Misha Hollenbach, Ben Frost, Dirty Beaches, Greg Hunt, Clemens Behr, Pond, The act of killing, Robert Rickhoff, Tim Plamper, Kendell Geers, Matt Furie.

Language: English
Size: 23 × 26
Binding: Softcover

Price: €6.90

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Where The Birds Used To Sing. Zoé Beausire. Self-published.

21 x 29,7 cm
24 pages
Unbound

13 €
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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.

Language: English-French
Pages: 256
Size: 22,5 x 24,5 cm
Binding: Hardcover

Price: €41.00
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Distributing distribution (artist’s publications, travelling libraries, spaces for new readerships): an event by Motto, OEI and Rönnells Antikvariat

On May 15 Motto Berlin will visit Rönnells Antikvariat with a temporary bookstore – an opportunity for all lovers of printed publications to make new acquaintances.

The Motto bookstore at Rönnells Antikvariat will open att 4 pm and stay open during the evening.

The program will start at 6.30 with talks and presentations by Alexis Zavialoff (Motto); Katinka Ahlbom (National Library of Sweden); Ulla West (Travelling artist’s book library); Anders Karlin (Rönnells); Jonas (J) Magnusson and Cecilia Grönberg (OEI)

Date: Wednesday May 15
Time: Rönnells Antikvariat 4-9 PM
Place: Rönnells Antikvariat, Birger Jarlsgatan 32, Stockholm

http://www.oei.nu/
http://www.ronnells.se/

Price: €9.00
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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.

Contents:

Potential Spaces
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
Language: English-Danish
Binding: Softcover

Price: €26.00
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Art Freaks. Olaf Breuning. Acme.

Photographs by Olaf Breuning.
Edited by Julien Mercier.
4 colour risographic print, hardcover.
Edition of 300, #1-20 signed by the artist.
2012, 18 x 24 cm, 31 pages.

34 €

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The Big Convoy. Dirk Zoete. Posture Editions.

Posture Editions collects an extensive cycle of works by Dirk Zoete (Roeselare, 1969): black and white photos of scene images modified with pencil and Photoshop. These images literally serve as the backdrop for a succession of sketched transformations. In this way they seem to instigate a peculiar stop-motion movie. The fragmented way of working shows the design and the implementation of a drawing over time.
Are these images a sketchy scenario for an animated film or they are an exercise in scenography? Are these still considered photos or drawings? Subjects depicted are quite diverse: objects and tools, rough architectural constructions in impossible landscapes, half-realised shadowy characters, but also contrasts such as light and dark (black and white), or other drawn elements such as lines, shadows and spots…
The book aims to present this series as a stunning world of dream images that entail a story – and therefore as a whole can best be described as a graphic novel.

The black and white reproductions and the theatrical nature of the work also opens a hall of mirrors to historical artistic references: the scenery images from Parade by Picasso, the Triadisches Ballett by Schlemmer, the supremacy of Malevich, but also rarely-screened Westerns or novels like The Brothers Karamazov by Dostoevsky.

Architecture critic Koen Van Synghel provides the introduction to this artist’s publication.

English / Dutch
978 94 9126 206 7
160 pages, 21 x 30 cm

15 €

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Internet. Kamila Stehlik & Xavier Fernández Fuentes. Centerfold Editions.

‘Internet’
Kamila Stehlik & Xavier Fernández Fuentes
Centerfold Editions

Silkscreen on heavyweight cotton T-shirt.
Edition of 30, numbered.
Comes in silkscreened A3+ envelope.

Printed by ‘t Kartel, Amsterdam

25 €

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Book Release: Self-Organized @ Motto Charlottenborg

Wednesday May 15 at 5.30-8 pm

Open Editions (London) and Hordaland Art Centre (Bergen) are pleased to announce the publication of the third book in the Occasional Table Critical Series. ‘Self-Organised’, edited by Stine Hebert and Anne Szefer Karlsen, follows the critically acclaimed ‘Curating Subjects’ and ‘Curating and the Educational Turn’.

The current economic situation and society’s low confidence in its institutions demands that artists become more imaginative in their self-organisation. If labels such as ‘alternative’, ‘non-profit’ and ‘artist-run’ dominated the self-organised art scene of the late nineties, the separatist position implied by the use of these terms has been moderated during the intervening years. This new anthology of accounts from the frontline includes contributions by artist practitioners as well as their institutional counterparts that provide a fascinating account of the art world as a matrix of positions where the balance of power and productivity constantly shifts. Artists, curators and critics discuss empirical and theoretical approaches from Europe, Africa and South and North America on how self-organisation today oscillates between the self and the group, self-imposed bureaucratisation and flexibility, aestheticisation and activism.