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journals and magazines
journals and magazines
Title:
Al Hayya issue 4
Al Hayya issue 4
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us(...)
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us(...)
Title:
Al Hayya issue 4
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us all, once and forever. The fourth issue of Al Hayya focuses on Dreams of Liberation. It traces resistance as it takes shape inside the home, in the streets, across borders, and within the self. It examines how art, memory, and the rituals of everyday life carry defiance. It documents the weight and texture of struggle as both personal and collective. This issue features a rare interview with Palestinian revolutionary and PFLP member Leila Khaled. It also includes an in-depth conversation with Françoise Vergès on decolonial feminism and cultural resistance. Photo essays by Maen Hammad, Amal Al-Nakhala, Nader Bahsoun, Sarah Kontar, and Hannah La Follette Ryan document life under pressure, grief, exile, and survival.
Al Hayya issue 4
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$32.00
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Summary:
The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us all, once and forever. The fourth issue of Al Hayya focuses on Dreams of Liberation. It traces resistance as it takes shape inside the home, in the streets, across borders, and within the self. It examines how art, memory, and the rituals of everyday life carry defiance. It documents the weight and texture of struggle as both personal and collective. This issue features a rare interview with Palestinian revolutionary and PFLP member Leila Khaled. It also includes an in-depth conversation with Françoise Vergès on decolonial feminism and cultural resistance. Photo essays by Maen Hammad, Amal Al-Nakhala, Nader Bahsoun, Sarah Kontar, and Hannah La Follette Ryan document life under pressure, grief, exile, and survival.
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journals and magazines
journals and magazines
Publication:
November 2025
November 2025
Subject:
Magazines
Magazines
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books
books
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and(...)
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and(...)
Publication:
November 2006, London / Cambridge
November 2006, London / Cambridge
Title:
The archive: Documents of contemporary art
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive--no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself. This volume surveys the full diversity of our transformed theoretical and critical notions of the archive--as idea and as physical presence--from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.
The archive: Documents of contemporary art
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive--no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself. This volume surveys the full diversity of our transformed theoretical and critical notions of the archive--as idea and as physical presence--from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.
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books
books
Publication:
November 2006, London / Cambridge
November 2006, London / Cambridge
Form:
books
books
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$46.00
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Summary:
Auschwitz. Hiroshima. Cambodia’s killing fields. The World Trade Center. The mass graves of Rwanda. These places of violent death have become part of the recreational landscape of tourism, an industry that is otherwise dedicated to pleasure and escape. In dark places like concentration camps, prisons, battlegrounds, and the sites of natural disasters, how are memory and(...)
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Auschwitz. Hiroshima. Cambodia’s killing fields. The World Trade Center. The mass graves of Rwanda. These places of violent death have become part of the recreational landscape of tourism, an industry that is otherwise dedicated to pleasure and escape. In dark places like concentration camps, prisons, battlegrounds, and the sites of natural disasters, how are memory and(...)
Title:
Death tourism: disaster sites as recreational landscape
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Auschwitz. Hiroshima. Cambodia’s killing fields. The World Trade Center. The mass graves of Rwanda. These places of violent death have become part of the recreational landscape of tourism, an industry that is otherwise dedicated to pleasure and escape. In dark places like concentration camps, prisons, battlegrounds, and the sites of natural disasters, how are memory and trauma mediated by thanotourism, or tourism of death? In Death Tourism, Brigitte Sion brings together essays by some of the most trenchant voices in the field to look at the tensions created by the juxtaposition of human remains and food stands, political agendas and educational programs, economic development and architectural ambition. How does a state redefine its national identity after catastrophic trauma? And what is the role of this kind of tourism in defining their new identity? A timely volume on an irresistible subject, this inquiry exposes the intersection of leisure with the inhumane, giving insight into how people respectfully share a public space that is both free and sacred, compelling and tragic.
Death tourism: disaster sites as recreational landscape
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Auschwitz. Hiroshima. Cambodia’s killing fields. The World Trade Center. The mass graves of Rwanda. These places of violent death have become part of the recreational landscape of tourism, an industry that is otherwise dedicated to pleasure and escape. In dark places like concentration camps, prisons, battlegrounds, and the sites of natural disasters, how are memory and trauma mediated by thanotourism, or tourism of death? In Death Tourism, Brigitte Sion brings together essays by some of the most trenchant voices in the field to look at the tensions created by the juxtaposition of human remains and food stands, political agendas and educational programs, economic development and architectural ambition. How does a state redefine its national identity after catastrophic trauma? And what is the role of this kind of tourism in defining their new identity? A timely volume on an irresistible subject, this inquiry exposes the intersection of leisure with the inhumane, giving insight into how people respectfully share a public space that is both free and sacred, compelling and tragic.
Form:
books
books
Publication:
November 2015
November 2015
Subject:
Transportation, Tourism, Migration
Transportation, Tourism, Migration
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books
books
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$102.00
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Summary:
Thomas Demand provokes confrontations between photography's poles of fact and fiction. True-to-size paper models are photographed and then scaled down, while traces of event and person are systematically removed, leaving phantom images of the proposed "crime scene" that seem at once familiar and dreamlike. Demand's 2009 Nationalgalerie (Berlin) exhibition and catalogue(...)
$102.00
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Thomas Demand provokes confrontations between photography's poles of fact and fiction. True-to-size paper models are photographed and then scaled down, while traces of event and person are systematically removed, leaving phantom images of the proposed "crime scene" that seem at once familiar and dreamlike. Demand's 2009 Nationalgalerie (Berlin) exhibition and catalogue(...)
Subject:
Photography monographs
Photography monographs
Publication:
January 2010
January 2010
Title:
Thomas Demand, Nationalgalerie
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Thomas Demand provokes confrontations between photography's poles of fact and fiction. True-to-size paper models are photographed and then scaled down, while traces of event and person are systematically removed, leaving phantom images of the proposed "crime scene" that seem at once familiar and dreamlike. Demand's 2009 Nationalgalerie (Berlin) exhibition and catalogue bring together his work on German history since 1945--a scrutiny of the "Deutschlandbild," the "German image." These reflections, reconstructed in photographs from a variety of scenarios in the postwar period, encourage the viewer to consider the complexity of the photographic document. Demand's representations of the social and historical are introduced not as monoliths but as places of multiple possibility, halls of mirrors in which the viewer is forced to confront--rather than be fed--potential distortions. His concern for the pliability of human memory and the play between the central and peripheral image contributes to the vibrancy of his art. For Demand, the photographer's accomplishment lies in "re-privatisating that which is constructed as a public opinion."
Thomas Demand, Nationalgalerie
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$102.00
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Summary:
Thomas Demand provokes confrontations between photography's poles of fact and fiction. True-to-size paper models are photographed and then scaled down, while traces of event and person are systematically removed, leaving phantom images of the proposed "crime scene" that seem at once familiar and dreamlike. Demand's 2009 Nationalgalerie (Berlin) exhibition and catalogue bring together his work on German history since 1945--a scrutiny of the "Deutschlandbild," the "German image." These reflections, reconstructed in photographs from a variety of scenarios in the postwar period, encourage the viewer to consider the complexity of the photographic document. Demand's representations of the social and historical are introduced not as monoliths but as places of multiple possibility, halls of mirrors in which the viewer is forced to confront--rather than be fed--potential distortions. His concern for the pliability of human memory and the play between the central and peripheral image contributes to the vibrancy of his art. For Demand, the photographer's accomplishment lies in "re-privatisating that which is constructed as a public opinion."
Form:
books
books
Publication:
January 2010
January 2010
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
History's shadow
History's shadow
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$85.00
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Maisel’s work has always been concerned with processes of memory, excavation, and transformation. These themes are given new form in his latest work, History’s Shadow. In this series, Maisel re-photographs x-rays from museum archives that depict artifacts from antiquity, scanning and digitally manipulating the selected source material. X-rays have historically been used(...)
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Summary:
Maisel’s work has always been concerned with processes of memory, excavation, and transformation. These themes are given new form in his latest work, History’s Shadow. In this series, Maisel re-photographs x-rays from museum archives that depict artifacts from antiquity, scanning and digitally manipulating the selected source material. X-rays have historically been used(...)
Title:
History's shadow
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Maisel’s work has always been concerned with processes of memory, excavation, and transformation. These themes are given new form in his latest work, History’s Shadow. In this series, Maisel re-photographs x-rays from museum archives that depict artifacts from antiquity, scanning and digitally manipulating the selected source material. X-rays have historically been used by art conservators for structural examination of art and artifacts much as physicians examine bones and internal organs; they reveal losses, replacements, construction methods, and internal trauma invisible to the naked eye. By transcribing both the inner and outer surfaces of their subjects simultaneously, they form spectral images of indeterminate space, depth, and scale. The resulting photographs seem like transmissions from the distant past, both spanning and collapsing time. They express – through feeling and art, as well as science and reason – the shape-shifting nature of time itself, and the continuous presence of the past contained within us. The book contains an original short story by Jonathan Lethem that was inspired by Maisel’s images.
History's shadow
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Maisel’s work has always been concerned with processes of memory, excavation, and transformation. These themes are given new form in his latest work, History’s Shadow. In this series, Maisel re-photographs x-rays from museum archives that depict artifacts from antiquity, scanning and digitally manipulating the selected source material. X-rays have historically been used by art conservators for structural examination of art and artifacts much as physicians examine bones and internal organs; they reveal losses, replacements, construction methods, and internal trauma invisible to the naked eye. By transcribing both the inner and outer surfaces of their subjects simultaneously, they form spectral images of indeterminate space, depth, and scale. The resulting photographs seem like transmissions from the distant past, both spanning and collapsing time. They express – through feeling and art, as well as science and reason – the shape-shifting nature of time itself, and the continuous presence of the past contained within us. The book contains an original short story by Jonathan Lethem that was inspired by Maisel’s images.
Form:
books
books
Publication:
September 2011
September 2011
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$39.95
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Summary:
Much of contemporary visual culture can be traced directly to the work of Eadweard Muybridge, photographer and film pioneer. In Muybridge: The Eye In Motion, Stephen Barber analyses Muybridge’s prodigious output principally through the photographer’s own scrapbook, a multi-dimensional and unprecedented “memory-book” that was created in the final years of his life. Based(...)
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Summary:
Much of contemporary visual culture can be traced directly to the work of Eadweard Muybridge, photographer and film pioneer. In Muybridge: The Eye In Motion, Stephen Barber analyses Muybridge’s prodigious output principally through the photographer’s own scrapbook, a multi-dimensional and unprecedented “memory-book” that was created in the final years of his life. Based(...)
Title:
Muybridge : the eye in motion
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Summary:
Much of contemporary visual culture can be traced directly to the work of Eadweard Muybridge, photographer and film pioneer. In Muybridge: The Eye In Motion, Stephen Barber analyses Muybridge’s prodigious output principally through the photographer’s own scrapbook, a multi-dimensional and unprecedented “memory-book” that was created in the final years of his life. Based on this extensive primary research into Muybridge’s personal archive, this innovative and ground-breaking book illuminates both the preoccupations behind his influence on twentieth-century artists like Francis Bacon, his role in the origins of cinema, and his early prefiguring of the digital world. The result is an original look at the man, his body of work, and his influence. Muybridge’s work was powered by an extreme obsessiveness and excess that enabled him to negate all preconceptions of art and to reconceptualize the dynamics of corporeal and urban forms. Above all, Muybridge envisioned the future of cinema by creating a moving-image projector—the zoopraxiscope—and by constructing the first identifiably cinematic space to project his compositions for an audience.
Muybridge : the eye in motion
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$39.95
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Summary:
Much of contemporary visual culture can be traced directly to the work of Eadweard Muybridge, photographer and film pioneer. In Muybridge: The Eye In Motion, Stephen Barber analyses Muybridge’s prodigious output principally through the photographer’s own scrapbook, a multi-dimensional and unprecedented “memory-book” that was created in the final years of his life. Based on this extensive primary research into Muybridge’s personal archive, this innovative and ground-breaking book illuminates both the preoccupations behind his influence on twentieth-century artists like Francis Bacon, his role in the origins of cinema, and his early prefiguring of the digital world. The result is an original look at the man, his body of work, and his influence. Muybridge’s work was powered by an extreme obsessiveness and excess that enabled him to negate all preconceptions of art and to reconceptualize the dynamics of corporeal and urban forms. Above all, Muybridge envisioned the future of cinema by creating a moving-image projector—the zoopraxiscope—and by constructing the first identifiably cinematic space to project his compositions for an audience.
Form:
books
books
Publication:
November 2012
November 2012
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Thomas Flechtner : news
Thomas Flechtner : news
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$120.00
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner(...)
$120.00
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner(...)
Title:
Thomas Flechtner : news
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspaper front pages over a period of one year, scattered plant seeds from very different countries over them, watered them, and, finally, exposed them to the sun. He recorded the way the "news" was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fleetingness of memory and the demands made on it in shaping today's world. Thomas Flechtne r, born in Winterthur in 1961, studied at the Ecole de photographie, Vevey. He has received numerous prizes for his photographic works, which he regularly exhibits. He lives and works in Valliere, France and in Zürich.
Thomas Flechtner : news
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspaper front pages over a period of one year, scattered plant seeds from very different countries over them, watered them, and, finally, exposed them to the sun. He recorded the way the "news" was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fleetingness of memory and the demands made on it in shaping today's world. Thomas Flechtne r, born in Winterthur in 1961, studied at the Ecole de photographie, Vevey. He has received numerous prizes for his photographic works, which he regularly exhibits. He lives and works in Valliere, France and in Zürich.
Form:
books
books
Publication:
December 2012
December 2012
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
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$37.95
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Summary:
This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as(...)
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Summary:
This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as(...)
Title:
Sounds: the ambient humanities
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$37.95
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This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we “audit” sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound—including a whistle, an echo, a gasp, and silence—to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.
Sounds: the ambient humanities
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This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we “audit” sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound—including a whistle, an echo, a gasp, and silence—to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.
Form:
books
books
Publication:
July 2015
July 2015
Subject:
Acoustics
Acoustics
Form:
books
books
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$58.95
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Summary:
In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the(...)
$58.95
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Summary:
In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the(...)
Publication:
November 2015
November 2015
Title:
Aunties: the seven summers of Alevtina and Ludmila
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In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the small details and daily rituals of her aunts surprisingly colorful and dreamlike days, taking us not only to another country but to another time. Alevtina and Ludmila, now in their seventies, seem both old and young, as if time itself was as seamless and cyclical as their routines working on puzzles, sewing curtains, tatting lace, picking berries, repairing fences and as full of the same subtle mysteries. Sablin collaborated with her aunts to recreate scenes she remembered from her childhood and to make new images of the patterns of their days. In these photographs, Sablin combines observation and invention, biography and autobiography, to tell the stories of her aunts life together, and in the process, quilts together a thoughtful meditation on memory, aging, and belonging.
Aunties: the seven summers of Alevtina and Ludmila
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In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the small details and daily rituals of her aunts surprisingly colorful and dreamlike days, taking us not only to another country but to another time. Alevtina and Ludmila, now in their seventies, seem both old and young, as if time itself was as seamless and cyclical as their routines working on puzzles, sewing curtains, tatting lace, picking berries, repairing fences and as full of the same subtle mysteries. Sablin collaborated with her aunts to recreate scenes she remembered from her childhood and to make new images of the patterns of their days. In these photographs, Sablin combines observation and invention, biography and autobiography, to tell the stories of her aunts life together, and in the process, quilts together a thoughtful meditation on memory, aging, and belonging.
Form:
books
books
Publication:
November 2015
November 2015
Form:
books
books
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$69.00
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Summary:
Gabriel Orozco visited the old guest apartments of Prince and Princess de Broglie (the last private owners of Château de Chaumont-sur-Loire) for but a few moments when his gaze was drawn straight to the torn wallpaper remains—so discreet that they were no longer noticed. These faded impressions, modest vestiges, extremely fragile traces of a past now behind us,(...)
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Gabriel Orozco visited the old guest apartments of Prince and Princess de Broglie (the last private owners of Château de Chaumont-sur-Loire) for but a few moments when his gaze was drawn straight to the torn wallpaper remains—so discreet that they were no longer noticed. These faded impressions, modest vestiges, extremely fragile traces of a past now behind us,(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
October 2016
October 2016
Title:
Gabriel Orozco: fleurs fantômes
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Gabriel Orozco visited the old guest apartments of Prince and Princess de Broglie (the last private owners of Château de Chaumont-sur-Loire) for but a few moments when his gaze was drawn straight to the torn wallpaper remains—so discreet that they were no longer noticed. These faded impressions, modest vestiges, extremely fragile traces of a past now behind us, immediately captured the imagination of this exceptional artist, who had been invited to “take over the château” as part of a special commission for the Centre-Loire Valley region. In his fascination with the remnants of the old tapestries that once graced the walls of these rooms—closed off and forgotten about since 1938—Orozco devoted hours to studying the palimpsest of the floral tapestries, still hanging on these old walls: photographing them over a considerable amount of time whilst listening to the echoes of ages past. For in these very rooms, now consigned to history, kings and queens from all over Europe once spent time and slept—sometimes for just a few hours—at the turn of last century, invited as guests to sumptuous parties and celebrated hunts. The artist, whose work is inspired by the quest for traces, remnants, marks left by men, has chosen an approach that looks back at the history and memory of the château at Chaumont-sur-Loire. In these fragments of old, timeworn, threadbare tapestries, Gabriel Orozco detected traces of these lives now long gone by: a matrix of a subtle meditation on space and time. The works on display in the “guest bedrooms” of the château evoke the details and the damage of the ancient wallpaper, whose elegant floral motifs have been recreated using a unique, time-consuming process of spraying oil onto canvas. The faltering impression mirrors the feeling of unease that grips visitors as they encounter these works and these blemished walls that are now in plain sight. In this way Orozco reveals not just the designs and colors that had until now faded into the background, but also the emotion suspended in the rooms. Through this poetic promenade, along the walls and complex walkways of the west and south wings of two floors of the château, Orozco invites us to partake in a dialogue with the mystery and the memory of a unique environment that is rendered omnipresent.
Gabriel Orozco: fleurs fantômes
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Summary:
Gabriel Orozco visited the old guest apartments of Prince and Princess de Broglie (the last private owners of Château de Chaumont-sur-Loire) for but a few moments when his gaze was drawn straight to the torn wallpaper remains—so discreet that they were no longer noticed. These faded impressions, modest vestiges, extremely fragile traces of a past now behind us, immediately captured the imagination of this exceptional artist, who had been invited to “take over the château” as part of a special commission for the Centre-Loire Valley region. In his fascination with the remnants of the old tapestries that once graced the walls of these rooms—closed off and forgotten about since 1938—Orozco devoted hours to studying the palimpsest of the floral tapestries, still hanging on these old walls: photographing them over a considerable amount of time whilst listening to the echoes of ages past. For in these very rooms, now consigned to history, kings and queens from all over Europe once spent time and slept—sometimes for just a few hours—at the turn of last century, invited as guests to sumptuous parties and celebrated hunts. The artist, whose work is inspired by the quest for traces, remnants, marks left by men, has chosen an approach that looks back at the history and memory of the château at Chaumont-sur-Loire. In these fragments of old, timeworn, threadbare tapestries, Gabriel Orozco detected traces of these lives now long gone by: a matrix of a subtle meditation on space and time. The works on display in the “guest bedrooms” of the château evoke the details and the damage of the ancient wallpaper, whose elegant floral motifs have been recreated using a unique, time-consuming process of spraying oil onto canvas. The faltering impression mirrors the feeling of unease that grips visitors as they encounter these works and these blemished walls that are now in plain sight. In this way Orozco reveals not just the designs and colors that had until now faded into the background, but also the emotion suspended in the rooms. Through this poetic promenade, along the walls and complex walkways of the west and south wings of two floors of the château, Orozco invites us to partake in a dialogue with the mystery and the memory of a unique environment that is rendered omnipresent.
Form:
books
books
Publication:
October 2016
October 2016
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
