The Recovery of Discovery, Cyprien Gaillard, published by Verlag der Buschhandlung Walther König.

Die Erhaltung eines Monuments scheint auch immer seine Zerstörung zu beinhalten. Um städtische Architekturen, Kulturdenkmäler und Reliquien zu bewahren, erfolgt nicht selten ihre Überführung an andere Orte. Der Transfer ändert nicht nur die Geschichte des Ursprungsortes, sondern führt auch zu einer brachialen Umdeutung des vor der Zerstörung Bewahrten. Für seine Ausstellung in den KW Institute for Contemporary Art schuf Cyprien Gaillard (geboren 1980 in Paris) eine neue, raumgreifende Arbeit, die erst durch die aktive Mißachtung ihrer Form die Komplexität ihrer Bezüge aufzeigt. Gleich einer öffentlichen Amnesie, verloren in der ausweglosen Interaktion mit dokumentiert in einer langen Kleinbildserie die völlige Zerstörung der Pyramide.
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Preserving a monument goes hand in hand with destroying it. In order to preserve architecture, cultural monuments and relics, they are often relocated, allowing urban displacement to arise – leading to the disappearance of the concept of autonomous geography and archeology. The dislocation of a monument does not only alter the history of its original location, but also leads to a radical re-interpretation of the monument itself. For his exhibition at KW Institute for Contemporary Art, Cyprien Gaillard created a new work containing complex implications, which will only be revealed through an act of complete defiance. Similar to public amnesia, lost in the hopeless interaction with the monument, the gradual destruction
becomes a part of the aesthetic of resistance. The catalogue which is published on the occasion of the exhibition “Cyprien Gaillard. The Recovery of Discovery” at KW Institute of Contemporary Art in Berlin, depicts the gradual destruction of the sculpture and includes contributions by Hal Foster, Marion von Osten, and Susanne Pfeffer as well as a conversation with Cyprien Gaillard and Susanne Pfeffer.

D 22€

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I Myself Am Only A Receiving Apparatus, Joachim Koester, Maureen Mooren, Frédérique Bergholtz and Kristin Schrader, published by If I Can’t Dance, Amsterdam and kestnergesellschaft, Hanover.

I Myself Am Only A Receiving Apparatus, focuses on the performative and the human body in Koester’s work, which is based on intensive archival research and characterized by what he calls “narrative knots”—the multitude of stories, facts and references that make up his notion of history.

The book is part of a series of six monographs that mark the closure of the projects commissioned by If I Can’t Dance within the framework of Edition III – Masquerade, with artists Keren Cytter, Jon Mikel Euba, Olivier Foulon, Joachim Koester, Suchan Kinoshita and Sara Pierce.

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Hired Hand, Stuart Bailes, Bea Fremderman, Ingo Mittelstaedt and Athena Torri, published by Vandret Publications.

The artist’s elegant landscapes and still lifes are re-appropreated – collaged, juxtaposed and presented alongside internet stock photographs to make up a softspoken picture poem in which brute force and a slight caress suggest an undefined plot.

D 35€

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Secret Language The Code Breakers, Stephen Willats, published by Galerie Thomas Schulte.

Since the 1960s, Stephen Willats is counted as one of the most influential protagonists of international conceptual art in England. One of the main focuses of his work has always been the examination of urban realities by means of communication processes, network formation, and self-organising structures. Willats illustrates various systems of social interaction through an array of drawings, diagrams, photo-collages, computer-operated communication-devices, and animations. The artist works directly with people: their relationships to each other – be it in a private or professional environment – as well as their relationship to an omnipresent system of everyday symbols; from architectural structures to objects, materials, and sounds that surround us continually. Willats poses the question as to how the personal values and lebensraum of the individual are perceived within society, and how society defines and adopts them.

Language: German/English

D 15€

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Ein Du ist eine Co-Produktion des Künstlers Béla Pablo Janssen und des Dichters Dennis Freischlad. Gemeinsam suchen sie nach den Orten und Subjekten, die einer Beheimatung gleichkommen (könnten). Prosa, Fotografie, Tagebuchnotizen, Graffiti und Lyrik sind die Mittel, mit denen sie um den Mittelpunkt ihres Gegenwartsgedächtnisses kreisen. Die Themen lesen sich wie eine Bestandsaufnahme, wie ein Festhaltenmüssen des Erlebten: Kunst, Sex, Alltag, Sehnsucht, poetische Momentaufnahmen in Wort und Bild. Im Zwischenraum dieser in die Reflektion integrierten Sujets befindet sich die ständige Frage nach der individuellen und gesellschaftlichen Bewohnbarkeit der Welt.

Béla Pablo Janssen (geb. 1981) lebt und arbeitet in Köln.
Dennis Freischlad (geb. 1979) lebt und arbeitet derzeit in Köln.

Language: German/English

D 16€

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(Known as the “violence” issue)

With contributions of/and about: Fabienne Audéoud, Alex Bag, Lili Reynaud Dewar; Sonya Dyer, Dorothée Dupuis, Valérie Chartrain, Jean-Charles Massera, Elisabeth Lebovici, Glenn Ligon, Ellen Cantor, Samara Davis, Sarah Ortmeyer, Ellen Harvey, Cassandra Lasch Edlefsen, Bruce Nauman, Luc Jeand’heur, Klara Liden, Alexander Fleming, Valerie Solanas, Caroline Achaintre, Matthew Darbyshire, Olivia Dunbar…

Design : Susanna Shannon / Design Dept
Pages: 93

D 5€

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Launch: I Myself Am Only A Receiving Apparatus
Joachim Koester has in collaboration with the Dutch association If I Can’ t Dance, I Don’t Want To Be Part Of Your Revolution and kestnergesellschaft – Institute of Contemporary Art in Hanover created a monographic publication, I Myself Am Only A Receiving Apparatus, published by Verlag der Buchhandlung Walther König.The publication focuses on the performative and the human body in Koester’s work, which is based on intensive archival research and characterized by what he calls “narrative knots” ―the multitude of stories, facts and references that make up his notion of history.


Book Talk:
Joachim Koester has curated a selection of books that have been influential for his artistic practice, and will introduce his selection in a show-and-tell presentation.

http://www.ificantdance.org
http://www.buchhandlung-walther-koenig.de/
http://www.kunsthalcharlottenborg.dk

Making the walls quake as if they were dilating with the secret knowledge of great powers, Michal Libera and Lidia Klein (Ed.), published by Zachęta National Gallery of Art.

A multidisciplinary reader on sound, space and architecture, that accompanies the exhibition of the same title in the Polish Pavilion at the 13th International Architecture Exhibition—la Biennale di Venezia. The texts were selected by the curator of the exhibition Michał Libera, together with Lidia Klein, and the publication was designed by Czosnek Studio. The book features an interview with the artist, Katarzyna Krakowiak, contributions by the editors, as well as a selection of theoretical analyses, essays, poems and music scores by Barry Blesser and Linda-Ruth Salter, Samuel Taylor Coleridge, Francis Bacon, Gilles Deleuze and Félix Guattari, Steve Goodman, Bohumil Hrabal, Bernhard Leitner, Alvin Lucier, Max Neuhaus, Georges Perec, Steen Eiler Rasmussen, Bruce R. Smith, Jonathan Sterne, Georges Teyssot, Emily Thompson, Shelley Trower, David Toop and many others.

D 28€

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MER.@MOTTO
Opening reception: September 14, 2012, from 7pm
Exhibition 15.09-06.10

MER. catalogue on display
New MER. edition by Pieter Vermeersch. Untitled (2012). (Dyptich lambda print)
audio MER. DJ session by Phillip Marshall (The Tapeworm)

http://www.merpaperkunsthalle.org/

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On the same evening, Erik van der Weijde ‘NIEMEYER AND MY WIFE’ exhibition opens @ Chert gallery (+ new 4478ZINE book)

Trekhprudny Lane: Moskva 1991-1993. Ekaterina Dyogot. Hong Kong Press.

This book, which was conceived a number of years ago, is about a short period in the history of Moscow art, right before the real-estate market obliged several artists’ groups to leave their studios.

It was after a guest-teaching period at the National Academy of Fine Art in Oslo that Larissa Zvezdotchotova brought us to Trekhprudny Lane in 1993. That is where ten young artists had for two years been living and working in an apartment block, where they had carried through an unbroken series of events and installations every Thursday at 19.00. Gradually this had developed into a central point in Moscow’s art life – a literal and witty answer to the prevailing art life situation and a number of ideas and masterpieces of western art. Or as Ter-Oganian, the protagonist of the group, puts it: “Great art in one place, soup in Russia.”

The Moscow based critic Ekaterina Dyogot has on our request written an introductory essay about the events at Trekhprudny. In addition she has written captions to 36 selected actions to clarify contexts that could pass by a western public.

This book is a fragment, nevertheless it presents the question: Can we afford to do without all the unexpected viewpoints and standpoints coming from the Russians in the discussion about the art of today?

– Carina Hedén, Ingrid Book

64 Pages
Swedish / English

D 19 €

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