Hardcover with dust jacket

€36.00

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The play I WAS NOT ABLE TO VISIT THE ENTIRE SHOW was created with the intention of being staged within the environment of gallery institutions. It opens a discussion over conventions that are commonly linked to the exhibition strategies: How contemporary display practices and institutional frameworks affects an artwork and vice versa?

The publication includes photographs by Daniela Dostálková who’s conception heads towards the perception of understanding of possible future gallery presentations with an attempt to make the act of viewing visible. What does the viewer see and what does he believe?

Linda Dostálková is a Czech-born, Netherlands-based independent graphic designer who, through her projects, implies variety of forms from close artistic and humanistic disciplines, delivering a specific input for a specific situation.

Text and graphic design: Linda Dostálková
Editor: Jana Kořínková
Photography: Daniela Dostálková
Published by The University of Ostrava, 2015
English edition, 190 x 285 mm (softcover), 160 pages

€- 25,00

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Printmaking by ECAL offers an inventory of the entire lithographic and silkscreen editions published by ECAL between 2008 and 2014. It gathers critical texts on the one hand about the history of the publishing activities within ECAL and also the role played by the multiple and printed art for those built ECAL in the 1990s and those who are graduates.

80 color illustrations

€26.00

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With contributions from Michael Boßdorf, Herr Düsterdieck, Anselm Franke, Avery Gordon, Ayse Güle, Reza Haeri, Tom Keenan, Volker Lange,Helmut Weich, Allen S. Weiss

Co-published with the documenta archiv.

Design: Ça ira !
Editors: Natascha Sadr Haghighian, Pola Sieverding, Jasper Kettner

»trail« harks back to a path that Natascha Sadr Haghighian laid out at the Auehang in Kassel in 2012 as part of dOCUMENTA (13). The trail was located next to a memorial to the fallen German soldiers of the two World Wars and »accompanied« by onomatopoeic sounds. In the process of laying out the path, Haghighian discovered that the entire slope consisted of rubble from the Second World War. In the book she follows the ‘trail’ of this debris together with Pola Sieverding and Jasper Kettner and ends up with the Kassel-based armaments industry, with stories of migration and forced labour, with military vehicles named after animals, and with flowers that only grow in rubble. Via an exchange of letters with Anselm Franke, Avery Gordon, Ayşe Guelec, and a number of other correspondents, the findings are linked and examined together, revealing a view of historical continuities, loops, and ruptures, resembling the layering of the debris itself.

€28.00

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Platform platvorm is an open call art magazine where artists are in control. Each participant will have the opportunity to make a spread about their own work without any interference in the visual content. As a result the content remains fully original and very diverse. The artist can show the work as it was intended. Participating is completely free.

For the list of participating artist in the first issue, visit: http://platformplatvorm.nl/

€15.00

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Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education according to the demands of reigning neoliberals. In this context, it is urgent to conceive of alternative frameworks and methodologies of study–whether within, outside or at the margins of academic institutions.

This book examines the current interest in education through a series of conversations with artists, theorists, activists and educators -including Suhail Malik, Brian Holmes, Ruth Sonderegger, Gerald Raunig, Judy Chicago, Gal Kirn, Mohammad Salemy, Melissa Gordon, Marina Vishmidt and Andrea Fraser-who are all actively involved in developing new models of study. Ranging from self-organized learning to critical teaching methodologies, the alternatives gathered here offer a resource for those interested in the renewed politicization of education, new modes of knowledge production and teaching methodologies.

€ 23.00

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Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals. Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces. In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies. These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.

With contributions by:

Mark Allen, Juliette Bellocq, Vera Brunner-Sung, Nancy Buchanan, Carol Cheh, Matthew Coolidge, Jill Dawsey, François Esquivié, Rita Gonzales, Géraldine Gourbe, Robby Herbst, Walter Hopps, Robert Irwin, Chris Kraus, Leslie Labowitz, Suzanne Lacy, Fred Lonidier, Pauline Oliveros, Elana Mann, Emily Mast, Senga Nengudi, Janet Sarbanes, Annette Weisser, Joshua Young, Andrea Zittel

Ed. Geraldine Gourbe
Copyeditors Geraldine Gourbe & Emily Mast
Proofreaders Vera Brunner-Sung
Design Bartolomé Sanson
Publishers Bartolomé Sanson & Stéphane Sauzedde

Co-published with ESAAA, Ecole Supérieure d’Art de l’Agglomération d’Annecy

€ 16.00

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The Communist Manifesto was first printed as a 24 page pamphlet in February 1848, in London. Since that time, it has been reproduced in countless contexts — making it not only one of the most widely read texts ever, both one that continues to be disputed for the efficacy of its call to action. It has been subject to various editions and translations, but the various covers that package the manifesto exemplify the complexity of ways it has been received, perceived, used and abused across different times and places. All publishers are presented with the paradoxical issue of how to design its cover and market such a text — to confront it both in terms of form and function, use and exchange value.

01.01.CM presents over 100 covers of The Communist Manifesto, compiled by the Museum of Ordure from its collection. The book is turned inside out to draw attention to its material form and historical conditions: the covers have fascinating stories to tell of hopes and anticipated futures – for instance, in their use of particular imagery and in the signs of wear through human use – and draw attention to the excesses of capitalist production. This notion of excess is fundamental to the overall project of the Museum of Ordure in its attention to the management of human waste and identification of ordure. What value do readers place upon the Manifesto in a situation where radical politics appears to have been reduced to commodity form, nostalgia or mere curiosity?

01.01.CM was published as part of the exhibition: Systemics#3: Against the idea of growth, towards poetry (or, how to build a universe that doesn’t fall apart two days later), in Kunsthal Aarhus (16jan.–30mar.).

editing/design Geoff Cox and Mathias Kokholm
image editing Lasse Krog Møller
assistant Michael Roloff

A very red book!

€30.00

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Felicia Atkinson / Shelter Press @ Motto Berlin. 04.07.2015
performance 8pm (sharp)

Felicia’s sound performance derives from her LP ‘A Readymade Ceremony’ and her book ‘Improvising Sculpture As Delayed Fictions by Felicia Atkinson’, both published by Shelter Press

On the same evening, Chert opens

Ceramics & Graphite

Artists: Laura Aldridge, Felicia Atkinson, Peppi Bottrop, Lucy Coggle, Tommaso Corvi-Mora, Emilie Ding, Jérémie Gindre, Emma Hart, Hannah James, Klara Kayser, Marthe Krüger, Bevis Martin and Charlie Youle, Lucie Mičíková, Diogo Pimentão, Vanessa Safavi, Erik Steinbrecher, Ignacio Uriarte, J. Parker Valentine, Renata Ward

with a text by Georg Simmel “The Stranger” from 1908

English / Indonesian

with a text by Georg Simmel “The Stranger” from 1908

edition of 800

€12.00

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