What is the imagined North?
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The North has been imagined and represented for centuries by artists and writers of the Western world, which has led, over time and the accumulation of successive layers of discourse, to the creation of an “imagined North” – ranging from the “North” of Scandinavia, Greenland, Russia, to the “Far North” or the poles. Westerners have reached the North Pole only a century(...)
What is the imagined North?
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The North has been imagined and represented for centuries by artists and writers of the Western world, which has led, over time and the accumulation of successive layers of discourse, to the creation of an “imagined North” – ranging from the “North” of Scandinavia, Greenland, Russia, to the “Far North” or the poles. Westerners have reached the North Pole only a century ago, which makes the “North” the product of a double perspective: an outside one – made especially of Western images – and an inside one – that of Northern cultures (Inuit, Sami, Cree, etc.). The first are often simplified and the second, ignored. If we wish to understand what the “North” is in an overall perspective, we must ask ourselves two questions: how do images define the North, and which ethical principles should govern how we consider Northern cultures in order to have a complete view (including, in particular, those that have been undervalued by the South)? In this article, I try to address these two questions, first by defining what is the imagined North and then by proposing an inclusive program to “recomplexify” the cultural Arctic.
Current Exhibitions
Chasseur au harpon
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Paru il y a cinquante ans ce livre est considéré comme le premier roman en inuktitut jamais publié. Cette aventure trépidante, marquée de bout en bout par la violence et la mort, nous plonge dans la réalité d’une communauté encore préservée de l’intrusion de la modernité. Surtout, à travers la traque symbolique d’un ours et le dur apprentissage d’un jeune garçon, elle met(...)
Chasseur au harpon
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Paru il y a cinquante ans ce livre est considéré comme le premier roman en inuktitut jamais publié. Cette aventure trépidante, marquée de bout en bout par la violence et la mort, nous plonge dans la réalité d’une communauté encore préservée de l’intrusion de la modernité. Surtout, à travers la traque symbolique d’un ours et le dur apprentissage d’un jeune garçon, elle met en scène le combat immémorial que ces hommes et ces femmes doivent livrer pour survivre. D’une puissance et d’une âpreté rares, ce roman fondateur a grandement contribué à l’essor de la littérature autochtone au Canada. Il est ici traduit pour la première fois à partir du texte original en inuktitut.
Current Exhibitions
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This catalog presents the works of artist Stefano Graziani on display at the Pescheria visual arts center in Pesaro. These works come from different lines of research, some from past years (architecture and museum collections), others more recent (mushrooms and athletes in training), and particularly interesting is the link, sometimes subtle other times more articulated(...)
June 2022
Stefano Graziani: Mostra Fotografica
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This catalog presents the works of artist Stefano Graziani on display at the Pescheria visual arts center in Pesaro. These works come from different lines of research, some from past years (architecture and museum collections), others more recent (mushrooms and athletes in training), and particularly interesting is the link, sometimes subtle other times more articulated and complex, that binds the images together, in a continuous game of evocations and correspondences. The volume includes a conversation by Stefano Graziani with exhibition curator Alessandro Dandini de Sylva.
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In her photographic work Austrian Aglaia Konrad has developed a distinctive way of documenting global urbanization. Her archive contains thousands of pictures concerning infrastructure and architecture, an almost unlimited collection that elucidates the relationship between society and place. The pictures allow the viewer to participate in a scenario where the(...)
January 2017
Angle 17° : Aglaia Konrad. shaping stones
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In her photographic work Austrian Aglaia Konrad has developed a distinctive way of documenting global urbanization. Her archive contains thousands of pictures concerning infrastructure and architecture, an almost unlimited collection that elucidates the relationship between society and place. The pictures allow the viewer to participate in a scenario where the dividing-lines between the old and the new, between architecture, nature, power and symbols are fluid.
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This hardcover exhibition catalog, curated by Silas Munro with Stephen Coles of Letterform Archive, tells the story of graphic design in protest with 250 images, including high-resolution reproductions from Letterform Archive’s collection, archival imagery of the art in action, informative historical features, and a contribution on type by Coles. The exhibition will(...)
September 2022
Strikethrough: Typographic messages of protest
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This hardcover exhibition catalog, curated by Silas Munro with Stephen Coles of Letterform Archive, tells the story of graphic design in protest with 250 images, including high-resolution reproductions from Letterform Archive’s collection, archival imagery of the art in action, informative historical features, and a contribution on type by Coles. The exhibition will featured more than 100 objects of protest spanning the 1800s to today. The visual history of protest on display ranged from nineteenth-century antislavery broadsides to the colorful affiches of the Paris 1968 uprising, from the revolutionary Black Panther newspaper to the public awareness posters of the AIDS crisis.
Mining photography
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Photography has always depended on the extraction and exploitation of so-called natural raw materials. Having started out using copper, coal, silver, and paper—the raw materials of analogue image production in the nineteenth and twentieth centuries—photography now relies, in the age of the smartphone, on rare earths and metals like coltan, cobalt, and europium. The(...)
March 2023
Mining photography
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Photography has always depended on the extraction and exploitation of so-called natural raw materials. Having started out using copper, coal, silver, and paper—the raw materials of analogue image production in the nineteenth and twentieth centuries—photography now relies, in the age of the smartphone, on rare earths and metals like coltan, cobalt, and europium. The exhibition focuses on the history of key raw materials utilized in photography and establishes a connection between the history of their extraction, their disposal, and climate change. Looking at historical and contemporary works, it tells the story of photography as a history of industrial production and demonstrates that the medium is deeply implicated in human-induced changes to nature. The exhibition shows contemporary works by a range of photographers and artists, including Ignacio Acosta, Lisa Barnard, F Cartier, Susanne Kriemann, Mary Mattingly, Daphné Nan Le Sergent, Lisa Rave, Alison Rossiter, Metabolic Studio’s Optics Division, Robert Smithson, Simon Starling, Anaïs Tondeur, James Welling, Noa Yafe and Tobias Zielony, along with historical works by Eduard Christian Arning, Hermann Biow, Oscar and Theodor Hofmeister, Jürgen Friedrich Mahrt, Hermann Reichling, and others, and historical material from the Agfa Foto-Historama in Leverkusen, the Eastman Kodak Archive in Rochester and the FOMU Photo Museum in Antwerp as well as mineral samples collected by Alexander von Humboldt from the collection of the Museum für Naturkunde, Berlin.
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The North is changing at an unprecedented rate as industrial development and the climate crisis disrupt not only the environment but also long-standing relationships to the land and traditional means of livelihood. This publication explores the ways in which Indigenous peoples in the Arctic have adapted to challenging circumstances, including past cultural and(...)
Memory and landscape: Indigenous responses to a changing North
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The North is changing at an unprecedented rate as industrial development and the climate crisis disrupt not only the environment but also long-standing relationships to the land and traditional means of livelihood. This publication explores the ways in which Indigenous peoples in the Arctic have adapted to challenging circumstances, including past cultural and environmental changes. Contributors document how Indigenous communities in Alaska, northern Canada, Greenland, and Siberia are seeking ways to maintain and strengthen their cultural identity while also embracing forces of disruption. Indigenous and non-Indigenous contributors bring together oral history and scholarly research from disciplines such as linguistics, archaeology, and ethnohistory. With an emphasis on Indigenous place names, this volume illuminates how the land—and the memories that are inextricably tied to it—continue to define Indigenous identity. The perspectives presented here also serve to underscore the value of Indigenous knowledge and its essential place in future studies of the Arctic.
Current Exhibitions
On photography
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Photographs are everywhere. From high art to family albums to legal evidence, they capture and document the world around us. And whether we use them to expose, reveal or remember, they hold an enduring power. In this essential and revelatory volume, Susan Sontag confronts important questions surrounding the power dynamics between photographer and subject, the blurred(...)
On photography
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Photographs are everywhere. From high art to family albums to legal evidence, they capture and document the world around us. And whether we use them to expose, reveal or remember, they hold an enduring power. In this essential and revelatory volume, Susan Sontag confronts important questions surrounding the power dynamics between photographer and subject, the blurred boundary between lived events and recreated images, and the desires that lead us to record our lives.
Hans Hollein
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The only Austrian winner of the Pritzker Prize (1985) and president of the architecture biennale in Venice, the Viennese architect Hans Hollein (born 1934) has been a leading exponent of postmodernism in architecture. Yet his global stature as an architect has overshadowed his design work of the 1970s and 1980s and his artistic work of the 1960s and 1970s, despite past(...)
Hans Hollein
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The only Austrian winner of the Pritzker Prize (1985) and president of the architecture biennale in Venice, the Viennese architect Hans Hollein (born 1934) has been a leading exponent of postmodernism in architecture. Yet his global stature as an architect has overshadowed his design work of the 1970s and 1980s and his artistic work of the 1960s and 1970s, despite past exhibitions at The Museum of Modern Art, New York and the Centre Pompidou in Paris. This richly illustrated, comprehensive catalogue, and the exhibition it accompanies at the Neue Galerie in Graz, is the first retrospective of Hollein as a truly universal artist and a renaissance man for the digital age. It is also the first to present Hollein's oeuvre as a whole: his work as artist, designer and architect, but also as theoretician, curator, teacher and collaborator with such artists as Christo and Claes Oldenburg.
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Le Merle est une publication semi-annuelle qui rassemble des textes et des oeuvres qui ont en commun de jalonner le politique et la formation du Sujet à travers l'art, l'écrit et les pratiques d'exposition. Cette édition du Merle inclut L’anarchisme: ce qu’il signifie réellement (aujourd’hui: un texte de Emma Goldman révisé et abrégé par Heather Davis, La géométrie du(...)
Le Merle: cahiers sur les mots et les actes Vol. 1, n. 1, Printemps 2012
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Le Merle est une publication semi-annuelle qui rassemble des textes et des oeuvres qui ont en commun de jalonner le politique et la formation du Sujet à travers l'art, l'écrit et les pratiques d'exposition. Cette édition du Merle inclut L’anarchisme: ce qu’il signifie réellement (aujourd’hui: un texte de Emma Goldman révisé et abrégé par Heather Davis, La géométrie du hasard par Richard Ibghy & Marilou Lemmens, En entrevue: Le temps de l’oeuvre, le temps de l’acte: Entretien avec Bernard Aspe par Érik Bordeleau, Our Literal Speed par Abbey Shaine Dubin (en anglais), un projet inédit de Simon Brown, Institutional Critique Flair Button* de Charles Gute ainsi qu'un texte de Érik Bordeleau produit dans le cadre de Zoo 2011: Se faire une âme anonyme: Itinéraire pratique. Le Merle is a semiannual publication presenting texts and works that share an interest in delineating the political and the formation of the Subject through art, writing and exhibition practices. This issue includes : Anarchism: What It Really Stands For (Today): Edited and abridged by Heather Davis, The Geometry of Chance by Richard Ibghy & Marilou Lemmens, The Time of the Work, the Time of the Act: an interview with Bernard Aspe, a project by Simon Brown, Our Literal Speed by Abbey Shaine Dubin, Institutional Critique Flair Button* by Charles Gute, To Make One's Soul Anonymous: Practical Itinerary by Érik Bordeleau.