Verbal Photography: Ilya Kabakov, Boris Mikhailov and the Moscow Archive of New Art. Margarita & Victor Tupitsyn. Serralves

Posted in art, books, distribution, exhibition catalogue, photography on November 28th, 2015
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Verbal Photography: Ilya Kabakov, Boris Mikhailov and the Moscow Archive of New Art – by Margarita & Victor Tupitsyn

Exhibition presented at the Serralves Museum of Contemporary Art from April 30 to July 4, 2004.


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The Wake of Dust. Thomas Hauser

Posted in distribution, photography on November 21st, 2015
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The Wake of Dust. Thomas Hauser

Images by Thomas Hauser
Design by Fred Cave

Printed at Werkplaats Typografie, Arnhem, NL
Plaatsmaaken, Arnhem, NL
Drukkerij Wihabo, Geffen, NL
Bound at Handboekbinderij Geertsen, Nijmegen, NL

Edition of 200
Published 2015


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Slices of Life . Elia Romanelli, Piero Vereni, Ottavia Castellina (eds.). Bruno

Posted in Artist Book, books, distribution on November 10th, 2015
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This book sets out to present photo portraits and life stories that conclude with recipe suggestions intended to inspire the reader. The book’s aim is achieved when – by cooking and eating the suggested dish – the reader ingests the Other in a unusual and unexpected ‘transubstantiation’. Strangers, usually just glimpsed, here become trusted ma.tres d’ who – if they don’t poison you – give you the opportunity to look deeper into their worlds by telling you about their lives. Urban anthropophagy: allowing people to enter you through their food; letting them inside you by looking at them and listening to what they have to say. This book also offers itself up as an informal guide to London, where the city and its hustle and bustle stand in sharp relief to people’s memories. A guide where a suburban backstreet may be as meaningful as Big Ben in the quest to understand the city, and where the real difference lies in the people we meet and the tales they tell of this vast metropolis teeming with human life. It is a guide book that invites you to take wrong turnings and a cookbook that says it is okay to accept recipes from strangers.

Elia Romanelli
Anthropologist and project director



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Rob Pruitt’s eBay Flea Market: Year 1. Tommaso Speretta (ed.). Bruno

Posted in art, Artist Book, books, distribution on October 27th, 2015
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This book is an unconventional autobiography. It retraces one year in the life of Rob Pruitt through the quotidian objects that the artist once loved, consumed, then felt he didn’t need anymore. An extension of the real-world flea markets, that he has been organizing since the early 1990′s, this particular collection of belongings sold on eBay from September 23 2013- September 23 2014 unearths precious fragments of Pruitt’s life while revealing his most material desires.


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Silvia Prada. GENERATION X. Triangle Books

Posted in distribution, drawing on October 23rd, 2015
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A series of portraits of teen idols of the 80′s and early 90′s in Silvia Prada’s classic monochromatic nostalgia-meets pop art manifestos. Prada playfully chronicles cultural iconography with the ardent reverence of a teen fan mixed with the obsession to detail of an anthropologist and the refined hand of an expressive illustrator. Generation X’s celebration of this golden age is a fantastical glimpse into our past and an early grappling with stardom and popular culture long before the digital era.

This publication is the fourth in a series of artist books dedicated to b/w portraits.

Published by Triangle Books. Brussels

€ 18.00

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Posted in art, distribution, photography on October 23rd, 2015
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Clearly indebted to Andy Warhol’s ironic identity play in his photobooth self portraits, these photographs were shot for the series The Exquisite Self Portraits, 2010, in which Rob Pruitt collaged onto large canvases three or four horizontal bands featuring photo fragments of his head and chest.

This publication is the fifth in a series of artist books dedicated to b/w portraits.


€ 18.00

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The Exhibitionist #11. Jens Hoffman (Ed.). The Exhibitionist

Posted in art, critique, distribution, magazines, writing on October 23rd, 2015
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Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
A peculiarity of the current field of curating is an ongoing contestation over the very meaning of “to curate.” As Alice said in Lewis Carroll’s Through the Looking-Glass, “The question is whether you can make words mean so many different things.” Humpty Dumpty answers, “The question is which [meaning] is to be master—that’s all.”

On the cover of this issue is Thomas Ruff’s 1989 portrait of a young Hans Ulrich Obrist. If this fresh-faced guy has done more than most to consolidate the identity of the curator—as a ubiquitous, cosmopolitan character, tirelessly promoting him- or herself, an exhibitionist of the global age—he has also presided over that identity’s confusion and multiplication. Is the curator, as Obrist often describes the role, a catalyst? Or is she, to quote Obrist’s frequent collaborator Suzanne Pagé, a modest commis de l’artiste, an “artist’s clerk”?

Curating has become a global concern, yet many languages still even lack a steady term for it. Meanwhile, in some circles, “curation” has a gained a buzzword-ish currency, signaling taste and discrimination across a dizzying array of cultural activities, from so-called “data curation” to creating playlists and dinner menus. The hope, it seems, is that a renewed connoisseurship might discern value amid the profusions of a global market—separate the wheat from the cultural chaff—even if it means, too, that Kanye West now has as much claim on the term “curator” as Carolyn Christov-Bakargiev or Okwui Enwezor. The more we stretch the word, it seems, the easier it becomes to hijack. It is time for some clarity.

In Attitude, João Ribas meditates on this semantic drift of the word “curating” into marketing, where it is proposed as a cure-all for digital excess and consumer glut. Following John Searle, who warns that the terms we use control the field of meaning, Ribas argues that contemporary curators must battle to retain the understanding that “curating” has held historically in the field of art, beyond connoisseurship and mere selection. He emphasizes in particular the spatial and temporal character of exhibitions, which may still offer the possibility of resisting the behavioral paradigms inflicted by capitalist urbanism and digital technology.

Geopolitical space is a central concern for several essays in this issue. In Back in the Day, Clémentine Deliss contends with the Museum of Modern Art’s notorious 1984 exhibition “Primitivism” in 20th Century Art: Affinities of the Tribal and the Modern, which “remains bedeviled by criticisms and emotional refutations that are hard to dissolve.” Comparing that exhibition’s model of “formal affinity” to a recent exhibition by the Senegalese artist and curator El Hadji Sy, she argues for exhibitionary methods that might “effect a remediating affirmation” of ethnographic objects in order to recover something of their “conceptual code.” Missing in Action republishes passages from Rasheed Araeen’s introduction to his 1989 exhibition of British Afro-Asian artists, The Other Story. By assembling the fragments of their collective story, Araeen dismantles the chauvinism of a “master art history” that had excluded non-Western contemporary artists.

In Assessments, Claire Bishop, Cristina Freire, Tobi Maier, and Octavio Zaya address the exhibition Histórias Mestiças (Mestizo Histories), a trenchant critique of Brazil’s racial democracy curated by Adriano Pedrosa and Lilia Moritz Schwarcz at the Instituto Tomie Ohtake in São Paulo. The writers find consonance around one remarkable installation that juxtaposed photographs of indigenous people by Claudia Andujar, 18th-century watercolors of the “discovery” of Brazil by Joaquim José de Miranda, and drawings from the 1970s by Taniki Manippi-theri, a Yanomami shaman. Says Bishop, “Such an anthropological gaze can diminish the present-ism of contemporary art and allow it to become a method or system of thinking. Would that more curators, in more countries, had the nerve to investigate so unflinchingly cherished national myths.” Curators’ Favorites asks contributors to elaborate on an exhibition that has inspired their thinking. Guy Brett describes a 1979 installation by the Brazilian conceptual artist Cildo Meireles, an allegory aimed at the military dictatorship in power at the time. Natasha Ginwala contends with The One Year Drawing Project, an experimental exchange of artworks across Sri Lanka meditating on the traumas of that nation’s civil war. And Vincent Honoré considers the Musée d’art moderne et contemporain in Geneva, claiming the museum itself as a “constant, ever-changing exhibition.”

Six x Six challenges curators to name the exhibitions that have mattered most to them. In this issue, Ionit Behar, Astria Suparak, Inti Guerrero, Gianni Jetzer, Sarah Demeuse, and Nikola Dietrich assemble their miniature pantheons. In Rigorous Research, the scholar Vittoria Martini deliberates the little-discussed 1970 Venice Biennale, a turning point for that venerable institution. In the gap opened by a political stalemate, the staff assumed control, and embraced experimentation and research. Research and reflection also connect the two essays in Rear Mirror. Ruba Katrib details the thinking behind her exhibition Puddle, pothole, portal, co-curated with the artist Camille Henrot at SculptureCenter, New York, describing their attempt to capture something of the weird, rambunctious spatiality of early Disney animations. Scott Rothkopf evinces, in turn, the extraordinary spatial and conceptual deliberation behind his recent Jeff Koons retrospective at the Whitney Museum of American Art.

Across this issue, then, the specificity of curatorial labor emerges—the thought needed to build aggregate meaning from disparate things in space. The word “curating” is not infinitely plastic. This, for us, is what it means. We all know how Humpy Dumpty ended up.


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CURA #20. Ilaria Marotta and Andrea Baccin (Eds.)

Posted in art, distribution, magazines on October 16th, 2015
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CURA. No.20

FALL 2015
Cover by Allison Katz

INSIDE THE COVER Allison Katz. Pungent Painting text by Ruba Katrib – PORTRAITS IN THE EXHIBITION SPACE Wim Beeren and Tomorrow’s Museum by Lorenzo Benedetti – TALKING ABOUT Why Poetry? by Jean-Max Colard – POP-UP SECTION: DISPLAY ISSUE 01 You Display, I Display, We Display by Céline Condorelli and Gavin Wade – ABOUT Josh Kline by Ciara Moloney – PROJECT A Wonderful World Under Construction by GCC – SPOTLIGHT Ryan Gander in conversation with Adam Carr – ABOUT Michael E. Smith by Jenny Jaskey – A VISIT TO Pedro Barateiro: The Current Situation / Palmeiras Bravas, Museu Colecão Berardo, Lisboa with João Mourão & Luís Silva – ABOUT Marguerite Humeau by Hans Ulrich Obrist – HOT! – Olga Balema by Chris Sharp – Darja Bajagić by Franklin Melendez – Sascha Braunig by Rose Bouthillier – Rachel Rose by Frances Loeffler – PROJECT Villa Design Group 
and Nicoletta Lambertucci – PROJECT Lena Henke and Anna Gritz

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Jewellery Hyperreal. Cathy Cox & Susan Pietzsch (Eds.). Schmuck2

Posted in books, design, distribution on October 14th, 2015
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The “Jewellery Hyperreal” publication on the question how jewellery could be transferred into hyperreality

includes interviews with Daniel Knorr, Yukinori Maeda, Schmidttakahashi, Magnus Ericson, Lisa Walker, Yu Yamada

and a special contribution by Akio Seki

Edition of 500
Designed by THe Simple Society

Since 1997 the artist and jewellery designer Susan Pietzsch installed with Schmuck2 a continous international exhibition programme. Schmuck2 takes a focus on unusual, diverse takes on the themes of “jewellery”, combining people with different cultural background such as artists, designers and art-theorists. The projects shape a multi-faced image for contemporary styles of jewellery, using unconventional concepts that move between fine and applied arts.


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C Magazine #127 Poetry. Amish Morrell. C Magazine

Posted in art, distribution, magazines, Motto Charlottenborg event, poetry on October 13th, 2015
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Issue 127 is guest edited by by Kari Cwynar, Danielle St-Amour and cheyanne turions, and features CAConrad on (Soma)tic Ritual Collaborations, Nasrin Himada on Positioning, “Three Parts on Poetry,” with contributions by Hanne Lippard, Tanya Lukin Linklater, Tiziana La Melia, Stacy Doris and Lisa Robertson, and Rachel Valinsky, an artist project by Alex Turgeon, and poems by Amy De’Ath, Andrea Lukic, Leanne Betasamosake Simpson, Taocheng Wang and Aisha Sasha John. Also included are reviews of exhibitions and books, as well as our regular sections On Writing by Lucy Ives and Inventory by Robin Simpson.


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