Tags: jean-michel wicker
Tags: Go Itami, Rondade
Study. Go Itami. Rondade.
Photographs by Go Itami
1976: Born in Tokushima, Japan / 2011: Sraunus / 2012:
The 2012 Unpublished Award, Unseen Photo Fair, Offprint,
Offprint Paris (Paris Photo), KiOSK (Paris Photo), 10×10
Japanese Photobooks at ICP (NY Art Book Fair), Space
Cadet Actual Exhibition#1 / 2013: sktnkyshi at Vacant
Tokyo, Compilation Tokyo
Published by the Tokyo-based music and art label RONDADE.
Size: 29.6 x 41.7 cm
The Rich Man’s Breakfast, The Shopkeeper’s Lunch, The Poor Man’s Supper. Fredrik Vaerslev. STANDARD (BOOKS)Posted in art, distribution, exhibitions on June 27th, 2013
Tags: Fredrik Vaerslev, STANDARD (OSLO)
Size: 20 × 50
STANDARD (OSLO) was established in April 2005. Based in Oslo the gallery aims at promoting contemporary Norwegian artists in the international field, as well as introducing international artists to the Norwegian audience.
Size: 20 × 25
Weight: 790 g
Tags: Colombia, Galería Casas Riegner
Gallery History & Program
Casas Riegner Gallery was established in Miami in 2001 for the purpose of promoting Latin American contemporary art. In 2004, after achieving an important position within the Miami art scene, the gallery embarked on a challenging project: the dissemination of contemporary Colombian art on a local and international level. In March 2005 the gallery opened its doors in Bogotá, thus developing a complete and ambitious gallery project that focuses on research and artist selection with a clearly defined curatorial approach.
The gallery aims at introducing new artists to local and international audiences and establishing a vital exchange between emerging contemporary artists, a new generation of art collectors, and local and international institutions.
Historia y perfil de la galería
Galería Casas Riegner fue fundada en 2001 en la ciudad de Miami con el propósito de promover el arte contemporáneo Latinoamericano. En 2004, luego de labrarse una posición importante dentro de la escena artística de dicha ciudad, la galería se planteó un nuevo reto: diseminar el arte contemporáneo colombiano tanto a nivel local como internacional. Para llevar esto a cabo, Casas Riegner abrió sus puertas en Bogotá en marzo de 2005, desarrollando desde entonces un proyecto galerístico ambicioso que se centra en la investigación y selección de artistas en el marco un proyecto curatorial definido.
La galería busca introducir a estos nuevos artistas en el escenario local e internacional, promoviendo además la interacción entre artistas, una nueva generación de coleccionistas e instituciones.
Excision: A project for Art Positions
…Antes de Cuiabá
Tags: Robert Kinmont
Although the Californian conceptual artist Robert Kinmont’s work dates back to the late 1960s and the beginning of 1970s, this is the first monograph ever. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard’s famous book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades. Recent solo exhibitions in Glarus and Bremen have been the occasion for a long overdue publication. Kinmont is back.
With texts by Alexandra Blättler, Stefanie Böttcher, Robert Kinmont, Aoife Rosenmeyer, Sabine Rusterholz Petko
Size: 16,5 x 19,8 cm
Tags: John Henry Newton
“Two prints on A4 paper.
Liquids in themselves.
Packed in the rucksack between two sheets of corrugated plastic held with brown packing tape.
Baggage limits taken into account.
Wise finance and smooth transition.
Turns out they don’t sell peace onboard.
Incessant rain since the landing.
The drops down bus windows that people find emotional (in the right song).
A joke about taking the weather with you (the British ice breaker).
What they’re famous for with a knife and fork.
Midnight walking the Vatican, no photographs for Mums.
Drowning rats under the big wet and classical.
Believing the term to ‘arch hop’ appropriate to hug the pillars cold.
Three door hotel, questions of lions or beds – probably what dreams could be made of.
Dreams made of mini kettles and plastic bars of soap (surprisingly no UHT).
Black tea and toothpaste.
Only to remember they were in the rucksack…
And the ink’s bled through.
Should have used more tape.”
Based on the exhibition “Maximum quality for everyday” at Frutta, Rome
Publisher: Cura Books
Size: 15 × 21
Tags: Anri Sala, Manuella Editions
This book, conceived by Anri Sala and Christine Macel, is first and foremost intended to be a research tool, and to provide the reader with an entry point to the issues that the artist was exploring in the process of creating Ravel Ravel Unravel.
A range of different texts offer a variety of perspectives, which complement and enter into dialogue with each other in order to convey a complex reality: on the one hand, we have the historic statements by Maurice Ravel, Paul Wittgenstein and Marguerite Long (a famous pianist and friend of Ravel’s), texts taken from novels by Alexander Waugh (a Wittgenstein specialist) and Jean Echenoz (extracts from his novel Ravel), a text about John Cage and the Harvard anechoic chamber by Dana Samuel or about the left hand musical technique written by Hans Brofeldt, and finally essays by Laurent Pfister (on the notion of copyright in different countries), by Peter Szendy (a musicologist and philosopher) and Christine Macel (commissioner of the French Pavilion).
Similarly, the illustrations stem from, and illustrate, various different aspects of the project: archive images and illustrations, preparatory drawings by the artist and images from the films he produced for the Biennale.
Quentin Walesch’s design for the book coveys a sense of movement, of a discrepancy between the musical tempi: the pages are given a sense of rhythm by vertical black strips that run across the entire publication, the fore edge slides from the back to the front cover.
This books is just as much an informative work as an artist’s book, and offers both an immersion into the eventful story of a piece of music and into Anri Sala’s mind as he conceives a work and develops its main themes and principles.
Texts by Hans Brofeldt, Jean Echenoz, Theodore Edel, Marguerite Long, Christine Macel, Laurent Pfister, Maurice Ravel, Dana Samuel, Peter Szendy, Alexander Waugh, Paul Wittgenstein
Publisher: Manuella Éditions, Institut Français, Centre National des Arts Plastiques
Language: English – Français
Tags: Rosemarie Trockel
First anthology of Rosemarie Trockel’s collages, which are a key for a difracted and non-academic view on the whole work of this German artist known internationaly.
Rosemarie Trockel’s collages form an important and central component of the retrospective exhibitions “Flagrant Delight”, held in 2012-2013 at Wiels (Brussels), Culturgest (Lisbon) and Museion (Bolzano), and “Verflüssigung der Mutter” (Deliquescence of the Mother), at the Kunsthalle Zurich in 2010. These collages are the subject of this publication, which takes a more detailed and in-depth look at them through a comprehensive body of illustrations of the 100 or so collages Trockel has produced to date, together with commissioned essays that address specifically this (still relatively unexplored) aspect of her extensive and multifaceted work.
Size: 22,5 x 24,5 cm
Tags: Malene Landgreen
The painting is folded out from the wall; the wall is folded out into the space. The conception of another space inside the space, which is a part of the art but also a part of the house, a part of the street, a part of life. The potential space, which is adumbrated in the shifting between light and dark in the painting’s and the wall’s surfaces and the time that it takes the senses and the body to understand.
The space that is folded around both viewer and work, in a game of possibilities that is not redeemed until the viewer steps into the space. The work becomes gestated upon the viewer’s entry and the potential is designated within the contours of a game, where the reciprocal work-, viewer- and artist- relationships manifest themselves as tangible interchanges, transpiring right on the spot.
A Conversation with Malene Landgreen
By Katya Sander
To Place Yourself In The Eye Of The Storm
By Vibeke Petersen
“I believe that art is recording, I think it’s reporting”
By Thorbjørn Bechmann
Unruly life is: Form, Color, Movement
By Naja Marie Aidt
The Three-Dimensional Canvas
Malene Landgreen’s scale installations in the art institutional context
By Maria Gadegaard
Tour de Force
By Carsten Juhl
Author: Malene Landgreen
Publisher: New in the World