Spike Jonze: sonny
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French filmmaker Spike Jonze explores the life of infamous orphan Sonny of Los Angeles in the touching series of portraits shot in 2007 and 2008.
Spike Jonze: sonny
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French filmmaker Spike Jonze explores the life of infamous orphan Sonny of Los Angeles in the touching series of portraits shot in 2007 and 2008.
Anja Kirschner: baumuster
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Anja Kirschner's drawings present a series of plans for a future film set, dealing with the legendary 18th century criminal Jack Sheppard and his inferred relationship with Daniel Defoe, thought to have been the ghost writer of his 'autobiography'. The designs combine elements from constructivist theatre design and early 18th century prints, depicting modular components(...)
Anja Kirschner: baumuster
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Anja Kirschner's drawings present a series of plans for a future film set, dealing with the legendary 18th century criminal Jack Sheppard and his inferred relationship with Daniel Defoe, thought to have been the ghost writer of his 'autobiography'. The designs combine elements from constructivist theatre design and early 18th century prints, depicting modular components of the set to be constructed during filming, indicating the systemic relationship between workshop and prison cell, bourgeois home and the gallows. Anja Kirschner was born in 1977 in Munich, Germany and lives and works in London.
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Andreas Banderas (1985) lives in Oslo, Norway, and is studying graphic design at the National Academy of Arts. His first zine with Nieves consist of drawings and collages made during the last year, when he got a scanner and started to draw for the first time since kindergarten.
Andreas Banderas: it's just a hobby that I picked up in the lobby
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Andreas Banderas (1985) lives in Oslo, Norway, and is studying graphic design at the National Academy of Arts. His first zine with Nieves consist of drawings and collages made during the last year, when he got a scanner and started to draw for the first time since kindergarten.
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For Domicile Conjugal – a title borrowed from François Truffaut's movie of 1970 – Katagiri ( Sapporo, 1977 ) selects details from drawings made during the course of 2008. Her first published book focuses on architecture from a richly illustrated world built upon since 2003. Drawn freehand and without drafts, Katagiri's skillful pen drawings give birth to a dimension(...)
Yuka Katagiri domicile conjugal
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For Domicile Conjugal – a title borrowed from François Truffaut's movie of 1970 – Katagiri ( Sapporo, 1977 ) selects details from drawings made during the course of 2008. Her first published book focuses on architecture from a richly illustrated world built upon since 2003. Drawn freehand and without drafts, Katagiri's skillful pen drawings give birth to a dimension populated by people and intelligent animals, hanging in the balance of the playful physics unique to her craft. The staple ingredients of traditional Japanese art – mountains, trees, architecture and daily activity – are present but free of the structured compositions and realism. Instead we find a collision between the eccentricity of the west and the precision of the eastern tradition.
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Borrowing its title from Gregg Araki’s 2005 film, in which the camera’s contemplation of the male body encourages us to feel that body, and covering a broad span of subjects and films, Mysterious Skin offers a wider, more representative picture of the depiction of the male body in contemporary world cinemas than has hitherto been attempted. An international array of(...)
Mysterious skin: male bodies in contemporary cinema
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Borrowing its title from Gregg Araki’s 2005 film, in which the camera’s contemplation of the male body encourages us to feel that body, and covering a broad span of subjects and films, Mysterious Skin offers a wider, more representative picture of the depiction of the male body in contemporary world cinemas than has hitherto been attempted. An international array of major experts explore the treatment of masculinity and the male body in the cinemas of Africa, Australia, China, France, Germany, Great Britain, India, North America, Spain, Taiwan and Vietnam, as well as Hollywood. Their common concern is to reveal how the representation of the male body is used in films to convey a country’s anxieties about its national identity and history, as well as how it engages with questions of racial, sexual or gender politics. They discuss key actors, directors and films of these countries, from Ewan MacGregor in Peter Greenaway’s The Pillow Book, through the films of Wong Kar Wai, to Paul Hogan as Mick Dundee in Crocodile Dundee. In so doing, Mysterious Skin also provides a strong overview of important cinema produced around the world in the last twenty years.
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janvier 1900
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An extraordinary double world of Soviet drudgery Juxtaposed with sex and beauty, created by Boris Mikhailov, one of the most Influential photographers from the former Soviet Union Previously unpublished due to artistic restrictions imposed during the Communist era, this is a unique and highly collectible object, formed of 52 colour tableaux printed on separate unbound(...)
Boris Mikhailov: yesterday's sandwich
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An extraordinary double world of Soviet drudgery Juxtaposed with sex and beauty, created by Boris Mikhailov, one of the most Influential photographers from the former Soviet Union Previously unpublished due to artistic restrictions imposed during the Communist era, this is a unique and highly collectible object, formed of 52 colour tableaux printed on separate unbound boards and enclosed within a specially created folder and slip case Yesterday's Sandwich embodies Mikhailov's role as artist, documentary photographer and social observer demonstrating his rich imagination and practical solutions for survival in an unstable society
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Cuban artist Diango Hernàndez creates paintings in the shape of faceted diamonds, which for him are symbols of a land governed by a single party, a metaphor of an "untouchable" regime whose politics seem to have no end. Source materials for the paintings are drawn from government propaganda beginning in the 1950s.
Diango Hernandez: diamonds and stones: my education
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Cuban artist Diango Hernàndez creates paintings in the shape of faceted diamonds, which for him are symbols of a land governed by a single party, a metaphor of an "untouchable" regime whose politics seem to have no end. Source materials for the paintings are drawn from government propaganda beginning in the 1950s.
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This first monograph on British performance artist William Hunt (born in 1977) is designed to unfold to 43 x 33 inches, revealing a performatively produced silk screen of the artist's body. Produced in a limited edition of 500. 1 pg folded into 28 sections / 8 duotone
mars 2009, Rotterdam
Tempting fate by swimming alone
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This first monograph on British performance artist William Hunt (born in 1977) is designed to unfold to 43 x 33 inches, revealing a performatively produced silk screen of the artist's body. Produced in a limited edition of 500. 1 pg folded into 28 sections / 8 duotone
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Published on the occasion of the exhibition Ulla von Brandenburg whose beginning is not, nor end cannot be, 27 May - 12 October 2008, IMMA.
Ulla von Brandenburg: whose beginning is not, nor end cannot be
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Published on the occasion of the exhibition Ulla von Brandenburg whose beginning is not, nor end cannot be, 27 May - 12 October 2008, IMMA.
Michael Hakimi
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The murals, computer images, paper works, drawings and objects of Berlin-based Michael Hakimi are combined in site-specific installations to form intricate networks of meaning. Hakimi expands the function of his formally reduced, two-dimensional images by means of his interventions, emphasizing the semantic divide between object and sign. The artist examines the narrative(...)
Michael Hakimi
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The murals, computer images, paper works, drawings and objects of Berlin-based Michael Hakimi are combined in site-specific installations to form intricate networks of meaning. Hakimi expands the function of his formally reduced, two-dimensional images by means of his interventions, emphasizing the semantic divide between object and sign. The artist examines the narrative potential of symbols and basic geometric shapes through the collagelike interaction of his works with readymades of the simplest materials. His installation "Large Oven" (2004), for example, realized for the Kunstverein Hamburg, and the spatial project "Roof" (2007), produced for the Kunsthalle Basel, both of which are comprehensively documented for the first time in the present publication, create walk-in scenarios reflecting social, political and urban realities. Beyond these works, this retrospective monograph presents all of Hakimi's work since 2002.