Image Generation, Michel Egger

Posted in art, Artist Book, books, graphic design on August 14th, 2021
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Image Generation, a work of research by Michel Egger, makes use of visual material found on the World Wide Web. Generated using Pinterest’s algorithm-driven search function, single images, ones that otherwise would never have come together, are put into a relationship. Formal associations and technological errors collide, allowing these duos to emerge. In parallel to this, words are used to translate the imagery into unsystematic, yet constantly internet-based information.

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Pope.L, My Kingdom for a Title, Courtney Willis Blair (Ed.)

Posted in art, Artist Book, books on August 13th, 2021
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My Kingdom for a Title is a collection of writing by Chicago–based artist Pope.L documenting his use of language as a mode of visual, narrative, and performative story telling.

The act of writing has been integral to how Pope.L works and is arguably the most consistent element in his practice. These works take various forms: scripts, short stories, scribbled notes, large scale installation, and painting—many never before released. Assembled here for the first time, My Kingdom for a Title allows the breadth of the artist’s engagement with language to be fully assessed. Within the book, Pope.L’s work is supplemented with extensive endnotes sourced by artist Kandis Williams.

Pope.L is a visual artist and edu­cator whose multidisciplinary practice uses binaries, contraries, and preconceived notions embedded within contemporary culture to create artworks in various formats including writing, painting, performance, installation, video, and sculpture. Building upon his long history of enacting arduous, provocative, absurdist performances and interventions in public spaces, Pope.L applies some of the same social, formal, and performative strategies to his interests in language, system, gender, race, and community. The goals for his work are several: joy, money, and uncertainty—not necessarily in that order.

Edited by Courtney Willis Blair
Endnotes by Kandis Williams
Co-published by Mitchell-Innes & Nash

First Edition (2021)

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Enough Is Definitely Enough, Andrew Bracey

Posted in art, Artist Book on August 12th, 2021
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Painted in 1656 by Diego Velázquez, Las Meninas is one of the most revered and innovative artworks in history. Widely discussed, debated and critiqued, it has inspired artists, writers and filmmakers for centuries.

Just when you thought there was nothing more left to say about the painting, artist, curator and lecturer Andrew Bracey asked sixty-two contemporary artists to interpret the artwork. Well, almost. The painting itself never leaves the world-famous Museo del Prado in Madrid, so he distributed a postcard of Las Meninas to respond to in place of Velázquez’s original.

Bracey’s perceptive and engaging writing brings Las Meninas to life in new ways through the interpretation of these contemporary artworks, which range from the witty and the cosmic through to the conceptual and intuitive.

Exploring themes including ‘close looking’, time, mirroring, the meta and the complex, and associative thinking, this book demonstrates how an artist’s interpretation of an artwork can offer a host of new perspectives.

Enough Is Definitely Enough introduces the relative art novice to the links between contemporary art practice and art history, while allowing the expert to find alternative ways of looking at one of the world’s greatest paintings.

1st Edition Paperback, 2021

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Terra Remota, Julien Carreyn, Amélie Lucas-Gary

Posted in Artist Book, Motto Books, photography on August 12th, 2021
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Terra Remota

Polaroïds by Julien Carreyn, 2021.

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Niza Guy / Bifurcated, Mitchell Syrop

Posted in art, Artist Book, typography on July 27th, 2021
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Niza Guy / Bifurcated presents two text works by Mitchell Syrop. Each one follows the flow of an internal monologue from fatalistic to comic to mundane. Syrop’s idiosyncratic use of language and apparent stream-of-consciousness writing contrast with a rhythmic cadence he invokes through structural formulas and tactical page breaks. Viewed in succession, the two texts set up a dialectical tension between the artist’s public and private personas to produce a hypnotic self-portrait that is at once familiar and subjective.

Edition of 400

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The Blow-Up Regime, Marc Bauer, Berlinische Galerie (Eds.)

Posted in art, Artist Book, illustration on July 21st, 2021
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Drawings as Artistic Research

Marc Bauer (b. Geneva, 1975; lives and works in Berlin) is the winner of the 2020 GASAG Art Prize. Working in the medium of drawing, he grapples with themes such as migration, identity, and gender and articulates a critique of the new media or the nexus between religion and violence. Building on extensive research, the artist develops sprawling installations encompassing intimate works on paper, wall drawings, animations, and sound. A suggestive dramaturgy emerges that intertwines historic events and fictions and remains open to a range of interpretations. For his exhibition at the Berlinische Galerie, Marc Bauer has conceived a broad-based inquiry into the history of the Internet and its impact on society and the individual.

The accompanying catalogue presents the entire installation in detail. With texts by Guido Faßbender, Thomas Köhler, Thomas Kuratli / Pyrit, and a conversation between Sibylle Berg and Marc Bauer as well as interviews with Alan Emtage and Luca Maria Gambardella. A greeting was written by Gerhard Holtmeier.

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The View From “No Man’s Land”, Firas Shehadeh

Posted in art, Artist Book, books, meme, politics on July 10th, 2021
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“Since 2013, Firas Shehadeh’s conceptual practice has been preoccupied with understanding the human condition through post-internet aesthetics, a tactic calculated towards a larger strategy of tackling the many themes mirrored by our new millennia. The internet and its cultures, video games, virtual communities, and various types of images are key mediums in his work, which helps the artist avoid material limitations and highlights the impact internet life is increasingly having on our offline lives.

Yet if one can trace a unity in Shehadeh’s work, one would find that it’s mainly concerned with images, not purely as form, but for what it absorbs from today’s political realities, conveyed by way of not-so-innocent silliness or abstraction. That is not to say that he deals with images as if they are inherently political. On the contrary, as a puppeteer controlling his marionettes with agility, Shehadeh takes such images and carefully reassembles them in front of us to subtly narrate their stories of origin and the meaning they evolved to carry. By relying on a combination of irony, tragedy, and delicate hopefulness, he ultimately highlights the bitter contradictions of today’s world.

One can easily detect some of Shehadeh’s political interests: history, technology, and aesthetics. He connects all these in today’s Online, the direct descendant from yesterday’s internet. Today’s algorithmically-driven Online is akin to predestination, loaded with ready-made scenarios where you’re trapped in a time loop like a sick joke. Original moves are calculated, preconfigured, and repeated every day; a Punxsutawney-hell from hell where one disaster leads to another. Still, they’re expected, welcomed, normalized, in a made-up history where irony’s reserve has drained to the very last drop.

In The View from “No-Man’s Land,” Shehadeh documents the year 2020 by using online culture’s main currency—memes—to tell stories of crashes, depressions, and violence caused by acceleration and the hyper technologies of control. His position as a Palestinian artist permits him to tell such stories with ease and cleverness. Yet unlike his subjects, he doesn’t convey a post-ironic attitude; his awareness is a tool to decipher post-irony, exposing its contradictions as if fighting fire with fire. That is highlighted best in the book’s cover; a kite strapped with a Molotov cocktail. The contra-drone of the oppressed. A direct, ironic answer to the oppressor’s hyper-tech arsenal.

This book and its artifacts function as a memory theater for an era that doesn’t want to leave, trying to outwit us by employing elements from the past. All the versos and rectos speak of the same story, reiterating after Carl “CJ” Johnson, its undeclared Angelus Novus, “Oh shit, here we go again.””

– Yazan S. Ashqar
Writer, Editor, and Translator, New York City

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@rt_rhyme, Darren Bader

Posted in art, Artist Book, books, curating, photography on July 9th, 2021
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Begun on Instagram in 2017 as part of Bader’s exhibition at Museo Madre in Naples, @rt_rhyme is a series of photographs that pair artworks (identified by artist (sur)name) with various rhyming objects or actions: spoons in front of a Koons, cobble held next to a Schnabel, Sherman matched with some German and a crawl below a Saul. Some rhymes are easy to decipher while others require a good unpacking. @rt_rhyme continued posting on Instagram through the end of 2018 but the project remained incomplete, in part due to an exhaustion of funds as well as some rhymes proving very difficult to photograph. This book collects the @rt_rhyme photographs, the list of unrealized rhymes (two of which have been digitally realized by the publisher for inclusion in the book) and an introduction by Bader.

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Zampa di Leone: Deep Europe, Zampa di Leone, Boris Buden

Posted in art, Artist Book, books, illustration, Motto Books, politics, zines on July 9th, 2021
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For the first time, this publication unites the English language work of Zampa di Leone with two sequences of comic strips and caricatures titled “Deep Europe” and “In the Arse of the Balkans”. Zampa di Leone wanted to offer a radical critique of the colonial tendencies embedded within the discourse of “Balkan” and “Eastern European” contemporary art as it had been articulated during the 1990s and 2000s in global cultural centres, first and foremost in Germany and Austria. The anonymous collective was mostly active in Serbia and Europe between 2001 and 2011, and produced a significant number of comic strips that were circulated at events and through internet forums or mailing lists.

This publication has been printed on the occasion of THE DREAMERS, 58th October Salon, Belgrade Biennale 2021, within the frame of the Reading Room bookshop. The comic strips are accompanied by Boris Buden’s text “The Madman Is Sleeping with the Lunatic”, which was first published in 2003 — a reminder of the historical context and the Balkanist discourse that served as a backdrop to Zampa di Leone’s activities.

Edition: 300

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FAGSHISM, Edgar

Posted in art, Artist Book, books, politics, writing, zines on June 27th, 2021
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2nd edition – 100 numbered copies

A Manifesto for a fictional political movement that through satire and pop culture references shines a light on the sterotypes and prejudices within the gay male community.

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