Batia Suter: La nonpareille
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‘'La Nonpareille'’ expands on Batia Suter’s site-specific installation at TU Delft, in which she engaged with an archive of glass slides from its library. Originally used between 1900 and 1960 for lectures in Mechanical Technology, these visibly worn plates document machines, industrial materials, and production processes during a period of increasing mechanisation. Suter(...)
Batia Suter: La nonpareille
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$69.00
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‘'La Nonpareille'’ expands on Batia Suter’s site-specific installation at TU Delft, in which she engaged with an archive of glass slides from its library. Originally used between 1900 and 1960 for lectures in Mechanical Technology, these visibly worn plates document machines, industrial materials, and production processes during a period of increasing mechanisation. Suter reworks the material into a visual reflection on the entanglement of humans and machines – and how technology reshapes perception, labour, and everyday life. Many compositions in the book consist of layered montages, where multiple images are overlaid to create new, morphed forms and associations.
Monographies photo
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5 Tableaux (It Bounces Back) documents the performance and installation by Chloe¨ Lum & Yannick Desranleau, presented at the Or Gallery (September 2016) and at La Fonderie Darling’s Place Publique) (August 2015, Montreal). Featuring essays by curators Joni Low and Anne-Marie St-Jean Aubre, the publication explores ideas of performativity and labour, material resilience(...)
Chloë Lum & Yannick Desranleau: 5 tableaux (it bounces back)
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5 Tableaux (It Bounces Back) documents the performance and installation by Chloe¨ Lum & Yannick Desranleau, presented at the Or Gallery (September 2016) and at La Fonderie Darling’s Place Publique) (August 2015, Montreal). Featuring essays by curators Joni Low and Anne-Marie St-Jean Aubre, the publication explores ideas of performativity and labour, material resilience and decay, the work’s presentation in both public and gallery space, and exchanges between humans and matter that prompt shifts in understandings of agency, causation and relations. A conversation with the artists expands on the deeper personal and political underpinnings in their engagements with entropy and colour.
Zines
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Based in Budapest, the Architecture Uncomfortable Workshop is an office that, in addition to planning small projects, always looks for ways to experiment. One of their biggest motivations is attempting to understand contemporary vernacular architecture as they continuously pursue situations where comfort meets real human needs. Their first monograph includes a(...)
Architecture Uncomfortable Workshop au muhely: Planning and building methods
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Based in Budapest, the Architecture Uncomfortable Workshop is an office that, in addition to planning small projects, always looks for ways to experiment. One of their biggest motivations is attempting to understand contemporary vernacular architecture as they continuously pursue situations where comfort meets real human needs. Their first monograph includes a conversation with founders Dénes Emil Ghyczy and Lukács Szederkényi, who began thinking and working together during their university days. The studio’s name refers to the fact that the spaces built by people are brought into being at the cost of significant physical labour, involving both sacrifice and conflict.
Architecture contemporaine
Reusable
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Out of the introduction: "What you'll see in these pages to come will show you how some have creatively changed the throwaway cycle. Reusing is not only an environmental issue or prone only to physical objects. Ultimately, by not wasting raw materials you are also choosing to not waste somebody's labour and time. Before using anything new, we checked if there was already(...)
Architecture écologique
octobre 2008, Helsinki
Reusable
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Out of the introduction: "What you'll see in these pages to come will show you how some have creatively changed the throwaway cycle. Reusing is not only an environmental issue or prone only to physical objects. Ultimately, by not wasting raw materials you are also choosing to not waste somebody's labour and time. Before using anything new, we checked if there was already something available, be it a photo or a written text. You will recognize this in some cases, when seeing scanned pages with a little bit of extra "noise" intentionally carried over from their past lives. We are reusing ideas that are good and well worth spreading."
Architecture écologique
Scapegoat 07 : Incarceration
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As a mytheme, the figure of the scapegoat carries the burden of the city and its sins. Walking in exile, the scapegoat was once freed from the constraints of civilization. Today, with no land left unmapped, and with processes of urbanization central to political economic struggles, Scapegoat is exiled within the reality of global capital. The journal examines the(...)
Scapegoat 07 : Incarceration
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As a mytheme, the figure of the scapegoat carries the burden of the city and its sins. Walking in exile, the scapegoat was once freed from the constraints of civilization. Today, with no land left unmapped, and with processes of urbanization central to political economic struggles, Scapegoat is exiled within the reality of global capital. The journal examines the relationship between capitalism and the built environment, confronting the coercive and violent organization of space, the exploitation of labour and resources, and the unequal distribution of environmental risks and benefits. Throughout our investigation of design and its promises, we return to the politics of making as a politics to be constructed.
Revues
Art in Canada
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This catalogue takes the reader on a remarkable journey via the legends, themes and worlds that have shaped Canada’s cultural heritage. One hundred and fifty works in all media and created from time immemorial to present day are featured in full page colour plates and foldouts. This range of works documents and celebrates the magnetic north, inhabited landscapes, the(...)
Art in Canada
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This catalogue takes the reader on a remarkable journey via the legends, themes and worlds that have shaped Canada’s cultural heritage. One hundred and fifty works in all media and created from time immemorial to present day are featured in full page colour plates and foldouts. This range of works documents and celebrates the magnetic north, inhabited landscapes, the dignity of labour, Canadians abroad, and the emergence of Inuit art. Central to the publication is a new approach to telling the history of Indigenous visual art with outstanding historical art objects by Indigenous artists, at times in dialogue with those by settler Canadians, while at others, reflecting a distinct Indigenous path.
Art canadien
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Able to work anywhere we have a tortured relationship with the office today. Desperate to work again in physically shared spaces, we are also now questioning whether offices are needed at all. Offices themselves labour under intolerable forces too: 21st-century building regulations suggest redesigning them every seven-to-ten years, managerial strategies shift every five(...)
mai 2022
Back to the office: 50 revolutionary office buildings
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Able to work anywhere we have a tortured relationship with the office today. Desperate to work again in physically shared spaces, we are also now questioning whether offices are needed at all. Offices themselves labour under intolerable forces too: 21st-century building regulations suggest redesigning them every seven-to-ten years, managerial strategies shift every five years, and employees cycle every two. As a result, offices are renewed with alarming frequency. With the future of our workspaces so uncertain, Back to the Office works overtime inside the revolutionary offices of the 20th century, and asks what endured from their architecture, their materials, and the work ideologies they embodied.
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The relation between formal and informal may be changing due to the introduction of new technologies and the way these are used. Informality can be interpreted as a positive quality hinting at individual freedom, or even be romanticised as a bottom-up, empowering force. But informality as a safety valve for a system unable to adjust to changing conditions smoothly and(...)
Volume 52: the end of informality
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The relation between formal and informal may be changing due to the introduction of new technologies and the way these are used. Informality can be interpreted as a positive quality hinting at individual freedom, or even be romanticised as a bottom-up, empowering force. But informality as a safety valve for a system unable to adjust to changing conditions smoothly and quickly is another matter. Consider the mass migrations of people who must provide their own housing, or the vast numbers of unemployed who provide labour in a growing economy but are easily discarded later. With texts by Guus Beumer, René Boer, Keller Easterling, Jacqueline Hassink, and others.
Revues
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Joints of Eastern Europe represent a long-standing tradition of resourceful craftsmanship, deeply rooted in a region historically associated with manual labour. These joints symbolise the hands that have shaped much of Europe, embodying contextual resilience and an instinctive problem-solving approach that reflects the identity and empiricism of both the joints themselves(...)
Natasha Krymskaya: Joints of Eastern Europe
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Joints of Eastern Europe represent a long-standing tradition of resourceful craftsmanship, deeply rooted in a region historically associated with manual labour. These joints symbolise the hands that have shaped much of Europe, embodying contextual resilience and an instinctive problem-solving approach that reflects the identity and empiricism of both the joints themselves and the workers who create them. Visually distinct, the joints serve as powerful markers of Eastern European culture, representing inventive solutions born from everyday necessity. This unique form of craftsmanship is characterised by spontaneous, often temporary solutions that, over time, evolve into enduring fixtures. With their rough elegance and structural creativity, these fixtures inspire architects and engineers alike, balancing beauty and functionality.
Monographies photo
Agnes Martin: night sea
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Agnes Martin’s Night Sea (1963) is a large canvas of hand-drawn rectangular grids painted in luminous blue and gold. In this illustrated study, Suzanne Hudson presents the painting as the work of an artist, thinker, poet and writer, for whom self-presentation was a necessary part of making works public. With Night Sea, Hudson argues, Martin was moving from visible labour(...)
Agnes Martin: night sea
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Agnes Martin’s Night Sea (1963) is a large canvas of hand-drawn rectangular grids painted in luminous blue and gold. In this illustrated study, Suzanne Hudson presents the painting as the work of an artist, thinker, poet and writer, for whom self-presentation was a necessary part of making works public. With Night Sea, Hudson argues, Martin was moving from visible labour to lightness unburdened by evidence of process. She created a shimmering realisation of control and loss that stands alone within her suite of classic grid paintings as an exceptional achievement. This title is part of the One Work book series, which focuses on the artworks that have significantly shaped the way we understand art and its history.
Théorie de l’art