Untitled A2 is a publication that documents the project of the same title, Untitled A2, from 2013-2016.
Four blank scans of A4 stationary paper are tiled as one A2 graphic and act as the stable base for various experiments with (primarily) offset printing. The publication features individual works, works in series, installations, and drawings. As an offset printed object itself, the publication stands as a full loop of the project, but also as a document that is designed as an exhibition.A project by Mitchell Thar, book design and editing by Ott Metusala, with an essay by Andrew Christopher Green.

€18.90

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Conceived on the occasion of the first edition of the project “Davanti al Mare” directed by Vittorio Dapelo for the Amixi di Villa Croce – Museo d’Arte Contemporanea of Genoa, War Games is an artist’s book by Diego Perrone, edited by Francesco Garutti. Imagined as a book-cum-artwork and as such an integral part of the installation of Perrone’s work in Villa del Principe, the Palazzo of Andrea Doria in Genoa, War Games is a photographic collection of painstaking details and fragments. The tapestries of the battle of Lepanto housed in the Villa del Principe, the hands, the features of the miniature craftsmanship of a selected group of Ligurian artisans and details of the sculpture in glass paste by Diego Perrone are mixed together without a specific order so as to make up an almost cinematographic sequence. In the short essay by Francesco Garutti, a simple and indirect game of reflections take shape: the naval games of the historian and science-fiction author Fletcher Pratt, the ambiguous inclined planes of the visionary architect Bel Geddes, the warp and weft of the tapestries of Villa del Principe, the hands and the construction techniques of those Ligurian masters all dialogue here with Perrone’s work by virtue of their inhabiting ‘another’ time.

€25.00

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You Just Have to Experience It
Tuesday 4th July 2017
From 7pm
Motto Berlin

You Just Have to Experience It is a publication and event. It combines citations culled from the book Beyond Objecthood: The Exhibition as a Critical Form since 1968 to trace a history of the changing role of the spectator in art and exhibitions from Minimalism to Relational Art, and New Institutionalism to the present.

Produced on the occasion of the launch of Beyond Objecthood, this public talk in the shape of a performance reading presents a brief history of the exhibition as a critical form from the 1960s to the present, a form that inherently solicits spectators into temporal and spatial experiences and situations as indispensable components of the work.

The title refers to a statement by the American artist Tony Smith who recounts in a 1966 Artforum interview a ride on the newly minted New Jersey Turnpike, recalling a transformative nighttime experience of moving through space and time on the unmarked highway. This experience caused him to question the viability of art to represent something like that. You Just Have to Experience It uses this moment as a point of departure to explore how the criticality once posed by figures like Smith who solicited spectators into durational experiences in their work faces many challenges, not least of which is competing with the institutions that give it voice in an era when the differences between art and entertainment increasingly blur.

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James Voorhies is a curator and art historian of modern and contemporary art, as well as Dean of Fine Arts and Associate Professor at California College of the Arts in San Francisco.

Bureau for Open Culture is a curatorial practice that inhabits and connects with institutions, designers and publishers to realise projects with artists and writers. The projects forge intersections among art, design, education, and consumer culture to rethink how institutions address and engage spectators.

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Beyond Objecthood: The Exhibition as a Critical Form since 1968

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In 1976, Bas Jan Ader’s boat, the Ocean Wave, was found unmanned and partially submerged 150 miles off the coast of Ireland by a Spanish fishing vessel. The Dutch artist’s boat was taken to La Coruña for investigation. Days later, the boat was stolen and the cult of Ader, whose body was never recovered, was truly cemented. In this volume, artists Marion van Wijk and Koos Dalstra, compile ten years of research into this unsolved mystery. The Spanish police report documenting the theft is reproduced in facsimile alongside a translation into English, many pages of additional documentation, and the transcriptions of interviews produced during the editors’ investigations.

The report itself begins on April 27, 1976 and ends on February 1, 1977 and documents history of the Ocean Wave from the discovery of the vessel to the closure of the case. This book is an expanded version of the earlier edition by Veenman Publishers. It includes interviews with Mary Sue Anderson, Don Couto, Charles Esche, and Luis Ramos.

Edited by Marion van Wijk and Koos Dalstra

First Edition (2017)

€45.00

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A comprehensive monograph on the seminal work of Greenlandic-Danish visual artist and thinker Pia Arke (1958–2007)

With contributions by Pia Arke, Lars Kiel Bertelsen, Tine Bryld, Erik Gant, Søren Jønsson Granat, Mirjam Joensen, Stefan Jonsson, Carsten Juhl, Anders Jørgensen, Mette Jørgensen, Inge Kleivan, Kuratorisk Aktion, Jan-Erik Lundström, Iben Mondrup, Sara Olsvig, Søren Bro Pold, Irit Rogoff, Mette Sandbye, Kirsten Thisted, and Finn Thrane.

The richly illustrated 400-page book constitutes the first survey in print of Pia Arke’s collected works, practice, and methodology. In essays and images, the book documents Arke’s lifelong artistic engagement with the silence that surrounds Denmark’s colonial presence in Greenland since 1721 and examines how she by unearthing the ‘little’ history of Greenland’s colonization managed to say something decisive about the much ‘bigger’ history of Western imperialism and the dynamics of today’s world order.

In addition, the book contains a DVD presenting a selection of Arke’s individual and collaborative video works.

€42.00

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His mustache looked like it would tickle. That’s probably the only reason why I didn’t want to kiss him.

He was a weirdo, but not weird enough, if you know what I mean. He certainly had a flair for details. It wasn’t that. I mean, it’s not like he was wearing a mullet, no. Nor like the kind of guy to gift me a Chinatown Gucci bag. He hated scented soaps and he’d drag me out of any decent party if he found scenty sticks near the toilet. That kind of thing drove him nuts. It’s not like he had anything against grapefruit.

Early on in our friendship, he gave me a box of Gioconda pencils from Koh-I-Noor. He knew how to get me hooked. But that damn mustache. It was so thick, so neatly trimmed. He paid too much attention to the kind of things I didn’t want to pay attention to. The cappuccino foam in it, however, was a kind of turn-on.

This is no doubt why you are holding this book in your hands. His mustache, right? Admit it. It’s the bowl of bonbons by the register. But then you go undercover, under the sheets to find a lot of nudity, thwarted porn. Ja, ja, ja: bodies. Corporeality. Corporation, cooperation. Protest. Violence. Religion. Collage. A torn sheet at the back. A misbound book? A defect or just vulnerable?

Selbsthilfe ist auch keine Lösung (even self-help is not a solution) and Protestvorbild Frankreich (protest “role model” in France?) is the only text you can make out other than mine. You’re meant to struggle to read it, or maybe Erik (who has no mustache) was being intentionally casual about the way he cut out these pictures. It’s an awareness of being sloppy that is so aware, it’s no longer sloppy. A man standing with his fist held high. He’s standing in the window frame of an apartment at least one story up from the ground. He is forty and mad and he enjoys his Bud. His form of protest is a form of solidarity from the sofa. A window protest: comfy. So fucking clever. Then there’s the picture abutting it of a woman holding out her bra. We are meant to take it. She’s offering it to us. Go ahead. She wants you to.

And then there’s the spooning bodies with their tube socks in a wad next to… a bed. A solar bed. You got it? This book is brown sugar. Stinky Swiss cheese. Bad, bad, good, good.

April von Stauffenberg

 

€10.00

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Starship Magazine no. 16, with:

Søren Andreasen, John Allan MacLean, Tenzing Barshee, John Beeson, Leo Bersani, Gerry Bibby, Matt Billings, Kaucyila Brooke with Vickie Aravindhan, Louis Coy, Boz David, Jennifer Green, Blake Jacobsen, Tyler Lumm, Giselle Morgan, Ace Shi, AJ Strout, and Josh Winklholfer, Mercedes Bunz, David Bussel, Octavia E. Butler, Bonnie Camplin, Leidy Churchman, Eric D. Clark, Jay Chung, Hans Christian Dany, Katja Diefenbach, Nikola Dietrich, Francesca Drechsler, Martin Ebner, Sokol Ferizi, Stephanie Fezer, Julian Göthe, Michèle Graf, Selina Grüter, Karl Holmqvist, Cornelia Herfurtner, Nadira Husain, David Iselin-Ricketts, Monika Kalinauskaite, Heinz Peter Knes, Jakob Kolding, Michael Krebber, Klara Liden, Q Takeki Maeda, Robert McKenzie, Robert Meijer, Ariane Müller, Christopher Müller,
Henrik Olesen, Mark von Schlegell, Dan Solbach, Natasha Soobramanien, Katrin Trüstedt, Evelyn Taocheng Wang, Scott C. Weaver, Luke Williams, Amelie von Wulffen, Florian Zeyfang

Cover by Klara Liden
410 meters, May 22, 2017
Ink on 1000 copies of Starship

DE 8€ EU/WW 10€
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TSAR 14, Co-publié par Images Vevey
Mérinat
de Thomas Adank

48 pages
24 × 32 cm
Français / English
ISBN 978-2-9700842-6-6
Première édition 2016

12€
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Erik Thys, Portraits

“The reputation of Erik Thys (b. 1961) rests on his work as a psychiatrist, not as an artist. Thys lives in Brussels where he composes music, draws, and practices in two psychiatric hospitals. On the occasion of this book, Thys invited a colleague, the British psychoanalyst Darian Leader, to reflect on his infatuation with automobiles. The drawings in this book are a small, almost pitiful, portion of the number Erik Thys provided. They came to us on all types of office paper, prescription pads, and whatever else was at hand.”

Edited and produced by Anthony Huberman, Scott Ponik, Robert Snowden

Imagework by Brandi Kruse
Print supervision by Jurgis Griškevičius
Proofread by Hope Svenson
Printed by Petro ofsetas, Vilnius, Lithuania

Published in 2016 by Contemporary Art Centre (CAC), Vilnius; and kim? Contemporary Art Center, Riga as a part of the XII Baltic Triennial

Additional support is generously provided by Dr. Florian Seidl and Kunstverein München

Cameo by Stefan Hurtig

Monographic catalogue,
Includes pictures and texts of eleven video works from 2008–15,
three complete screenplays and a text by Franciska Zólyom
Graphic design: Lamm & Kirch

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