Ways of Curating
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Hans Ulrich Obrist curated his first exhibit in his kitchen when he was twenty-three years old. Since then he has staged more than 250 shows internationally, many of them among the most influential exhibits of our age. ''Ways of Curating'' is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries(...)
Ways of Curating
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Hans Ulrich Obrist curated his first exhibit in his kitchen when he was twenty-three years old. Since then he has staged more than 250 shows internationally, many of them among the most influential exhibits of our age. ''Ways of Curating'' is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries and continents, flitting from meetings with the artists who have inspired him (including Gerhard Richter, Louise Bourgeois, and Gilbert and George) to biographies of influential figures such as Diaghilev and Walter Hopps. It describes some of the greatest exhibitions in history, as well as some of the greatest exhibitions never realized. It traces the evolution of collections from Athanasius Kircher's seventeenth-century Wunderkammer to modern museums, and points the way for projects yet to come. Obrist has rescued the word "curate" from wine stores and playlists to remind us of the power inherent in looking at art--and at the world--in a new way.
Muséologie
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The American sculptor John Chamberlain, known for using parts of wrecked automobiles in his volumetric, abstract work, is widely considered one of the most important artists of the 60s generation. Here, he speaks with curator, museum director, writer and cultural catalyst Hans Ulrich Obrist, editor of "The conversation series", about everything from the need for a(...)
janvier 2007, Köln, New York
John Chamberlain / Hans Ulrich Obrist : the conversation series 2
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The American sculptor John Chamberlain, known for using parts of wrecked automobiles in his volumetric, abstract work, is widely considered one of the most important artists of the 60s generation. Here, he speaks with curator, museum director, writer and cultural catalyst Hans Ulrich Obrist, editor of "The conversation series", about everything from the need for a redesigned hospital gown, to his relationship to Donald Judd and Marfa, Texas, to "recipes" for making art, his years spent in the Navy, becoming a hairdresser in order to meet women, being cast as a drunken womanizer by Black Mountain College scholars, Andy Warhol's Factory, John Waters, Robert Creeley and even Chamberlains, the restaurant he owned with his son in the mid-1990s.
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Volume number 10 in the Conversation Series with the influential museum director, curator, writer and conversationalist Hans Ulrich Obrist, is given over to an intensive talk with the important German conceptual artist, Thomas Demand, who constructs precise environments out of paper maquettes, which are then photographed to haunting effect. Topics include concepts and(...)
Thomas Demand / Hans Ulrich Obrist : the conversation series 10
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Volume number 10 in the Conversation Series with the influential museum director, curator, writer and conversationalist Hans Ulrich Obrist, is given over to an intensive talk with the important German conceptual artist, Thomas Demand, who constructs precise environments out of paper maquettes, which are then photographed to haunting effect. Topics include concepts and rules of operation, the reconstruction and reverberation of history, work processes, studio realities and significant exhibitions of recent years. This wide-ranging conversation, modestly illustrated with black-and-white images, is as intelligent as it is revealing, giving the reader an unprecedented glimpse into the minds of two of the most brilliant players on the international art scene. Demand lives between Berlin and New York, where a retrospective of his work was shown at The Museum of Modern Art in 2005. Hans Ulrich Obrist is the Co-Director of the Musee d'Art Moderne de la Ville de Paris, as well as the Serpentine Gallery, London, where he lives and works.
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"People make too much of architecture. I have a running quarrel with architects who overestimate architecture. Reality is at eye-level with people walking down the street." Born in 1923 in Budapest, Hungary, Yona Friedman is widely considered one of the greatest utopian visionary architects of the twentieth century. Currently based in Paris, he is just as much a(...)
juillet 2007, Cologne
Yona Friedman / Hans Ulrich Obrist : the conversation series 7
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"People make too much of architecture. I have a running quarrel with architects who overestimate architecture. Reality is at eye-level with people walking down the street." Born in 1923 in Budapest, Hungary, Yona Friedman is widely considered one of the greatest utopian visionary architects of the twentieth century. Currently based in Paris, he is just as much a sociologist as a designer of buildings, more concerned with the way people interact with their environments than monumental statements by an ego-centric creator. In this illuminating talk with The Conversation Series editor Hans Ulrich Obrist, he touches on the needs of the individual in heterogeneous urban societies, past and future projects, utopia, influences and metaphysics, revealing a wise and deeply-animated humanistic intellect. Known for his 1958 manifesto, L'Architecture mobile, Friedman's ideas have remained influential. His work was featured at the 2002 Documenta.
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In this traditional paperback, critic and curator Hans Ulrich Obrist teams up with Dutch avant-garde architect and paradigm-shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalization.
avril 2007, Köln
Rem Koolhaas / Hans Ulrich Obrist : the conversation series 4
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In this traditional paperback, critic and curator Hans Ulrich Obrist teams up with Dutch avant-garde architect and paradigm-shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalization.
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The Serpentine Architecture Program expands for 2016, with four Summer Houses joining the Serpentine Pavilion. The Pavilion, designed by Bjarke Ingels Group (BIG), is an unzipped wall that is transformed from straight line to three-dimensional space, creating a dramatic structure that by day houses a café and by night becomes a space for the Serpentine’s Park Nights(...)
Architecture contemporaine
mai 2017
Serpentine Pavilion and summer houses 2016. BIG, Kunlé Adeyemi, Yona Friedman, Barkow Leib
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The Serpentine Architecture Program expands for 2016, with four Summer Houses joining the Serpentine Pavilion. The Pavilion, designed by Bjarke Ingels Group (BIG), is an unzipped wall that is transformed from straight line to three-dimensional space, creating a dramatic structure that by day houses a café and by night becomes a space for the Serpentine’s Park Nights performance program. Kunlé Adeyemi’s Summer House is an inverse replica of Queen Caroline’s Temple—a tribute to its robust form, space and material, recomposed into a new sculptural object. Barkow Leibinger were inspired by another, now extinct, 18th-century pavilion also designed by William Kent, which rotated and offered 360-degree views of the Park. Yona Friedman’s Summer House takes the form of a modular structure that can be assembled and disassembled. Asif Khan’s design is inspired by the fact that Queen Caroline’s Temple was positioned in a way that would allow it to catch the sunlight from the Serpentine lake.
Architecture contemporaine
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Luis Barragán’s house, Louis Kahn wrote after visiting it, is a place that “could have been built a hundred years ago or a hundred years from now.” So, in more ways than one, is The Air is Blue, an exhibition orchestrated in the master's house and studio by Hans Ulrich Obrist and Pedro Reyes, over the course of three years. The ever-growing list of participants comprised(...)
The air is blue: insights on art and architecture. Luis Barragan revisited
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Luis Barragán’s house, Louis Kahn wrote after visiting it, is a place that “could have been built a hundred years ago or a hundred years from now.” So, in more ways than one, is The Air is Blue, an exhibition orchestrated in the master's house and studio by Hans Ulrich Obrist and Pedro Reyes, over the course of three years. The ever-growing list of participants comprised at the end forty-seven artists and contributors, including Francis Alÿs, Daniel Buren, Gilbert & George, Dominique Gonzales-Foerster, Joseph Grigely, Rem Koolhaas, Lygia Pape, Anri Sala, Ettore Sottsass, Rikrit Tiravanija, and Niele Toroni. Their interventions collided visions and conversations about poetry, urbanism, music, sexuality, art, and architecture. A catalogue was published in 2006, but never circulated. After ten years, this reprint consists on an integral black-and-white scan of the original book, with a small appendix of previously unpublished images and a new afterword written by Reyes. All on blue paper.
Architecture, monographies
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In 2014, for the thirtieth anniversary of the Fondation Cartier pour l'art contemporain in Paris, noted art historian Hans Ulrich Obrist imagined "The infinite conversation" a series of conversations with artists, scientists, and thinkers close to the Fondation Cartier and its exhibition program. "The infinite conversations" gathers together all of these conversations,(...)
H U: The infinite conversations
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In 2014, for the thirtieth anniversary of the Fondation Cartier pour l'art contemporain in Paris, noted art historian Hans Ulrich Obrist imagined "The infinite conversation" a series of conversations with artists, scientists, and thinkers close to the Fondation Cartier and its exhibition program. "The infinite conversations" gathers together all of these conversations, with figures such as Patti Smith, Raymond Depardon, Agnes Varda, and Freddy Mamani, in an invitation to transcend the borders between art disciplines.
Théorie de l’art
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Pour les trente ans de la Fondation Cartier, l'auteur et commissaire d'exposition, propose un recueil des entretiens tenus avec des artistes, des penseurs, des architectes, des écrivains et des scientifiques réalisés à l'occasion d'expositions artistiques entre 2014 et 2018 : Jean Nouvel, Raymond Depardon, Agnès Varda, Vinciane Despret, Fredi Casco, Freddy Mamani, entre autres.
Les entretiens infinis : conversations 2014-2018
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Pour les trente ans de la Fondation Cartier, l'auteur et commissaire d'exposition, propose un recueil des entretiens tenus avec des artistes, des penseurs, des architectes, des écrivains et des scientifiques réalisés à l'occasion d'expositions artistiques entre 2014 et 2018 : Jean Nouvel, Raymond Depardon, Agnès Varda, Vinciane Despret, Fredi Casco, Freddy Mamani, entre autres.
Théorie de l’art
Enzo Mari
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This volume, which accompanies the great retrospective exhibition devoted to Enzo Mari and curated by Hans Ulrich Obrist (Milan Triennial, 17 October 2020 – 18 April 2021), celebrates the work and thought of Enzo Mari, one of the leading masters and theorists of Italian design. These are chiefly reconstructed through the constant dialogue he engaged in, over the years,(...)
Enzo Mari
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This volume, which accompanies the great retrospective exhibition devoted to Enzo Mari and curated by Hans Ulrich Obrist (Milan Triennial, 17 October 2020 – 18 April 2021), celebrates the work and thought of Enzo Mari, one of the leading masters and theorists of Italian design. These are chiefly reconstructed through the constant dialogue he engaged in, over the years, with the curator Hans Ulrich Obrist. Plans, sketches, unpublished archive material, essays and interviews illustrate over 60 years of work, tracing for the first time a systematic and exhaustive itinerary – articulated into 19 ''research platforms'' – that conveys Mari’s sensitivity as a designer, artist, critic and theoretician, along with the striking relevance of his thought. According to Mari, design can only be regarded as such if it also transmits knowledge. His projects, which have withstood the test of time, have been conceived in such a way as to be sustainable – from a material as much as aesthetic perspective – and accessible to all. As Hans Ulrich Obrist recalls, ''For Enzo everything revolves around the object, and good design alone is destined to triumph''.