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''Style Congo: Heritage & heresy'' examines the politics of cultural representation and appropriation through contemporary artistic and architectural interventions, as well as historical materials primarily sourced from the CIVA collection in Brussels. Starting with the Art Nouveau movement and stemming from the exhibition of the same name, this book traces the portrayal(...)
September 2023
Style Congo: Heritage and heresy
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''Style Congo: Heritage & heresy'' examines the politics of cultural representation and appropriation through contemporary artistic and architectural interventions, as well as historical materials primarily sourced from the CIVA collection in Brussels. Starting with the Art Nouveau movement and stemming from the exhibition of the same name, this book traces the portrayal of the Congo in international and colonial exhibitions in Belgium, France, and the Congo between 1885 and 1958.
Astèr Atèrla
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Un panorama d'envergure de la scène artistique réunionnaise, à travers l'exploration des œuvres de 34 artistes qui interrogent la société postcoloniale, la migration, le déplacement, l'hybridation culturelle, ainsi que notre compréhension du vivre ensemble, et des textes de cinq auteur·es.
June 2023
Astèr Atèrla
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Un panorama d'envergure de la scène artistique réunionnaise, à travers l'exploration des œuvres de 34 artistes qui interrogent la société postcoloniale, la migration, le déplacement, l'hybridation culturelle, ainsi que notre compréhension du vivre ensemble, et des textes de cinq auteur·es.
$58.95
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Le prolongement et l'aboutissement d'un vaste projet, articulé entre une exposition et un colloque, imaginé par le commissaire sud-africain Ntshepe Tsekere Bopape (Mo Laudi), invitant 17 artistes d'Afrique et de sa diaspora et un ensemble de chercheurs à évoquer l'esthétique noire et proposer une vision alternative d'un monde sans frontières.
April 2024
Globalisto : Une philosophie en mouvement, Actes d'un imbizo
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Le prolongement et l'aboutissement d'un vaste projet, articulé entre une exposition et un colloque, imaginé par le commissaire sud-africain Ntshepe Tsekere Bopape (Mo Laudi), invitant 17 artistes d'Afrique et de sa diaspora et un ensemble de chercheurs à évoquer l'esthétique noire et proposer une vision alternative d'un monde sans frontières.
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Qillaniq nous offre un art polyphonique et multidisciplinaire, riche d’improvisations. Un art inspiré des valeurs autochtones qui privilégient l’apport au bien commun sous toutes les formes. Un art qui exprime une joie profonde, le message d’artistes qui voient tous les possibles dans nos communautés, qui fait place aux gens qui font évoluer notre monde en faisant fi des(...)
Qillaniq
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Qillaniq nous offre un art polyphonique et multidisciplinaire, riche d’improvisations. Un art inspiré des valeurs autochtones qui privilégient l’apport au bien commun sous toutes les formes. Un art qui exprime une joie profonde, le message d’artistes qui voient tous les possibles dans nos communautés, qui fait place aux gens qui font évoluer notre monde en faisant fi des normes dictées par la colonisation. C’est, surtout, un art qui célèbre ceux et celles qui brandissent l’amour devant les écueils.// The art in Qillaniq is multi-vocal, multi-disciplinary, and improvisational; it’s inspired by Indigenous values of contributing to community in as many ways as possible. It’s also an expression of radical joy, an exploration of what the artists tell us is possible in our communities, of holding space for the people who change our world – despite not always fitting into the norms of colonizing institutions. Most of all, it celebrates those who share love as an answer to difficulty. Qillaniq – that shimmering, bright light – honours the circumpolar world’s badass artists who tell us all that our existence is enough.
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The San Francisco Bay Area's legendary late-1960s counterculture - which included Allen Ginsberg, Bruce Nauman, Stan Brakhage, Yvonne Rainer and The Grateful Dead, as well as plentiful psychedelic drugs, free love, bell-bottoms, dashikis, daisies and radical leftist politics - ushered in wave after wave of experiments in dance, art, literature, music and film. As Jack(...)
Looking for mushrooms: Beat poets, hippies, funk, minimal art San Francisco 1955-68
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The San Francisco Bay Area's legendary late-1960s counterculture - which included Allen Ginsberg, Bruce Nauman, Stan Brakhage, Yvonne Rainer and The Grateful Dead, as well as plentiful psychedelic drugs, free love, bell-bottoms, dashikis, daisies and radical leftist politics - ushered in wave after wave of experiments in dance, art, literature, music and film. As Jack Kerouac wrote in his 1957 masterpiece, On the Road, "The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars..." This engaging documentary volume, which accompanies a late 2008 exhibition at Germany's Museum Ludwig, Cologne, examines the cultural repercussions of the creative output during the pivotal years spanning from 1955 to 1968, examining the ways in which they are still reverberating today.
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Catalogue published in conjunction with the exhibition " The Pictures Generation, 1974-1984", New York, The Metropolitan Museum of art, april-august 2009. This handsome book is the first comprehensive examination of the Pictures Generation, a loosely knit group of artists working in New York from the mid-1970s to the mid-1980s. The overarching subject of the work of(...)
May 2009, New York
The Pictures Generation, 1974-1984
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Catalogue published in conjunction with the exhibition " The Pictures Generation, 1974-1984", New York, The Metropolitan Museum of art, april-august 2009. This handsome book is the first comprehensive examination of the Pictures Generation, a loosely knit group of artists working in New York from the mid-1970s to the mid-1980s. The overarching subject of the work of these artists was imagery itself—how pictures not only depict but also shape how we perceive the world and ourselves. The collective achievement of this group is an extremely important chapter in the history of contemporary art.
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Accompanying States of Exchange, this publication explores recent work by Havana-based artists that investigate relationships between economic exchange, information exchange and cultural production in public, private and personal contexts.
January 2008, London
States of exchange: artist from Cuba
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Accompanying States of Exchange, this publication explores recent work by Havana-based artists that investigate relationships between economic exchange, information exchange and cultural production in public, private and personal contexts.
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This new survey covers the rich and varied history of participatory art, from early happenings and performances to current practices that demand audience interaction. As the hallmarks of Web 2.0—browsing, sharing, collecting, producing—increasingly permeate every aspect of society, this timely project reveals the ways in which artists and viewers have approached the(...)
November 2008, New York, London, San Francisco
The art of participation: 1950 to now
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This new survey covers the rich and varied history of participatory art, from early happenings and performances to current practices that demand audience interaction. As the hallmarks of Web 2.0—browsing, sharing, collecting, producing—increasingly permeate every aspect of society, this timely project reveals the ways in which artists and viewers have approached the creation of open works of art. The featured artists include Marina Abramovic and Ulay, Vito Acconci, Joseph Beuys, John Cage, Janet Cardiff, Lygia Clark, Kit Galloway and Sherrie Rabinowitz, Dan Graham, Hans Haacke, Allan Kaprow, Lynn Hershman Leeson, Antoni Muntadas, Yoko Ono, Nam June Paik, and Erwin Wurm. Original essays by Rudolf Frieling, Boris Groys, Robert Atkins, and Lev Manovich identify seminal moments in participatory practice from the 1950s to the present day. A rich array of plates introduce work by all the artists in the accompanying exhibition, with reproductions of significant projects by other major figures—from Helio Oiticica, Joan Jonas, and Gordon Matta-Clark to Rirkrit Tiravanija and SUPERFLEX—rounding out the survey.
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Publication de l'exposition Musée Ziem, Martigues, 7 avril - 10 juin 2001. Cette exposition rassemble des oeuvres issues des collections du Fonds régional d'art contemporain Provence-Alpes-Côte d'Azur et du Fonds national d'art contemporain autour du thème architecture et fiction. Une architecture parasitée par des fictions diverses, qu'elles soient poétiques,(...)
March 2001
(Que saurions nous construire d'autre?)
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Publication de l'exposition Musée Ziem, Martigues, 7 avril - 10 juin 2001. Cette exposition rassemble des oeuvres issues des collections du Fonds régional d'art contemporain Provence-Alpes-Côte d'Azur et du Fonds national d'art contemporain autour du thème architecture et fiction. Une architecture parasitée par des fictions diverses, qu'elles soient poétiques, humoristiques, ou dérisoires. Le titre de l'exposition est emprunté à Kafka dans Le Château, phrase qui permet d'appréhender l'architecture telle que les artistes l'envisagent, sous la forme de digresssions et de décalages. Chaque artiste invité apporte une proposition qui déjoue toute volonté de système.
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March 2001
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In a supportive article covering the 4th Berlin Biennial, critic Steven Henry Madoff took a moment to question what many have termed "Biennial Fever," writing, "Are [biennials] here to capture trends or to advance artists' voices in a larger social dialogue? Do they promote international understanding or local interests? Are they bully pulpits for curators turned(...)
September 2008, Zurich
5th Berlin Biennial for Contemporary Art
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In a supportive article covering the 4th Berlin Biennial, critic Steven Henry Madoff took a moment to question what many have termed "Biennial Fever," writing, "Are [biennials] here to capture trends or to advance artists' voices in a larger social dialogue? Do they promote international understanding or local interests? Are they bully pulpits for curators turned ideologues, or are they simply there to tap the art market's stopwatch till the next survey of hot new things draws the attention of an ever expanding universe of collectors?" For the 2008 edition of this always-provocative international fair, Curators Adam Szymczyk and Elena Filipovic brought together primarily newly commissioned work by 50 emerging and established international artists for a round-the-clock exhibition that included 63 nightly events. This expansive volume documents it all, and contains contributions by writers, critics and artists including Beatriz Colomina, Bettina Viesmann, Cameron Jamie, Gabriel Kuri, Babette Mangolte, Ahmet Ogut and Katerina Seda.