First edition 300 copies
Stamped and Signed.

ps… to read in the dark.

€ 10.00

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Rab-Rab: journal for political and formal inquiries in art

In almost 400 pages the third issue of Rab-Rab departs from Karl Marx’ essay on the law on the forest theft. The singularity of this essay is in its style; written in 1842, with the means of poetic abstraction it intervenes in the appropriation of the common resources by the private capital. By actualising poetry and abstraction as devices of political engagement, the third issue of the journal focuses on the question of subjectivity in art and politics. Among the diverse contributions the third issue includes texts and drawings on poetic configurations of Communist Manifesto, anti-fascist hallucinations of Artaud, neoliberalism of pirate radios, suburban riots, materiality of the film, representation of Stalin, communist sensuality, Last Futurist exhibition, documentary abstraction, declaration of East, Kazimir Malevich, the Black Square as organising principle, theory and militancy, Hegel and conceptualism, critique of objectivity of landscape, communism for children, hard-core punk, Art & Language, non-figuralism of art in self-management socialism, mathemes of cinematic experiments, the lesson of Rodolfo Walsh, and critique of ideological interpellation.

Edited by Sezgin Boynik and Gregoire Rousseau

Designed by: Nicolas Schevin (El-Sphere)

Contributors: Bini Adamczak, Marc Angenot, Alain Badiou, Sezgin Boynik, Diego Bruno, Igor Chubarov, Roque Dalton, Ralf Hamman, Vladan Jeremic, Ketevan Kinturashvili, Gal Kirn, Aino Korvensyrjä, Kalle Lampela, Kazimir Malevich, Ilya Orlov, Alejandro Pedregal, Martina Mino Perez, Judith Polett, Rena Rädle, John Roberts, Kerstin Schrödinger, Alberto Hijar Serrano, Caspar Stracke, Darko Suvin, Niloufer Tajeri, Vahit Tuna, Margaret Tupitsyn, Manuela Unverdorben, Elina Vainio, and Ben Watson.

Size: 17,5 x 25 cm
Weight: 780 g
Binding: Softcover

ISBN: 9772342488006

€18.00

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Our issues in 2016 carry the same title: The Flexible Image. They examine the (photographic) image as it expands into two distinct yet related directions: the image as text/sign and the image as operation. In this issue, PART II, we ponder the image as text. Inspired by Aperture’s issue Lit., we ask whether the image has taken over from the word, and if gestures are in turn replacing images. This is something that Nancy Newhall wrote about in Aperture’s first issue, back in 1952: ‘Perhaps the old literacy of words is dying and a new literacy of images is being born. Perhaps the printed page will disappear and even our records [will] be kept in images and sounds.’

This issue includes a conversation with Nicholas Muellner and Catherine Taylor from the Image Text initiative – on your suggestion, Lucas – and Taylor agrees with Newhall’s statement that ‘photograph-writing’ might become ‘the form through which we shall speak to each other, in many succeeding phases of photography, for a thousand years or more’. And, like Newhall, she concedes the continuing importance of text, saying, ‘The association of words and photographs has grown into a medium with immense influence on what we think, and, in the new photograph-writing, the most significant development so far is in the caption.’ This summer saw the new Photo-Text Award at Les Rencontres d’Arles, rewarding the best book combining images and texts, which suggests that we’re likely to see more work in this genre in the time to come. Lucas, could you describe your relationship to images and text?

Objektiv #14
Editor: Nina Strand
Publisher: Objektiv Forlag AS.
Language: English/Norwegian
Pages: 114
Size: 27 x 22 cm
Weight: 460 g
Binding: Softcover
ISBN: 9771891619022

€16.00

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Since the 1979 revolution, Iran has developed its own image culture, with public space serving primarily as a transit zone and a screen where state-sanctioned religious ideology is projected. Pride of place is given to memorials to the first Gulf war (the Iran–Iraq War of 1980–88), which is part of the founding myth of the Islamic Republic. Between 2011 and 2014 Oliver Hartung produced a work on Iran, typological series of images depicting monuments, murals, architecture, and war cemeteries. In it he creates a portrait of an exceptionally photogenic country that is nevertheless largely unknown in the West: in Damghan a colossal ear of wheat acts as a street lamp and in Isfahan a hand grenade with an Internet symbol suggests the potential risks inherent in the world wide web. The names of the places where the photos were taken are provided in English.

Publisher: Spector Books
Design: Oliver Hartung, Helmut Völter
Language: English
Pages: 470
Size: 31 x 22.5 cm
Weight: 1.4 kg
Binding: Softcover
ISBN: 9783959050760

€36.00

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Issue #31 — Winter

2016/2017

HELMUT LANG

From 1986 to 2005, Helmut Lang systematically deconstructed every assumption about clothing and the way it is worn and communicated. As he himself once said, “I kept all the traditions and shades that were good — and then re-thought it all.” The Austrian designer’s lists of “firsts” is so long it could double as conceptual art. Lang was one of the first designers to collaborate with visual artists. The first to show clothing for men and women in a single presentation. The first to pioneer backstage photography as we know it today with Juergen Teller. The first to move a fashion house across the Atlantic… and the list goes on. In a 48-page dossier, 032c Issue 31 explores THE HELMUT LANG LEGACY and how his abrupt exit from the industry in 2005 has been felt like phantom limb in the world of fashion. The comprehensive study features essays by Ingeborg Harms and Ulf Poschardt, a roundtable with Tim Blanks, Olivier Saillard, and Neville Wakefield, an interview with Lang himself, as well as rare material from the Helmut Lang archive.

“People say this is vandalism.” 032c’s Bianca Heuser and photographer Nadine Fraczkowski take us inside ANNE IMHOF’s Angst, a grand and opaque artwork that has drifted across the world like a low-pressure system. Furnished with smoke machines, sleeping bags, razors, and bongs, the three-act immersive opera is a training camp for the denizens of hyper-capitalism.

Editor: Joerg Koch
Publisher: 032c Workshop
296 pages
20 x 27 cm
962 g
Softcover

€12.00

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“The Radiant City” is a series of faux-panorama photographs that document transgressions and anomalies within the planned space of the large socialist housing estates, in Budapest, Hungary.

Tents that serve as makeshift garages, shipping containers that double as shops or concrete blocks now used as seats: they all break the planned uniformity of the housing estates, and repeat themselves in a manner as linear as the surrounding space even though they were put there informally.

An exercise of observation and gathering, a hybrid of photography and anthropology, this series reflect on the architectural framework of the socialist legacy, to show that the utopia of the “Radiant City” inhabited by uniform citizens succumbed to the circumstances and saw itself changed by the needs of those who actually live it.

Author: Carlos Azeredo Mesquita
Publisher: Pierrot Le Fou
Size: 22 x 24.4 cm
Weight: 254 g
Softcover
ISBN: 9789892068855

€25.00

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Route 1, Mike and India

Thomas Whiteside
Self published, 2016
34.3 x 30.5 cm
900 g
Hardcover

€90.00

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Each copy of the “The Incomplete Princess Book” has a unique handmade frontcover.

Project “The Incomplete Princess Book” created by Russian-Dutch artist Irina Popova is a virtual journey to Russia: a new way of meeting people (through browsing their profiles), and a new way of photographing them (using the images found on the internet). For this project, the artist used the Russian version of Facebook — Vkontakte*.

Irina Popova has found over 8000 different profiles registered under the name Irina Popova. Indeed, both the surname Popov and first name Irina are very common in Russia. She browsed the profiles with a growing curiosity – because those Irina Popovas scattered over Russia, of different ages and social status, were likely to represent the full range of possibilities for a woman’s destiny given their different circumstances.

Social networks have not only become the substitutes for traditional family albums, but a major source of entertainment and a form of self-representation.

It seems that in such a patriarchal country as Russia women seriously struggle for male attention, and the most important factor for life success becomes a glamorous (and sometimes exaggerated) idea of beauty.

In it’s original edit the project contains about 36 000 images. Popova worked with 3 assistants for 3 months to download these images, one by one. The project was first presented in the Hermitage Museum, Amsterdam in November 2013, in a group exhibition “Russian Ateliers on Amstel”. Here Popova took two walls, filled with more than 1000 images.

It took her another two years to make the final selection and to shape it into book form.

 

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This book series brings documentation of the numerous activities carried out by Katsunobu Yaguchi over the past seven years at “Cafe Snack Washingtown” (2008-2013) and “The Site of Washingtown” (2013-2015).
In the autumn of 2008, Katsunobu Yaguchi encountered an empty house when strolling around the town of Mito. Hearing that it may be demolished soon, he decided to reinstall water and electricity to the ground floor of the house to celebrate the time that was still left to it. He named the place “Café Snack Washingtown” and embarked on his new calling. Although the atmosphere of the house was obviously shadowy, curious eccentrics stopped by cautiously and the house awoke from its deep sleep. This caused a small neighborhood movement to arise around the house. Consequently, the original demolition was postponed for another five years.

In 2013, The Washintown finally faced its demolition at the hands of Yaguchi himself. Two and half years have gone by since then. The ‘late’ Café snack Washingtown skeleton is still standing. With bamboo scaffolding and part of the outer wall remaining, the house gives off a murky aura. At the entrance, the travelers’ guardian deity of megalopenis stands inconspicuously. This bizarre atmosphere seems to have surrendered to its fate that at any moment the house will make way for a new building. Yet the “old Washingtown site” continues to ignite neighborhood movements. “Washingtown Documentaries 2008-2015” contains cutting-edge images that were lovingly taken over the past seven and “on-the-edgy” years.

 

€30.00

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