Huseby’s first monograph is all at once a field guide, a photography book and an eco-polemic. The photographs are of plants he has found between his home and studio in Berlin over the last five years.
Weeds & Aliens is an occasionally arbitrary collection of photographs of some rather wonderful, useful plants, normally considered weeds. The book is thought of as an introduction to the fragments of nature around us, even in the most urban of habitats. What is a wild plant, a native plant, an invasive or alien plant, a weed? The story of weeds is the story of man and civilisation, of agriculture and migration. There are no weeds in the wilderness, but, then again, can we truly speak of wild nature?’
(From the introduction)

Weeds & Aliens attempts to expand upon ecological discourse by shifting how we define nature and our relationship to it, occasionally suggesting strategies in opposition to mainstream biologists, as well as discussing our changing cities, our evolutionary possibilities, modes of migration and the inherent colonial racism embedded within the languages and sciences used to articulate vegetal life.

B. A. Huseby is a Norwegian artist/photographer who currently lives in Berlin.
Additional text contributions by Iranian-American writer/curator Ashkan Sepahvand and Indian writer/curator Natasha Ginwala.

€39.00

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Drawings by Adrien Chevalley, made in Argentina between July 2014 and January 2015 during an artist residency supported by CVC and the city of Vevey. 

éditions TSAR n°12

Edition of 130, risograph

€25.00

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Jean-Luc Manz’s paintings, which he has been making since 1977, could be described as geometric abstractions. However, they share very little with the Swiss Concrete art tradition. They refer instead to the practices of John M Armleder and Helmut Federle. Their geometric vocabulary is infused with expressive stances and appropriation, as if they wanted to recreate, through the act of painting, a relationship with the world. Manz’s notebooks, published here for the first time in this 1,000-page volume, prove that his compositions are anchored in a system of correspondence with the art of the past—from Islamic decorative art to Egyptian memories, everyday encounters, and his personal life.

€60.00

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Ting Cheng, Ling Yu Tai, Hai Hsin Huang, Po Tsung Cheng, Son Ni

34 pages
Folder size : 22cm × 30.3cm
Paper size : 20cm × 28.8cm
b/w laser on tracing paper, riso color on paper, Binding with file clips.
Limited 300 copies, numbered.

There is a dog. When he sees his tail, he spins around chasing it. He sees with the eyes, and has forgot to smell to know the world.But then someone brings him something, to his nose. He realizes his sense of smell again, and stops chasing his tail.

If we realize our instinct, we can fly.

(Part of the current exhibition at Motto Berlin)

€33.80

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According to legend, the house in which Maria received the apparition of the Angel of Annunciation, the Santa Casa, was relocated by angels from Nazareth first to Dalmatia and then to Loreto. Since the 15th century, the Santa Casa of Loreto has become one of the most important Christian pilgrimage sites. In 2009, the artists Davide Cascio and Christian Kathriner developed a work that refers back to this legend. They created two wall carpets for the pilgrimage chapel of Our Lady of Hergiswald — a replica of the Santa Casa in Loreto. The wall carpets, Jacquard tapestries, were woven on a CAD-operated loom in Flanders. The tapestries show a group of people apparently resting at the edge of a riverbed. The large-scale publication presents this temporary spatial installation by Davide Cascio and Christian Kathriner in striking color images that at the same time absorb the opulent decoration of the Baroque chapel of Hergiswald and simultaneously refract it within a contemporary aesthetics.

Texts: Jörg H. Gleiter, Robert Suckale, Birgit Szepanski, and Stanislaus von Moos.

€32.00

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Taking the work of Sanja Iveković as a point of departure to discuss urgent matters in feminism today, Sanja Iveković: Unknown Heroine – A Reader gathers commissioned essays by key feminist voices who contributed to a conference titled ‘23%’*, which was held on the occasion of the exhibition Sanja Iveković: Unknown Heroine, curated by Lina Džuverović at Calvert 22 Gallery and the South London Gallery (December 2012 – February 2013). The conference took place at the Royal College of Art, London and was organised in collaboration with the Courtauld Institute of Art’s Research Forum.

Sanja Iveković: Unknown Heroine – A Reader is edited by Helena Reckitt, and includes essays by Ivana Bago, Katy Deepwell, Lina Džuverović, Silvia Eiblmayr, Elisabeth Lebovici, Suzana Milevska and Milica Tomić. Designed by Rafaela Dražić.

This is the first in a new series of publications published by Calvert 22 Foundation.

*The conference title, ‘23%’, was drawn from a research report compiled by the Fawcett Society, the UK’s leading campaign for women’s equality and rights. On average, women in the UK earn 15% less than men. In London, in January 2013, the pay gap stood at 23%.

€22.00

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Specifications
26cm × 37 cm, poster size 52 cm × 37 cm,
28p + 7 hidden pictures covered by silver print,
black and silver offset, unbound
Limited 350 copies,
Taipei, Taiwan, 2013 Jun.
€19.00

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Issue 6 | Homotopia

Daniel Silver | Sami Jalili | Ahuvia Kahane | Alice Hattrick | Jason Hendrik Hansma/Bogdan Banu | Daniel Ayat | Jo Longhurst | Philippa Snow | Vanessa Place | Ben Wadler | Joseph McRae | John Russell | Rebecca Jagoe | Jacob Dreyer | Adam Jasper | Charlie Godet Thomas | Karen Di Franco | Emma Letizia Jones | Giulia Damiani | Rebecca LaMarre | Karen Knorr | Gabor Gyory | Pedro Alonso/Hugo Palmarola | Philip Shelley | Slavs and Tatars | Sharon Kivland | Annie Morris | School of the Event Horizon |Malcolm Quinn | Michelle Atherton | Jack Self | Sam Kriss | Timothy Perkins

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The play I WAS NOT ABLE TO VISIT THE ENTIRE SHOW was created with the intention of being staged within the environment of gallery institutions. It opens a discussion over conventions that are commonly linked to the exhibition strategies: How contemporary display practices and institutional frameworks affects an artwork and vice versa?

The publication includes photographs by Daniela Dostálková who’s conception heads towards the perception of understanding of possible future gallery presentations with an attempt to make the act of viewing visible. What does the viewer see and what does he believe?

Linda Dostálková is a Czech-born, Netherlands-based independent graphic designer who, through her projects, implies variety of forms from close artistic and humanistic disciplines, delivering a specific input for a specific situation.

Text and graphic design: Linda Dostálková
Editor: Jana Kořínková
Photography: Daniela Dostálková
Published by The University of Ostrava, 2015
English edition, 190 x 285 mm (softcover), 160 pages

€- 25,00

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Fara Fara means face-to-face in Lingala and is a musical phenomenon deeply rooted in Congolese culture. Two groups play at the same time at adjacent locations, and the ones who play longest win. In times gone by, disputes were sometimes settled in this way; nowadays, it is more about musical leadership. A Fara Fara is a massive event attracting huge crowds, but it happens very rarely.

This book is about a film where a Fara Fara takes place in Kinshasa, a musical battle between the two major proponents of Congolese contemporary rumba. The film has not been made yet. It will be directed by the artist Carsten Höller and the film director Måns Månsson.

The book contains photographs taken during various preparatory trips, made since 2001 by Pierre Björk, Hoyte van Hoytema, Reed Kram, Armin Linke, Giovanna Silva, Patrik Strömdahl and the directors. The Swedish writer and music cognoscente Elin Unnes provided the text.

Concept: Carsten Höller
Graphic design: Christoph Steinegger/ Interkool
Text: Elin Unnes

PVC softcover, hot foil

€30.00

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