAL – singing, dancing, screaming, and laughing at the question ‘what time is it’? It’s a prophecy, it’s a poetic pop spectacle."
Text von der Website
24 S., 29,5x21 cm, Auflage: 50, numeriert, keine weiteren Angaben vorhanden Drahtheftung, Heft in Kunststoffumschlag für Schulhefte, mit Aufkleber drauf, Buntstift mit Schnur angehängt, matt-glänzendes Umschlagpapier, dünne hellgraue Innenseiten, farbiges Beiheft mit Abbildungen, ebenfalls Drahtheftung, mit Originalzeichnungen, vier signierte Riso-Karten und eine CD eingelegt
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A musical adaptation of the multifaceted, facetious, ongoing project «How to Start a Revolution» by – Anna McCarthy. It deals with the romanticization and synaesthetic manipulation tactics entailed in depictions – of revolution, rebellion and recent history acted out by an ever-same group of bored rebels. Facts are mixed with fiction, layers are built upon layers, translations occur to create scenarios that manipulate a viewer’s perception of what was and is truly real. 2-D actors and scenarios mix with 3-D action going on onstage. The «How To Start A Revolution» project has thus far manifested itself in the form of arrests, archives, films, photographs, and songs. But now it is time for the ultimate grand romantic gesture: A MUSICAL – singing, dancing, screaming, and laughing at the question ‘what time is it’? It’s a prophecy, it’s a poetic pop spectacle.
Text von der Website
Anlässlich der gleichnamigen Ausstellung im Neuen Museum Weserburg, Bremen, 21.08.-27.11.2005, Museu D'art Contemporani de Barcelona, 17.05.-03.09.2006, Museu Serralves, Porto, Frühjahr 2008.
As creative talents began to design record sleeves, the standard 30 x 30 cm album cover came to be an especially attractive object. Now vinyl has an almost mythic character and real historical value. 'Vinyl' is a detailed catalogue of the collection held by the Archive for Small Press and Communication in the Neues Museum Weserburg in Bremen, which includes not only records and CDs but also books, posters and other objects.
Text von amzn.to/2odxfUv
[48] S., 17,7x20,2 cm, Auflage: 200, signiert, keine weiteren Angaben vorhanden Drahtheftung, von Al Souza signiert
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This, the first publication by both artists, juxtaposes their differing approaches to portraying the passage of time with the illusions of the photographic process. Kearns presents 13 newspaper clippings from the "Hampshire Gazette" of 25th wedding anniversary announcements, including photographs and text. Souza using images of his hand, pieces of chalk, and prunes demonstrates his now well-known involvement with time-space-light and photographic illusion.
Text Printed Matter
Titelergänzung: 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, antiform, 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.
In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists — a historical survey and essential reference book for the period.
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Ursprünglich publiziert 1973 bei Praeger, New York
So, here we are again. dienacht is not just a portfolio magazine, but also a personal project. That's why some personal circumstances lead to the fact that this issue is released much later as it should have been – but now it's here, on the last days of the year 2014!
We have, once again, outstanding photographers and artists, like Birgit Krause and her out-of-this-world-series "Pláně.tes", Jean-Marc Caimi showing a selection from "Daily Bread", Zhe Chen and her painfully intimate diary "The Bearable", the funny childhood memories translated into photography by Vendula Knopová, Magdalena Sawicka's raw but precise illustrations, Elena Montemurro's "Coming of Age" (which is also this issue's cover story) and many more incredible photographers and photobook reviews.
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With this tenth issue, Uniformagazine’s quarterly structure of sequence, and direction, the gathering and grouping of content, has now become an almost habitual activity of attempt and demonstration, in each instance informed by what has gone before. The issues so far don’t exactly amount to a regular accumulation, not in a linear sense, but maybe an expanding whole, the parts placed at the edge of something that is gradually defining its own limits.
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1. Auflage.
First published in 1956, Allen Ginsbergs Howl is a prophetic masterpiece, an epic raging against dehumanizing society that overcame censorship trials and obscenity charges to become one of the most widely read poems of the century. Now a major motion picture, starring James Franco. Howl was directed by two-time Academy Award-winners Rob Epstein & Jeffrey Friedman, who hired Eric Drooker to animate the poem. Howl: A Graphic Novel visualizes the poem with full color animation art Drooker designed for the film.
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1. Ausgabe.
From one of the most influential artists of his generation comes a provocative, moving novella about what it means to be a creative person under today's digital regime. In the course of a gripping, headlong narrative, Price's unnamed protagonist moves in and out of contemporary non-spaces on a confounding and enigmatic quest, all the while meditating on art in the broadest sense: not simply painting and sculpture but also film, architecture, literature, and poetry. From boutique hotels and highway bridges to PC terminals and off-ramps. from Kanye West and Jeff Koons to George Bush and Patricia Highsmith. from the playground to the internet to the mirror, Price's hybrid of fiction, essay, and memoir gets to the central questions not only of art, but of how we live now
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This is a pocket book, good for bringing along on a sea journey. This imagetext tries to evoke the feeling of a bewildered traveling. The words are awkwardly placed, and clearly out of their element. Still they continue on, going somewhere. The goddess whispers. The sea of the book is composed of two photographs I found in a family album lost in an archive. The text cuts through Samuel Butler’s translation of Homer’s Odyssey. The book received an honorable mention in the Photography Book Now competition of 2011.
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