“I wanted to show how cars appear in typical street view, which is rarely the subject of photographs. Cars are usually avoided in photography – one waits until a car has exited a view. The ordinary presence of cars is rarely worthy of representation. It’s always the special car, or the extreme traffic jam or, of course, the exciting crash that is being pictured. The Cars pays tribute to the shapes and forms we look at every day. How much time we spend with them, sitting inside them, the endless hours we stare at a dashboard. Even if we don’t own a car ourselves, their presence is unavoidable. Cars are everywhere. Their sheer number is the most crazy thing about them. They appear in our lives with excessive omnipresence. In their volume cars intrude upon public space, and the way they occupy streets and open areas is rarely challenged. Virtually wherever there are people, there are cars and they are visually intermingling in whatever we see. We are looking at the world from a car and cars are in the foreground, the background or in between of what is in our view. Where they are, they add a tone, a note, a presence, a noise to the setting they’re in. […]”

€ 19.80

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PAVEL MÁRA is a distinctive European photographer. Born in Prague in 1951, for almost two decades now he has been a teacher at the Institute of Creative Photography, Silesian University, Opava. That is the calling to which he was predestined by his art, which entails working with concepts and meticulously thinking things through. The look of his works often stems from new interpretations of the possibilities of the photographic medium.
Mára creates in series, some of which are remarkable depictions of the organic and inorganic world in geometric shapes. He achieves that, for example, by how he selects his shots. He does not use the usual technique of manipulating the photographic image. Often striking, surprising, and sometimes even unreal, colour is an independent component of Mára’s photographs. Yet he also employs a detailed and bewitchingly clear transcription of photographed reality. His work in series excludes chance; it leaves the viewer in no doubt about the photographer’s intentions.
As early as in the 1970s, Mára was among the few people in Czechoslovakia who did art photography in colour and, moreover, mostly in large formats. Of his early works, one mostly recalls the pictures of the precisely textured surfaces of technological objects painted in bright colours, for example,MECHANICAL STILL LIFES (1976–84). These are photographs that may reasonably be ranked among works of geometrical abstraction in other fields of art, even though they are at the same time quite concrete. He has been developing the principle to this day.
The human body became the main subject matter of Mára’s photographs. Using a simple method, he created the monumental TRIPTYCHS of nudes and portraits from 1990–93. The extraordinary impression they make consists in the sensed mystery of a shift of gaze. They were made without changing the position of the model by a vertical shift of the camera – the view from below, the view straight on, the view from above.
He made MECHANICAL CORPUSES (1997) using special approaches with coloured lighting, linking real bodies to unreal colours. The inventive staging of models with shaved heads in precisely centred compositions brought Mára to international attention.
The publication is based on the counterpoint of black-and-white and colour photographs, including, for example, BLACK CORPUSES: FAMILY (2001); the magical tonality of this series was achieved by printing black-and-white reversal film on colour reversal paper. NEGATIVE HEADS (2010), made in the scale of black, grey, and white, are, by contrast, digital portraits of a male model, defamiliarized by using geometric elements.
Pavel Mára’s whole oeuvre is pioneering. It is highly aestheticized but not calming; rather, it makes one uneasy. It is part of contemporary postmodern culture also because it is complete only when it has been installed, and in each case this is done for a particular space.

€57.00

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Arts For Living takes a close look at the abrons arts center, a community art facility in the lower east side, as a case study for an architecture designed to address issues of public space and community life. the center was built during the 1970’s fiscal crisis and designed by prentice and chan, ohlhausen as a cultural institution with new educational facilities intended to enable, foster and serve the everyday activities of the local low-income population.

with essays by alan moore and kim förster, an interview with lo-yi chan and photographs by jason fulford.

designed by geoff han

printed by drukkerij mart.spruijt bv, amsterdam

€25.00

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CURA. No.20

FALL 2015
Cover by Allison Katz

INSIDE THE COVER Allison Katz. Pungent Painting text by Ruba Katrib – PORTRAITS IN THE EXHIBITION SPACE Wim Beeren and Tomorrow’s Museum by Lorenzo Benedetti – TALKING ABOUT Why Poetry? by Jean-Max Colard – POP-UP SECTION: DISPLAY ISSUE 01 You Display, I Display, We Display by Céline Condorelli and Gavin Wade – ABOUT Josh Kline by Ciara Moloney – PROJECT A Wonderful World Under Construction by GCC – SPOTLIGHT Ryan Gander in conversation with Adam Carr – ABOUT Michael E. Smith by Jenny Jaskey – A VISIT TO Pedro Barateiro: The Current Situation / Palmeiras Bravas, Museu Colecão Berardo, Lisboa with João Mourão & Luís Silva – ABOUT Marguerite Humeau by Hans Ulrich Obrist – HOT! – Olga Balema by Chris Sharp – Darja Bajagić by Franklin Melendez – Sascha Braunig by Rose Bouthillier – Rachel Rose by Frances Loeffler – PROJECT Villa Design Group 
and Nicoletta Lambertucci – PROJECT Lena Henke and Anna Gritz

€9.00
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DAVID HORVITZ. MOOD DISORDER BOOK LAUNCH
AT 11:59 PM.
IN RANDY’S DONUTS PARKING LOT, LOS ANGELES.

Xiu Xiu will have a gong to whisper into.*

Ed Steck will call in from Tampa Bay, FL and read poems over speaker phone.**

Michael Smoler will be telepathically reading poems from a donut store in London simultaneously with the launch.

Books will be sold for $15 us cash out of the trunk of my mom’s car. No receipts will be given.

* Xiu Xiu will buy dounuts for the first 21 people who whisper into the gong.

** Unless he falls asleep.

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Mood Disorder documents the propagation of a photograph of David Horvitz across the internet. The image—a self portrait of the artist with his head in his hands, ocean waves crashing in the background—was initially uploaded to the Wikimedia Commons, and placed on various Wikipedia pages. From there, the image began to circulate, appearing on over a hundred websites as a “stock” photo to illustrate articles on a wide range of mental health and wellness issues.

David Horvitz: Mood Disorder
With a text by Ed Steck. Co-published by Chert and Motto Books, Berlin. Designed by The Future.

35 × 25 cm
72 Pages, Staple bound
ISBN: 978-1-927354-23-0
First Edition (2015)
18€

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The “Jewellery Hyperreal” publication on the question how jewellery could be transferred into hyperreality

includes interviews with Daniel Knorr, Yukinori Maeda, Schmidttakahashi, Magnus Ericson, Lisa Walker, Yu Yamada

and a special contribution by Akio Seki

Edition of 500
Designed by THe Simple Society

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Since 1997 the artist and jewellery designer Susan Pietzsch installed with Schmuck2 a continous international exhibition programme. Schmuck2 takes a focus on unusual, diverse takes on the themes of “jewellery”, combining people with different cultural background such as artists, designers and art-theorists. The projects shape a multi-faced image for contemporary styles of jewellery, using unconventional concepts that move between fine and applied arts.

€12.00

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Issue 127 is guest edited by by Kari Cwynar, Danielle St-Amour and cheyanne turions, and features CAConrad on (Soma)tic Ritual Collaborations, Nasrin Himada on Positioning, “Three Parts on Poetry,” with contributions by Hanne Lippard, Tanya Lukin Linklater, Tiziana La Melia, Stacy Doris and Lisa Robertson, and Rachel Valinsky, an artist project by Alex Turgeon, and poems by Amy De’Ath, Andrea Lukic, Leanne Betasamosake Simpson, Taocheng Wang and Aisha Sasha John. Also included are reviews of exhibitions and books, as well as our regular sections On Writing by Lucy Ives and Inventory by Robin Simpson.

€8.00

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Today mediation is a cultural given: an environment, a rhythm, a force. It is a modality for easy exchange, with no apparent beginnings or ultimate reason. In this realm of the possible, means and ends get mixed up, while absolutes can only be approached timidly.

2. edition 2014, 400 copies

Expanded version of the sold-out original from 2012 with a new introduction, additional text pieces and found imagery.

Graphic Design: Louise Hold Sidenius

**each copy has a unique cover**

€10.00

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Even is a new magazine that interprets contemporary art, its structures and its environment. Published three times a year, Even features long-form articles that range from monographic studies to broad critical analysis; distinctive reviews that take in multiple exhibitions at museums and galleries worldwide; and extensive interviews with artists and arts professionals.

Even seeks to break the deadlock between academic obscurantism on one side, and top-ten lists and party coverage on the other. With a unique and legible voice, Even revives the tradition of criticism for the twenty-first century.

€15.00

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Subway magazine #5
Fall 2015
Erik van der Weijde (red.)

Subway Magazine is an artist’s magazine by Erik van der Weijde & 4478zine.
Most of its content comes from eBay and Wikipedia, but also features works by contemporary artists. The magazine focuses on a fresh mix of art, photography, poetry, facts and fun.
Subway is a five-minute-fun ride, published four times a year from now on!

In this fifth issue we show work by Jürg Lehni, Miroslav Tichy, Clara Canepa and Wiissa, but also the story of the sticker, boxer-facts, barbeque plus quotes from Woody Allen and Woody Harrelson and more…

17x24cm / 32 pages / Muncken Print Cream 115
Offset printed in the EU

€6.00

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