Kompendium
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Kompendium is an artist book accompanying Danish performance and installation artist Simon Dybbroe Møller’s first comprehensive solo exhibition at the Frankfurter Kunstverein and the Kunstverein Hannover. His reflection on Conceptual art’s systematic processes and forms uses apparently rational processes to achieve quietly mystifying results. With his vivid taste for wit(...)
Kompendium
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Kompendium is an artist book accompanying Danish performance and installation artist Simon Dybbroe Møller’s first comprehensive solo exhibition at the Frankfurter Kunstverein and the Kunstverein Hannover. His reflection on Conceptual art’s systematic processes and forms uses apparently rational processes to achieve quietly mystifying results. With his vivid taste for wit and formal exactitude, the artist sets all manner of references, quotations and re-creations in an unfamiliar setting. The first part contains texts by nine different authors which illuminate the main ideas of individual groups of work. Each contribution is reproduced as a facsimile from a previous book. The second part documents most of the artist’s works to date.
Karel Martens: Unbound
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Unbound accompanies Karel Martens’ first solo exhibition at the Stedelijk Museum Amsterdam, bringing together a wide-ranging body of work Karel made and collected over the entire span of his decades long career. Containing works from the show, collaged, overprinted and juxtaposed with elements found around his studio, the book balances between being an artist book and a(...)
Karel Martens: Unbound
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Unbound accompanies Karel Martens’ first solo exhibition at the Stedelijk Museum Amsterdam, bringing together a wide-ranging body of work Karel made and collected over the entire span of his decades long career. Containing works from the show, collaged, overprinted and juxtaposed with elements found around his studio, the book balances between being an artist book and a catalog. “This publication, thoughtfully designed by Jordi de Vetten and Susu Lee in close collaboration with Martens himself, functions as a handbook to his work. But it’s an unconventional one: unstructured, non-hierarchical, playful, personal, and associative.” With texts by Thomas Castro, curator of the exhibition and Rein Wolfs, director of the Stedelijk Museum.
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Grace Ndiritu delves into radical approaches to education, drawing from her self-directed research in alternative, nomadic, and spiritual communities. Her experiences - from Buddhist monasteries to permaculture communities - profoundly shaped her understanding of embodied learning and its relevance in times of social upheaval. "Being together: A manual for living"(...)
Being Together: A Manual for Living
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Grace Ndiritu delves into radical approaches to education, drawing from her self-directed research in alternative, nomadic, and spiritual communities. Her experiences - from Buddhist monasteries to permaculture communities - profoundly shaped her understanding of embodied learning and its relevance in times of social upheaval. "Being together: A manual for living" reflects on these themes, weaving voices from her social practices to explore collective action and shared destiny within the context of contemporary art education. This second edition, enriched with new essays, deepens the dialogue around these ideas. Published alongside her solo exhibition "The compassionate rebels, tools for everyday living part 1" at Page Not Found, the book extends the exhibition’s exploration of transformative educational practices and communal living.
Théorie de l’art
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From their Southeastern European bases in Bucharest and Sofia, artists Dan Perjovschi and Nedko Solakov have taken the international art world by storm over the course of the last 15 years, showing their work either solo or jointly at such prestigious venues as the 2007 Venice Biennale, Documenta 12 in Kassel, Germany and The Museum of Modern Art, New York. Both artists(...)
septembre 2008, Vienna
Dan Perjovschi, Nedko Solakov
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From their Southeastern European bases in Bucharest and Sofia, artists Dan Perjovschi and Nedko Solakov have taken the international art world by storm over the course of the last 15 years, showing their work either solo or jointly at such prestigious venues as the 2007 Venice Biennale, Documenta 12 in Kassel, Germany and The Museum of Modern Art, New York. Both artists work with pictures, texts and biting irony to comment on the social, political and cultural status quo. Early this year, Perjovschi and Solakov took over Vienna's BA-CA-Kunstforum, drawing all over the walls, floors and surrounding architecture with felt-tipped markers and pencils. Political, witty, subversive and fresh, this winning exhibition is documented here.
Mary Corse
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Mary Corse (born 1945) earned acclaim in the 1960s for pieces ranging from shaped-canvas paintings to ingenious light works. Corse has dedicated the decades since to establishing a unique practice at the crossroads of abstract expressionism and minimalism. Despite her now-frequent association with California’s Light and Space movement, the Los Angeles-based artist evolved(...)
Mary Corse
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Mary Corse (born 1945) earned acclaim in the 1960s for pieces ranging from shaped-canvas paintings to ingenious light works. Corse has dedicated the decades since to establishing a unique practice at the crossroads of abstract expressionism and minimalism. Despite her now-frequent association with California’s Light and Space movement, the Los Angeles-based artist evolved independently of the region’s dominant personalities, philosophies and scenes. Produced in conjunction with her solo exhibition at Kayne Griffin Corcoran, this is the first major catalog on the artist. With an essay by Suzanne Hudson and an interview by Alex Bacon, it initiates a critical reappraisal of an artist whose singular vision has been hidden for too long.
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Coincides with four solo exhibitions in New York, San Francisco, Minneapolis, and Berlin. Taking its name from a line in the Wallace Stevens' poem ''The Gray Room,'' Alec Soth's latest book is a lyrical exploration of the limitations of photographic representation. While these large-format color photographs are made all over the world, they aren't about any particular(...)
Alec Soth: I know how furiously your heart is beating
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Coincides with four solo exhibitions in New York, San Francisco, Minneapolis, and Berlin. Taking its name from a line in the Wallace Stevens' poem ''The Gray Room,'' Alec Soth's latest book is a lyrical exploration of the limitations of photographic representation. While these large-format color photographs are made all over the world, they aren't about any particular place or population. By a process of intimate and often extended engagement, Soth's portraits and images of his subject's surroundings involve an enquiry into the extent to which a photographic likeness can depict more than the outer surface of an individual, and perhaps even plumb the depths of something unknowable about both the sitter and the photographer.
Monographies photo
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Designed by Zak Kyes "The work, in full-colour words, pictures, drawings, films and wonderings, has been carried out from 1958 until this morning. Alongside Greene's own texts there are essays by Samantha Hardingham, Sand Helsel, Sam Jacob and Robin Middleton. 'The brink of a conceptual abyss - not a bad place to be?' David Greene (founding member of the legendary(...)
Architecture, monographies
avril 2008, London
David Greene: L.A.W.U.N Project #19
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Designed by Zak Kyes "The work, in full-colour words, pictures, drawings, films and wonderings, has been carried out from 1958 until this morning. Alongside Greene's own texts there are essays by Samantha Hardingham, Sand Helsel, Sam Jacob and Robin Middleton. 'The brink of a conceptual abyss - not a bad place to be?' David Greene (founding member of the legendary 'Archigram', this is the first monograph on his solo work) and his collaborators invite you to view projects that chart a peripatetic drift from form to invisibility, in the process illuminating the possibilities for architecture in a culture dominated by information technology. Accepted definitions and applications of new technologies are doggedly raised and questioned."
Architecture, monographies
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''Happysad souvenirs'' is a series of photographs taken in 2018 and 2019 during Hiller’s travels through China, Japan, Singapore, Thailand, Taiwan and Vietnam. Paul Hiller, born in 1984 in Germany, is a professional photographer and artist. He first graduated as a photo lab manager and then got his diploma at the Academy of Fine Arts Munich (class of Prof. Klaus vom(...)
Paul Hiller: Happysad souvenirs
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''Happysad souvenirs'' is a series of photographs taken in 2018 and 2019 during Hiller’s travels through China, Japan, Singapore, Thailand, Taiwan and Vietnam. Paul Hiller, born in 1984 in Germany, is a professional photographer and artist. He first graduated as a photo lab manager and then got his diploma at the Academy of Fine Arts Munich (class of Prof. Klaus vom Bruch, new media). His photographs are not only shown in solo and group exhibitions in Germany and Europe, but they are also being displayed in many international print and online art platforms. His work is part of the so-called straight photography. He celebrates the art and the techniques of photography by shooting on analog film cameras only.
Monographies photo
audio
The Spinal Landscape.
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1 online resource.
[Place of publication not identified] : Urbanomic, 2019.
audio
[Place of publication not identified] : Urbanomic, 2019.
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Riferendosi ad un vuoto progettuale di almeno 50 anni (con genesi nella dialettica tra Adorno e Benjamin degli anni Trenta, fino alla musica concettuale di John Cage di metà Novecento e agli esiti ultimi di Philip Glass), Andrea Branzi riconferma in questo saggio la propria posizione di sovvertitore delle logiche concettuali e spaziali del progetto: come fenomeno(...)
La musica contemporanea e il suo spazio
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Riferendosi ad un vuoto progettuale di almeno 50 anni (con genesi nella dialettica tra Adorno e Benjamin degli anni Trenta, fino alla musica concettuale di John Cage di metà Novecento e agli esiti ultimi di Philip Glass), Andrea Branzi riconferma in questo saggio la propria posizione di sovvertitore delle logiche concettuali e spaziali del progetto: come fenomeno “inatteso”, la Musica contemporanea genera nuovi prototipi urbani, compositivi, cognitivi inaspettati. L’inatteso, nello specifico, non è solo la musica come generativa di un nuovo layer urbano, ma è una terza via di pensiero sullo spazio in toto. Spazio che viene disassato dalle logiche compositive visive e oggettuali tipiche della modernità, matrice di una prassi monodirezionata, verso una dimensione più aperta, orizzontale, sensoriale: una nuova esperienza intellettuale e di immaginazione.
Acoustique