Theatre Of Hunters. Pedro Barateiro.

In Theatre of Hunters, his first major solo exhibition outside of Portugal, Pedro Barateiro presents a sequence of installations that include “staged” sculptures, found objects, photographs, drawings, paintings and films that encompass the five connected galleries on the ground floor of the Kunsthalle Basel.

Barateiro’s multifarious practice can be situated within a contemporary mode of post-studio production that is neither bound to one medium nor limited to any particular type of skilled object-making. Instead, the Lisbon-based artist primarily works with existing popular images, documents, literary texts, found objects and artworks gleaned from a diverse range of contexts. Barateiro’s practice is driven by a critical “re-reading” of those cultural and historical texts that play a major role in determining our perception of reality. Rather than mirroring or otherwise directly responding to lived experience, Barateiro relays highly coded and fragmented statements, mediated by complex visual signs that possess the quality of things remembered from dreams, while simultaneously relating to specific referents.

D 19€

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The Book on Books on Artists’ Books. The Everyday Press.

The Book on Books on Artists’ Books is a bibliography of books, pamphlets and catalogues on artists’ books.
It takes stock of a wide variety of publications on artists’ books since the early 1970s to draw attention to the kind of documentary trace of distribution, circulation and reception they represent. It aims to be a source book of exhibition catalogues, collection catalogues, monographs, dealership catalogues and other lists published to inform, promote, describe, show, distribute and circulate artists’ books.

D 70 €

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Performing the Institutional. Kunsthalle Lissabon / ATLAS PROJECTOS

Performing the Institutional documents Kunsthalle Lissabon’s first curatorial cycle, which happened between July 2009 and June 2010 and featured solo shows by Nuno Sousa Vieira, Mauro Cerqueira, Joana Bastos, André Romão, Carla Filipe and Stefan Brüggemann. The book, a collaboration with ATLAS PROJECTOS, a publisher of independent art projects in printed, audio/visual and exhibition formats, was edited by João Mourão and Luis Silva and includes new essays by Maria Lind (Contemporary Art and its institutional dilemmas) and Charles Esche (The deviant art institution), as well as the “words don’t come easy” series of interviews with the featured artists. Performing the Institution(al) inaugurates Kunsthalle Lissabon’s publishing activity.

D 12€

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WIELS Residency Program is happy to welcome you to the book launch :

Nick Oberthaler

ZWEIFEL UND GNADE / LE DOUTE ET LA GRÂCE

Edited by Nick Oberthaler, Alessandra Bellavita and Marianne Rapegno
Published on the occasion of the exhibition ZWEIFEL UND GNADE at Galerie Thaddaeus Ropac, Paris.

In addition to his first catalogue, Nick Oberthaler will also present his artist-zine project BLACK PAGES, which he runs together with Vienna based artists Christoph Meier and Ute Müller, as well as the publication WALLPAPERISM, which he recently edited together with Geneva-based designer and publisher Izet Sheshivari from Boabooks and the artist-run space Motel Campo, Geneva.

A proposito di Marisa Merz. Mousse Publishing.

A Proposito di Marisa Merz (Speaking of Marisa Merz) is the first volume of a new editorial project of MAXXI, edited by Carolina Italiano, that foresees the publication of a series of monographs dedicated to artists whose work will be acquired by the museum. This series wants to offer the most ample apparatus of historical and biographical notes in relation to the new acquisitions, while providing a deeper reading of the artist’s body of work. Speaking of Marisa Merz features an introduction to her practice by Anna Mattirolo, followed by two essays. The text by Luigia Lonardelli outlines the artist’s productions from the Sixties to today, and the contribution by American critic Christopher Bennet discusses Marisa Merz’s work in relation to its contemporary international context.

D 10€
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The first 3 years of Ludlow 38. Spector Books / Goethe-Institut

Ludlow 38 is the downtown satellite for contemporary art
of the Goethe-Institut New York.

D 14 €

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One Question, Nine Possible Answers, Three Rooms #1. Melanie Bonajo.

Room 1 – psychics:
Connie, Cynthia, Danny, Destiny, Elza, Gadesha, John, Linda and Lisette.

Room 2
9 posters by Melanie Bonajo

Room III
Özlem Altin, Bianca Casady, Simone Gilges, Sabina Maria van der Linden, Alexandra Leykauf, Kinga Kielczynska, Joseph Marzolla, Emmeline de Mooij, Shana Moulton.

This publication is part of the installation Afterlife – An Unexplored Continent shown at the exhibition Afterlife – art on the final destination, which takes place at Nederlands Uitvaart Museum Tot Zover and is published on the occasion of Melanie Bonajo project space grant of the Mondrian Fonds, at the Künstlerhaus Behtanien, Berlin.

D 2€
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Design Act. Sternberg Press

Edited by Magnus Ericson, Ramia Mazé
Contributions by Magnus Ericson, Natasha Marie Llorens, Ramia Mazé Interviews with Ana Betancour, Otto von Busch, Mauricio Corbalan, Pelin Dervis, Anthony Dunne, Joseph Grima, Peter Lang, Yanki Lee, Tor Lindstrand, Helena Mattsson, Ou Ning, Doina Petrescu, Fiona Raby, Meike Schalk, Christina Zetterlund

Design Act: Socially and Politically Engaged Design Today—Critical Roles and Emerging Tactics is a project that presents and discusses contemporary design practices that engage with political and societal issues. Since 2009, the Iaspis project Design Act has been highlighting and discussing practices in which designers have been engaging critically as well as practically in such issues. Itself an example of applied critical thinking and experimental tactics, the process behind the Design Act project is considered as a curatorial, participatory and open-ended activity. Design Act has developed through an online archive, public events, and an international network.

Co-published with Iaspis
Design by Johanna Lewengard

D 19 €
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Bulletins of The Serving Library #2. Sternberg Press.

Contributions by Dimmi Davidoff, Július Koller, David Fischli & Peter Weiss, Rob Giampietro, Anthony Huberman, Junior Aspirin Records, Perri MacKenzie, David Senior, Jan Verwoert

Bulletins of The Serving Library #2 continues the trajectory begun by DOT DOT DOT, Dexter Sinister’s previous house journal which ran for ten years and twenty issues. This issue grew out of two physical incarnations of The Serving Library in 2011. The first took place from July 4–August 10 in the Walter Phillips Gallery of the Visual Arts department at The Banff Centre, Alberta, Canada. Here they set up a model of the library’s projected interior to house a six-week summer school titled From the Toolbox of a Serving Library. The school comprised daily morning seminars, supplemented by a few evening events. Each week was based on a specific component from a (Photoshop-proxy) digital software toolbox, in order to reconsider what a contemporary (Bauhaus-proxy) Foundation Course might most usefully comprise. The second opened on October 29 and at the time of writing remains installed at Artists Space, New York. Here the same model serves more as a mini-expo in view of an eventual fixed home, alongside a parallel three-screen projection concerned with “Identity.”

D 10 €

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Contemporary Art and Its Commerical Markets:
A Report on Current Conditions and Future Scenarios

Contributions by Stefano Baia Curioni, Karen van den Berg/Ursula Pasero, Isabelle Graw, Goldin+Senneby, Noah Horowitz, Suhail Malik/Andrea Phillips, Alain Quemin, Olav Velthuis

Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios maps and analyzes the complex and contested entanglements of contemporary art and its commercial markets. Contemporary art as an asset category and celebrity accessory, the rise of the art fair, and the increased competition of auction houses are among the phenomena which are discussed by academics, theoreticians, and artists. While some of the contributions show how the market’s globalization, and commercialization both reflect and propel the way art is produced, presented, and perceived, others downplay the impact of these developments and argue that the market’s structure has essentially remained the same. All the essays trigger the question: What will art look like in 2022, and how will artists operate?

Contemporary Art and Its Commercial Markets is published as part of the curated project Abstract Possible: The Stockholm Synergies, taking place at Tensta konsthall, the Center for Fashion Studies at Stockholm University, and the auction house Bukowskis—all located in Stockholm—at the beginning of 2012.

This is the first publication in an ongoing series co-published by Sternberg Press and Tensta konsthall.

Design by Metahaven

D 19 €

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