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2012 marque le cinquantième anniversaire du premier Festival Fluxus qui se déroula à Wiesbaden, RFA. Autour de la figure tutélaire et controversée qu'était George Maciunas, des artistes d'origine et de pratique diverses essayèrent de bousculer les lignes de démarcation entre arts visuels et arts vivants, entre art et vie, entre éthique et esthétique. Le Musée d'Art(...)
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2012 marque le cinquantième anniversaire du premier Festival Fluxus qui se déroula à Wiesbaden, RFA. Autour de la figure tutélaire et controversée qu'était George Maciunas, des artistes d'origine et de pratique diverses essayèrent de bousculer les lignes de démarcation entre arts visuels et arts vivants, entre art et vie, entre éthique et esthétique. Le Musée d'Art(...)
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Fiat Flux : La nébuleuse Fluxus 1962-1978
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2012 marque le cinquantième anniversaire du premier Festival Fluxus qui se déroula à Wiesbaden, RFA. Autour de la figure tutélaire et controversée qu'était George Maciunas, des artistes d'origine et de pratique diverses essayèrent de bousculer les lignes de démarcation entre arts visuels et arts vivants, entre art et vie, entre éthique et esthétique. Le Musée d'Art Moderne de Saint-Etienne Métropole, fort des donations Vicky Rémy et François et Ninon Robelin, riches en oeuvres Fluxus, fait la tentative de rendre compte de la complexité et de la " nébulosité " d'un courant, d'un mouvement, puisant ses énergies tant dans la musique novatrice de John Cage, la philosophie Zen, le gag, que le positionnement idéologique. Fiat Flux, la nébuleuse Fluxus 1962-1978 oscille entre rigueur historique et aléas d'un parcours où se côtoient l'art du presque-rien, le document, l'installation spectaculaire ; où voisinent imprimés, films, objets et sons. Fiat Flux, la nébuleuse Fluxus 1962-1978 ne se veut pas apologétique de Fluxus. Au contraire, elle montre une diversité d'approches de la part d'artistes dont la relation avec Fluxus et son mentor se décline depuis la plus grande adhésion jusqu'à sa remise en cause conflictuelle en passant par le passage-éclair.
Fiat Flux : La nébuleuse Fluxus 1962-1978
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2012 marque le cinquantième anniversaire du premier Festival Fluxus qui se déroula à Wiesbaden, RFA. Autour de la figure tutélaire et controversée qu'était George Maciunas, des artistes d'origine et de pratique diverses essayèrent de bousculer les lignes de démarcation entre arts visuels et arts vivants, entre art et vie, entre éthique et esthétique. Le Musée d'Art Moderne de Saint-Etienne Métropole, fort des donations Vicky Rémy et François et Ninon Robelin, riches en oeuvres Fluxus, fait la tentative de rendre compte de la complexité et de la " nébulosité " d'un courant, d'un mouvement, puisant ses énergies tant dans la musique novatrice de John Cage, la philosophie Zen, le gag, que le positionnement idéologique. Fiat Flux, la nébuleuse Fluxus 1962-1978 oscille entre rigueur historique et aléas d'un parcours où se côtoient l'art du presque-rien, le document, l'installation spectaculaire ; où voisinent imprimés, films, objets et sons. Fiat Flux, la nébuleuse Fluxus 1962-1978 ne se veut pas apologétique de Fluxus. Au contraire, elle montre une diversité d'approches de la part d'artistes dont la relation avec Fluxus et son mentor se décline depuis la plus grande adhésion jusqu'à sa remise en cause conflictuelle en passant par le passage-éclair.
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books
books
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February 2013
February 2013
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Art Theory
Art Theory
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books
books
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Iñigo Manglano-Ovalle's Gravity is a Force to be Reckoned With is an installation consisting of a 25 x 25-foot glass house based on Mies van der Rohe's (unbuilt) 1951 House With Four Columns. This house then becomes the stage for a narrative based on Yevgeny Zamyatin's 1921 science-fiction novel We, which also inspired Sergei Eisenstein's unfinished film The Glass House (1930).
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Iñigo Manglano-Ovalle's Gravity is a Force to be Reckoned With is an installation consisting of a 25 x 25-foot glass house based on Mies van der Rohe's (unbuilt) 1951 House With Four Columns. This house then becomes the stage for a narrative based on Yevgeny Zamyatin's 1921 science-fiction novel We, which also inspired Sergei Eisenstein's unfinished film The Glass House (1930).
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Inigio Manglano-Ovalle: Gravity is a force to be reckoned with
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Iñigo Manglano-Ovalle's Gravity is a Force to be Reckoned With is an installation consisting of a 25 x 25-foot glass house based on Mies van der Rohe's (unbuilt) 1951 House With Four Columns. This house then becomes the stage for a narrative based on Yevgeny Zamyatin's 1921 science-fiction novel We, which also inspired Sergei Eisenstein's unfinished film The Glass House (1930).
Inigio Manglano-Ovalle: Gravity is a force to be reckoned with
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Iñigo Manglano-Ovalle's Gravity is a Force to be Reckoned With is an installation consisting of a 25 x 25-foot glass house based on Mies van der Rohe's (unbuilt) 1951 House With Four Columns. This house then becomes the stage for a narrative based on Yevgeny Zamyatin's 1921 science-fiction novel We, which also inspired Sergei Eisenstein's unfinished film The Glass House (1930).
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books
books
Publication:
February 2011
February 2011
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Soundwalk collective: medea
Soundwalk collective: medea
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Soundwalk is an international sound collective founded in the early 2000s by Stephan Crasneanscki and based in New York City. In the summer of 2011, the collective retraced Medea’s mythical journey along the coast of the Black Sea, collecting fragments of voices, music, Morse code and ambient sound, collaging them into a work of sound art. The book follows the sound(...)
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Soundwalk is an international sound collective founded in the early 2000s by Stephan Crasneanscki and based in New York City. In the summer of 2011, the collective retraced Medea’s mythical journey along the coast of the Black Sea, collecting fragments of voices, music, Morse code and ambient sound, collaging them into a work of sound art. The book follows the sound(...)
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Soundwalk collective: medea
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Soundwalk is an international sound collective founded in the early 2000s by Stephan Crasneanscki and based in New York City. In the summer of 2011, the collective retraced Medea’s mythical journey along the coast of the Black Sea, collecting fragments of voices, music, Morse code and ambient sound, collaging them into a work of sound art. The book follows the sound composition of the CD (included here) and also gathers photographs by Stephan Crasneanscki and texts by Arthur Larrue.
Soundwalk collective: medea
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Soundwalk is an international sound collective founded in the early 2000s by Stephan Crasneanscki and based in New York City. In the summer of 2011, the collective retraced Medea’s mythical journey along the coast of the Black Sea, collecting fragments of voices, music, Morse code and ambient sound, collaging them into a work of sound art. The book follows the sound composition of the CD (included here) and also gathers photographs by Stephan Crasneanscki and texts by Arthur Larrue.
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books
books
Publication:
July 2012
July 2012
Subject:
Acoustics
Acoustics
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books
books
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Addressing the histories and speculating on the futures of radical design and art education, "Decolonising design education" looks at the role that different institutional modes play in these endeavors. Developed in a dialogue among Regina Bittner, Katja Klaus and Philipp Sack (Bauhaus Dessau Foundation) and JJ Adibrata and farid rakun (Gudskul), the publication features(...)
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Addressing the histories and speculating on the futures of radical design and art education, "Decolonising design education" looks at the role that different institutional modes play in these endeavors. Developed in a dialogue among Regina Bittner, Katja Klaus and Philipp Sack (Bauhaus Dessau Foundation) and JJ Adibrata and farid rakun (Gudskul), the publication features(...)
Title:
Decolonising design education: Schools of departure no.1
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Addressing the histories and speculating on the futures of radical design and art education, "Decolonising design education" looks at the role that different institutional modes play in these endeavors. Developed in a dialogue among Regina Bittner, Katja Klaus and Philipp Sack (Bauhaus Dessau Foundation) and JJ Adibrata and farid rakun (Gudskul), the publication features a selection of historical case studies, conversations and in-depth reports about education practices in formerly colonized regions, shared by 10 art and design collectives. The publication is part of the Schools of Departure series, jointly published with a digital atlas mapping experiments in art and design education beyond the Bauhaus. By studying these phenomena as manifestations of "traveling concepts," which keep a wide variety of educational approaches in a process of constant exchange and motion, the publication explores routes of appropriation that move between different geographies, times and cultures.
Decolonising design education: Schools of departure no.1
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Addressing the histories and speculating on the futures of radical design and art education, "Decolonising design education" looks at the role that different institutional modes play in these endeavors. Developed in a dialogue among Regina Bittner, Katja Klaus and Philipp Sack (Bauhaus Dessau Foundation) and JJ Adibrata and farid rakun (Gudskul), the publication features a selection of historical case studies, conversations and in-depth reports about education practices in formerly colonized regions, shared by 10 art and design collectives. The publication is part of the Schools of Departure series, jointly published with a digital atlas mapping experiments in art and design education beyond the Bauhaus. By studying these phenomena as manifestations of "traveling concepts," which keep a wide variety of educational approaches in a process of constant exchange and motion, the publication explores routes of appropriation that move between different geographies, times and cultures.
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books
books
Publication:
March 2024
March 2024
Subject:
Design Theory
Design Theory
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books
books
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Description:
viii, 344 pages : illustrations (principalement en couleur), cartes, graphiques ; 23 cm.
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viii, 344 pages : illustrations (principalement en couleur), cartes, graphiques ; 23 cm.
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[Québec, Québec] : Presses de l'Université Laval, [2025], ©2025
[Québec, Québec] : Presses de l'Université Laval, [2025], ©2025
Title:
Adapter la ville aux changements climatiques : des expérimentations de concertation à Montréal / sous la direction d'Hélène Madénian et de Sophie L. Van Neste.
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viii, 344 pages : illustrations (principalement en couleur), cartes, graphiques ; 23 cm.
Adapter la ville aux changements climatiques : des expérimentations de concertation à Montréal / sous la direction d'Hélène Madénian et de Sophie L. Van Neste.
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viii, 344 pages : illustrations (principalement en couleur), cartes, graphiques ; 23 cm.
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books
books
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[Québec, Québec] : Presses de l'Université Laval, [2025], ©2025
[Québec, Québec] : Presses de l'Université Laval, [2025], ©2025
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$31.00
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Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into(...)
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Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into(...)
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Trisha Brown: so that the audience does not know whether i have stopped dancing
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Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall, or on the stage, Brown delights in the play between structure and improvisation, repetition and invention, choice and chance. This book centers on a broad survey of Brown's visual arts practice going back more than three decades. The catalogue features more than 40 drawings and includes essays by exhibition curator Peter Eleey and Walker performing arts senior curator Philip Bither as well as a specially commissioned survey of Brown's drawing vocabulary contributed by the artist.
Trisha Brown: so that the audience does not know whether i have stopped dancing
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Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall, or on the stage, Brown delights in the play between structure and improvisation, repetition and invention, choice and chance. This book centers on a broad survey of Brown's visual arts practice going back more than three decades. The catalogue features more than 40 drawings and includes essays by exhibition curator Peter Eleey and Walker performing arts senior curator Philip Bither as well as a specially commissioned survey of Brown's drawing vocabulary contributed by the artist.
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books
books
Publication:
July 2008, Minneapolis
July 2008, Minneapolis
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also(...)
$48.95
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Summary:
Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also(...)
Title:
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
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$48.95
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also presents photo essays by Mark Adams and Daniel Malone, and a reprint of Eve Armstrong's artist's book How to Hold a Trading Table.
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
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$48.95
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also presents photo essays by Mark Adams and Daniel Malone, and a reprint of Eve Armstrong's artist's book How to Hold a Trading Table.
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books
books
Publication:
October 2008
October 2008
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Keith Haring, Muna Tseng and Tseng Kwong Chi: Boundless minds & moving bodies in 80s New York
Keith Haring, Muna Tseng and Tseng Kwong Chi: Boundless minds & moving bodies in 80s New York
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An ode to three friends and their jubilant fusion of drawing, dance and photography In the days of downtown New York in the ’70s and ’80s, three boundary-pushing artists flourished: Keith Haring (1958–90), Muna Tseng (born 1953) and Tseng Kwong Chi (1950–90). ''Boundless minds & moving bodies'' presents an intimate visual journey through the early collaborations between(...)
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An ode to three friends and their jubilant fusion of drawing, dance and photography In the days of downtown New York in the ’70s and ’80s, three boundary-pushing artists flourished: Keith Haring (1958–90), Muna Tseng (born 1953) and Tseng Kwong Chi (1950–90). ''Boundless minds & moving bodies'' presents an intimate visual journey through the early collaborations between(...)
Title:
Keith Haring, Muna Tseng and Tseng Kwong Chi: Boundless minds & moving bodies in 80s New York
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An ode to three friends and their jubilant fusion of drawing, dance and photography In the days of downtown New York in the ’70s and ’80s, three boundary-pushing artists flourished: Keith Haring (1958–90), Muna Tseng (born 1953) and Tseng Kwong Chi (1950–90). ''Boundless minds & moving bodies'' presents an intimate visual journey through the early collaborations between these artists and friends, offering a unique and colorful prism of their expression through their respective disciplines: drawing, dance and photography, respectively. Their work and interactions reveal a shared performative energy—the joy of experimenting, openness, exchange and social engagement. Together and independently, they were immersed in and contributors to the bustling and vibrant cultural downtown scene.
Keith Haring, Muna Tseng and Tseng Kwong Chi: Boundless minds & moving bodies in 80s New York
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An ode to three friends and their jubilant fusion of drawing, dance and photography In the days of downtown New York in the ’70s and ’80s, three boundary-pushing artists flourished: Keith Haring (1958–90), Muna Tseng (born 1953) and Tseng Kwong Chi (1950–90). ''Boundless minds & moving bodies'' presents an intimate visual journey through the early collaborations between these artists and friends, offering a unique and colorful prism of their expression through their respective disciplines: drawing, dance and photography, respectively. Their work and interactions reveal a shared performative energy—the joy of experimenting, openness, exchange and social engagement. Together and independently, they were immersed in and contributors to the bustling and vibrant cultural downtown scene.
Form:
books
books
Publication:
June 2022
June 2022
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Rear views, a star-forming nebula, and the Office of Foreign Propaganda: the works of Taryn Simon
Rear views, a star-forming nebula, and the Office of Foreign Propaganda: the works of Taryn Simon
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Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which combined investigate the limitations of absolute understanding, examining the gaps between each element and how this can lead to disorientation and ambiguity. In the last ten(...)
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Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which combined investigate the limitations of absolute understanding, examining the gaps between each element and how this can lead to disorientation and ambiguity. In the last ten(...)
Title:
Rear views, a star-forming nebula, and the Office of Foreign Propaganda: the works of Taryn Simon
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Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which combined investigate the limitations of absolute understanding, examining the gaps between each element and how this can lead to disorientation and ambiguity. In the last ten years she has created a suite of projects which deal with a number of theoretical and visual concerns. Her formal interest in arrangement and cataloguing has seen her experiment with different methods of presentation and display, particularly in A Living Man Declared Dead and Other Chapters (2008-11) in which she travelled around the world researching bloodlines: splitting each work in the final piece up into three segments, she presented large portrait sequences of related individuals on the left, a text panel containing details and narratives in the centre, and 'footnote images' on the right of fragmented pieces of established narratives and other photographic evidence. Simon has also skilfully and poetically tackled aspects of the underbelly of American life. With new and re-published essays by amongst others Salman Rushdie, Homi Bhabha, Daniel Baumann, Tim Griffin, Tina Kuklieski, Hans Ulrich Obrist and Elisabeth Sussman. With an introduction by Simon Baker, Curator of Photography at Tate Modern.
Rear views, a star-forming nebula, and the Office of Foreign Propaganda: the works of Taryn Simon
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Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which combined investigate the limitations of absolute understanding, examining the gaps between each element and how this can lead to disorientation and ambiguity. In the last ten years she has created a suite of projects which deal with a number of theoretical and visual concerns. Her formal interest in arrangement and cataloguing has seen her experiment with different methods of presentation and display, particularly in A Living Man Declared Dead and Other Chapters (2008-11) in which she travelled around the world researching bloodlines: splitting each work in the final piece up into three segments, she presented large portrait sequences of related individuals on the left, a text panel containing details and narratives in the centre, and 'footnote images' on the right of fragmented pieces of established narratives and other photographic evidence. Simon has also skilfully and poetically tackled aspects of the underbelly of American life. With new and re-published essays by amongst others Salman Rushdie, Homi Bhabha, Daniel Baumann, Tim Griffin, Tina Kuklieski, Hans Ulrich Obrist and Elisabeth Sussman. With an introduction by Simon Baker, Curator of Photography at Tate Modern.
Form:
books
books
Publication:
September 2015
September 2015
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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Guillaume Adjutor Provost de´veloppe depuis biento^t dix ans un travail oriente´ vers l’ame´nagement d’espaces d’hospitalite´ et de collaboration avec une communaute´ de pairs, souvent issus de la performance comme lui, mais e´galement avec des acteurs provenant de milieux non artistiques et dont les histoires demandent a` e^tre raconte´es. Cet espace d’hospitalite´ se(...)
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Guillaume Adjutor Provost de´veloppe depuis biento^t dix ans un travail oriente´ vers l’ame´nagement d’espaces d’hospitalite´ et de collaboration avec une communaute´ de pairs, souvent issus de la performance comme lui, mais e´galement avec des acteurs provenant de milieux non artistiques et dont les histoires demandent a` e^tre raconte´es. Cet espace d’hospitalite´ se(...)
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Guillaume Adjutor Provost : Vapeurs
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Guillaume Adjutor Provost de´veloppe depuis biento^t dix ans un travail oriente´ vers l’ame´nagement d’espaces d’hospitalite´ et de collaboration avec une communaute´ de pairs, souvent issus de la performance comme lui, mais e´galement avec des acteurs provenant de milieux non artistiques et dont les histoires demandent a` e^tre raconte´es. Cet espace d’hospitalite´ se mate´rialise ici sous la forme discursive et polyphonique du livre, qui devient une sorte d’extension du domaine de la conversation mis en place par la pratique artistique de Provost. Conc¸u par l’artiste lui-me^me comme une plateforme d’invitations, de discussions et d’e´changes, le pre´sent ouvrage re´unit quatre essais qui forment autant de points d’entre´e dans l’œuvre.
Guillaume Adjutor Provost : Vapeurs
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Guillaume Adjutor Provost de´veloppe depuis biento^t dix ans un travail oriente´ vers l’ame´nagement d’espaces d’hospitalite´ et de collaboration avec une communaute´ de pairs, souvent issus de la performance comme lui, mais e´galement avec des acteurs provenant de milieux non artistiques et dont les histoires demandent a` e^tre raconte´es. Cet espace d’hospitalite´ se mate´rialise ici sous la forme discursive et polyphonique du livre, qui devient une sorte d’extension du domaine de la conversation mis en place par la pratique artistique de Provost. Conc¸u par l’artiste lui-me^me comme une plateforme d’invitations, de discussions et d’e´changes, le pre´sent ouvrage re´unit quatre essais qui forment autant de points d’entre´e dans l’œuvre.
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books
books
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July 2019
July 2019
