Six semaines de parallèles confondues: trente allers-retours entre ici et le centre radiothérapie
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Caroline Bernard aime les machines et enregistre scrupuleusement leur activité: voiture, calendrier, horloge, compteur, téléphone portable, GPS, à gauche, à droite, tout droit... Pendant trente jours, elle fait un aller-retour dans un centre de radiothérapie et prélève les enregistrements de toutes les machines embarquées dans les taxis qui la transportent, instaurant un(...)
Six semaines de parallèles confondues: trente allers-retours entre ici et le centre radiothérapie
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Caroline Bernard aime les machines et enregistre scrupuleusement leur activité: voiture, calendrier, horloge, compteur, téléphone portable, GPS, à gauche, à droite, tout droit... Pendant trente jours, elle fait un aller-retour dans un centre de radiothérapie et prélève les enregistrements de toutes les machines embarquées dans les taxis qui la transportent, instaurant un rassurant protocole de répétition routinière et contrôlable: «Attendre que les journées se mécanisent. J’arrive, je repars sans voir vraiment. La machine accomplit sa tâche, et les machinistes orchestrent son déploiement.» Cette publication tient lieu de ces enregistrements. Pendant que le taxi va et vient sur la route qui mène à la machine, le sens – l’écriture — naît de la machine qui va et vient sur le corps cartographié. En ce sens, Six semaines de parallèles confondues n’est pas un livre que Caroline Bernard a écrit, mais un livre où Caroline Bernard organise et décrit le dispositif où elle est écrite. Le texte est accompagné d’une carte décrivant l’itinéraire avec des QR codes qui, scannés par un smartphone, permettent un accès via Internet aux images en ligne et à la vidéo du projet.
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One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision:(...)
An attempt at exhausting a place in Paris
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One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision: the people walking by; the buses and driving-school cars caught in their routes; the pigeons moving suddenly en masse; a wedding (and then a funeral) at the church in the center of the square; the signs, symbols and slogans littering everything; and the darkness that finally absorbs it all. In An Attempt at Exhausting a Place in Paris, Perec compiled a melancholic, slightly eerie and oddly touching document in which existence boils down to rhythm, writing turns into time and the line between the empirical and the surreal grows surprisingly thin.
Spike Jonze: I'm Here
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I’m Here is the latest film from director Spike Jonze (of Where the Wild Things Are fame), a half-hour narrative short that premiered at the Sundance Film Festival in January 2010 and was released on the movie’s own website in March. I’m Here is your typical boy-robot-librarian-meets-girl-robot-free-spirit, boy-robot-librarian-gets-girl-robot-free-spirit… in truth, I’m(...)
Spike Jonze: I'm Here
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I’m Here is the latest film from director Spike Jonze (of Where the Wild Things Are fame), a half-hour narrative short that premiered at the Sundance Film Festival in January 2010 and was released on the movie’s own website in March. I’m Here is your typical boy-robot-librarian-meets-girl-robot-free-spirit, boy-robot-librarian-gets-girl-robot-free-spirit… in truth, I’m Here, a whimsical and touching look at love among robots in contemporary L.A., isn’t typical of anything, and neither is this charming book, which provides spreads of color stills from the movie. I’m Here isn’t drawn or stop-motion animation; the movie is live action, with the actors wearing wonderfully awkward costumes concocted of obsolete computer parts.
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Native land: Stop eject
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Filmmaker Raymond Depardon and eminent philosopher Paul Virilio discuss the relationship between ideas of homeland and rootedness, at a time when human migration has reached an unprecedented scale. Illustrating their dialogue, the artists and architects Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan and Ben Rubin have devised a cartographic collaboration that tracks(...)
August 2010
Native land: Stop eject
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Filmmaker Raymond Depardon and eminent philosopher Paul Virilio discuss the relationship between ideas of homeland and rootedness, at a time when human migration has reached an unprecedented scale. Illustrating their dialogue, the artists and architects Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan and Ben Rubin have devised a cartographic collaboration that tracks environmental, political and economic migrations around the world.
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Dans cet entretien mené par Philippe Ungar, Roger Taillibert revient sur son parcours, ses expériences, les lieux et les rencontres qui ont orienté son travail de création : Le Corbusier bien sûr, Gropius, Franck Lloyd Wright mais surtout Alvar Aalto qui lui fait prendre conscience, en Finlande, dès 1959, de l’importance du détail. Roger Taillibert évoque alors sa manière(...)
Roger Taillibert: entrée principale
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Dans cet entretien mené par Philippe Ungar, Roger Taillibert revient sur son parcours, ses expériences, les lieux et les rencontres qui ont orienté son travail de création : Le Corbusier bien sûr, Gropius, Franck Lloyd Wright mais surtout Alvar Aalto qui lui fait prendre conscience, en Finlande, dès 1959, de l’importance du détail. Roger Taillibert évoque alors sa manière de travailler, les "visions" en trois dimensions qui s’imposent à lui d’abord floues, elles se précisent à travers les nombreux croquis qu’il réalise sur ses carnets, les intuitions qu’il faut défendre auprès des clients… Il insiste par-dessus tout sur la nécessité de penser l’homme dans le lieu, sans quoi toute architecture est vaine et "toxique". Cette ouvrage met en valeur cette résonnance entre architecture et peinture en proposant un parallèle inédit entre les plus grandes réalisations de l’architecte et ses recherches picturales.
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The exhibition 30/30 features photographs by architectural photographer HG Esch, who in summer of 2009 photographed 30 projects by Walter Henn and Gunter Henn in a period of 30 days.
30/30: 30 projekte in 30 Tagen
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The exhibition 30/30 features photographs by architectural photographer HG Esch, who in summer of 2009 photographed 30 projects by Walter Henn and Gunter Henn in a period of 30 days.
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In 2001 the Rosalind and Arthur Gilbert Collection was donated to Somerset House where it was displayed until its transfer to the V in 2008. The collection focuses on antique decorative items including clocks, vases, boxes, tapestries and figurines. During the first PICK ME UP graphic art fair at Somerset House artists contributed images of imagined objects based(...)
A new collection no. 1: for Somerset house
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In 2001 the Rosalind and Arthur Gilbert Collection was donated to Somerset House where it was displayed until its transfer to the V in 2008. The collection focuses on antique decorative items including clocks, vases, boxes, tapestries and figurines. During the first PICK ME UP graphic art fair at Somerset House artists contributed images of imagined objects based loosely on the themes and forms of the existing collection. The result is this surreal catalogue for a proposed replacement collection - A New Collection For Somerset House. Edition of 175.
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This too shall pass
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A zinescape narrative interpreted from a myriad of recorded dreams. Edition of 100
This too shall pass
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A zinescape narrative interpreted from a myriad of recorded dreams. Edition of 100
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Feeding the Murray
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The Murray is a beast that lives in the back of the shop. He is not hidden away, but he isn't for sale either. He just sort of lives there. He needs feeding very regularly, but the kid who has to feed him feels like the The Murray hates him because of the quality of the food he gets to give to The Murray. So the kid goes on a journey to find some better food for(...)
Feeding the Murray
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The Murray is a beast that lives in the back of the shop. He is not hidden away, but he isn't for sale either. He just sort of lives there. He needs feeding very regularly, but the kid who has to feed him feels like the The Murray hates him because of the quality of the food he gets to give to The Murray. So the kid goes on a journey to find some better food for him. Edition of 125.
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Puddle is a pessimistic story about boredom, escapism and cat vomit.
October 2010