Commerce By Artists

Commerce by Artists documents a fascinating and sweeping range of artists’ projects produced since the 1950s by Canadian and international artists who have sought to engage, rather than merely represent, the commercial world of which they are a part.

Encompassing canonical works such as Yves Klein’s Zones of Immaterial Pictorial Sensibility (1958), Seth Siegelaub’s Artist’s Contract (1971), and Lee Lozano’s Strike Piece (1969) — as well as innovative and rarely-documented works like Keith Obadike’s Blackness for Sale (2001), Kelly Mark’s In & Out (1997-ongoing until 2032), and Ben Kinmont’s Sometimes a Nicer Sculpture Is to Be Able to Provide a Living for Your Family (1998-ongoing) — Commerce by Artists is a comprehensive document of artworks that take the form of transactions and exchanges of value.

Edited by Luis Jacob

Includes contributions by:
agent.NASDAQ aka Reinhold Grether, Zeigam Azizov, Clegg & Guttmann, Carole Condé & Karl Beveridge, Isabelle De Baets and Hendrik Tratsaert, Jorge di Paola, Hu Fang, Elizabeth Ferrell, Gerald Ferguson, Andrea Fraser, Coco Fusco, Hans Haacke, Jens Hoffmann, Luis Jacob, Mary Kelly, Yves Klein, Jeffrey Kastner, Sina Najafi, Jane Crawford, Frances Richard, Richard Manning, Cuauhtémoc Medina, Helen Molesworth, Keith Obadike, Hans Ulrich Obrist, Beatrix Ruf, Andrea Rosen, Martha Rosler, Reid Shier, Julian Stallabrass, Julia Steinmetz, Heather Cassils, Clover Leary, Neil Thomas, Calvin Tomkins, Mierle Laderman Ukeles, Cédric Villate

2011
Art Metropole Toronto Canada
386 pp.
26.5 x 20.5 x 3 cm.
1.674 Kg
softcover
ISBN 978-0-9809184-4-1

€ 58.50

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Nina Beier. Charlottenborg.

This publication accompanies an exhibition at Kunsthal Charlottenborg in Copenhagen by the Danish artist Nina Beier. The exhibition – which is the artist’s first major solo show in the Scandinavian region – consists of an entirely new body of work.

The book is the third in a series of publications related to the exhibitions in Charlottenborg’s North galleries (the first editions featured Clemens von Wedemeyer and Pablo Bronstein). It is designed by Sara De Bondt studio in London and features an introductory essay entitled Demonstration by Charlottenborg’s curator and editor of the publication, Rhea Dall, together with an essay by the writer and curator Dieter Roelstraete. The latter text was generated by Roelstraete together with Beier as a result of their conversation and, rather than explaining the exhibition, it heads straight into an exploration of its conceptual span. The text weaves into and expands upon the art works, which is also why it is presented with a range of photographic footnotes – many of which document or relate to Beier’s practice. This essayistic stream of consciousness functions as an integral part of the show, one that does not separate the object (the exhibition) from its illustration (the catalogue).

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Invalid Format: An Anthology of Triple Canopy, Volume 1. Triple Canopy.

The book, designed in collaboration with Project Projects, is at once an archive of Triple Canopy’s widespread publishing activities and a translation into print of projects that originally appeared in other forms. The design of Invalid Format reflects this problem: How might works produced for the screen be transposed to the codex in a way that recalls that former context, though not slavishly, and while also fully inhabiting the page? How can the form and function of interactive, audiovisual works be degraded elegantly, without disappearing entirely, in print?

Invalid Format will be published at least annually, and will be available at select bookshops worldwide as well as on Triple Canopy’s website. The initial volume of Invalid Format includes artist projects and literary work published in the first year of Triple Canopy’s existence, documentation of public programs, and a sampling of foundational correspondence. Contributors include Lene Berg, Joseph Clarke, Rivka Galchen, Adam Helms, Sheila Heti, Dan Hoy, the International Necronautical Society, Craig Kalpakjian, Jon Kessler, Wayne Koestenbaum, Rachel Mason, Amir Mogharabi, Rachel Owens, Ed Park & Rachel Aviv, the Poetic Research Bureau, John Powers, Emily Richardson & Iain Sinclair, Michael Robinson, and Diane Williams.

D 22 €

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Little & Large Editions @ Motto Berlin. 1.12.2011
Art Critics Orchestra live
Start 8pm

—

W – artist songs volume 2
performed by the Art Critics Orchestra
Micz Flor (guitar, vocals), Laura Oldenbourg (keys), Judith Raum (vocals, guitar), Andreas Schlaegel (drums, vocals) und Raimar Stange (bass)

Mixing, mastering: Alexander Ott, Paul-Lincke-Studio
Cover artwork © 2011 Silke Wagner
Edition of 500
Published by Little & Large Editions, 2011

http://www.artcriticsorchestra.com/
http://littleandlargeeditions.com/

Hektor Works.

Invented together with engineer Uli Franke, Hektor made its debut as Jürg Lehni’s diploma project at the Ecole Cantonale d’Art De Lausanne (ECAL) in 2002, performing regularly since until 2009. Often created in collaboration with others, the works are explorations of the limitations and expression of this delicate yet wilful output device.

http://hektor.ch/

D 18€

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If Mind Were All There Was: Nine Themes on Giuseppe Sacchi.

Conceived by Victor Man
Published by Transmission Gallery and Kaleidoscope Press in conjunction with Man’s solo show Lazarus Protocol (September 2011).

With contributions from Maria Fusco, Massimiliano Gioni, Martin Herbert, Francesco Manacorda, Tom Morton, Alessandro Rabottini, Joao Ribas, Torsten Slama and Martin Vincent.

With drawings by Victor Man and Andro Wekua

D 18€

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The Powder. Jocko Weyland.

D 36.80€

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I Heart Transylvania. Jason Nocito.

Jason Nocito’s second monograph is an intimate love story shot in Vancouver, B.C. over four years where his wife Megan lived until 2010. Set amongst the city, its environment and their group of friends. Designed by Michael Schmelling.

co-published by the artist and Dashwood Books, 2011

D 63€

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2012 Calendar

Edition of 300, 48,5 x 69 cm, offset, 4 pantones

This 2012 calendar is made of photograms directly composed on offset plates. This unusual and experimental technique allows to print perfect fades without using any raster.
Objects, things and animals were selected and arranged by students, during a workshop at ECAL/University of art and design Lausanne, held by Körner Union/Maximage and T. Rihs, assisted by Olga Prader.
Printed at ECAL by Benjamin Plantier, 2011
20 CHF

For now: only available at Motto Zürich