€22.00
Tools collection and pictures by
written by Ren Hang
translated by Ho King Man
and Casey Robbins
published by BHKM
first edition of 500
printed in Hong Kong
2017
€59.00
Strappato is published on the occasion of the exhibition « Blind approximate » at Château de Gruyères.
It combines works of Michael Rampa (born in 1977 in Château-d’Oex, lives and works in Lausanne). Using precise protocols, the book tries to deconstruct and reconfigure the specifications and the original materials in Rampa’s paintings.
Graphic Design: Jeremy Schorderet
Texts by Louis Bonard and Constant Bonard
Conversation of Michael Rampa with Julien Gremaud
€20.00
This book was the last book publish with tradtionnal type setting by the Imprimerie National, printed on heavy paper.
Most of the work reproduced are printed in black, 2 colors (mainly black and red inks) or more as the Piet Zwart page printed in 3 colors (dark blue, red and yellow)
Jérôme Peignot is born in a family of typographer and type creator, his grand-father was the founder of was became Deberny-Peignot. This historical enterprise worked with Balzac and his father Charles had introduced photocomposition in France and directed the Editions des Arts et Métiers graphiques.
Jérôme Peignot is developping this poetry genre called Visual Poetry, Konkrete poetry or just “Typoésie” (Typoetry). What we called a game is the meeting of litterature with typographical art: searching the meaning of the world in the design of words.
This poetry appear with the help of various tools: from letters, to punctuation, numbers and notes, this anthology is divided into five parts: Typography, Visual poetry, figures, Painting, Music.
Typography: Zwart, Cassandra‘s Bifur, Lubalin, etc.
Visual poetry: Gomringer, Mon and Rühm (Germany). Pignatari and the Campos brothers (Brazil). Italian poets, British, Spanish and American enrich this pratice in a rebellious or advertising use. Peignot admits his fascination with work by Ockerse of Solt, Williams and Xisto
Poets: Dotremont Roubaud Crombie, etc.
Painters: Adam Dupuy, Falconet, Hains, Kolar and Melin, Duchamp, El Lissitzky, Magritte and Matisse.
Music: JS Bach, Gounod, Pobst, Ravel, Schoenberg, Webern.
Texts by Leiris, Cassandra, Guy Levis Mano, Raymond Gid, El Lissitzky, Pierre and Ilse Garnier, Excoffon, Dotremont … and Alexandre Sorel as regards music.
€34.00
Conceived on the occasion of the first edition of the project “Davanti al Mare” directed by Vittorio Dapelo for the Amixi di Villa Croce – Museo d’Arte Contemporanea of Genoa, War Games is an artist’s book by Diego Perrone, edited by Francesco Garutti. Imagined as a book-cum-artwork and as such an integral part of the installation of Perrone’s work in Villa del Principe, the Palazzo of Andrea Doria in Genoa, War Games is a photographic collection of painstaking details and fragments. The tapestries of the battle of Lepanto housed in the Villa del Principe, the hands, the features of the miniature craftsmanship of a selected group of Ligurian artisans and details of the sculpture in glass paste by Diego Perrone are mixed together without a specific order so as to make up an almost cinematographic sequence. In the short essay by Francesco Garutti, a simple and indirect game of reflections take shape: the naval games of the historian and science-fiction author Fletcher Pratt, the ambiguous inclined planes of the visionary architect Bel Geddes, the warp and weft of the tapestries of Villa del Principe, the hands and the construction techniques of those Ligurian masters all dialogue here with Perrone’s work by virtue of their inhabiting ‘another’ time.
€25.00
You Just Have to Experience It
Tuesday 4th July 2017
From 7pm
Motto Berlin
You Just Have to Experience It is a publication and event. It combines citations culled from the book Beyond Objecthood: The Exhibition as a Critical Form since 1968 to trace a history of the changing role of the spectator in art and exhibitions from Minimalism to Relational Art, and New Institutionalism to the present.
Produced on the occasion of the launch of Beyond Objecthood, this public talk in the shape of a performance reading presents a brief history of the exhibition as a critical form from the 1960s to the present, a form that inherently solicits spectators into temporal and spatial experiences and situations as indispensable components of the work.
The title refers to a statement by the American artist Tony Smith who recounts in a 1966 Artforum interview a ride on the newly minted New Jersey Turnpike, recalling a transformative nighttime experience of moving through space and time on the unmarked highway. This experience caused him to question the viability of art to represent something like that. You Just Have to Experience It uses this moment as a point of departure to explore how the criticality once posed by figures like Smith who solicited spectators into durational experiences in their work faces many challenges, not least of which is competing with the institutions that give it voice in an era when the differences between art and entertainment increasingly blur.
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James Voorhies is a curator and art historian of modern and contemporary art, as well as Dean of Fine Arts and Associate Professor at California College of the Arts in San Francisco.
Bureau for Open Culture is a curatorial practice that inhabits and connects with institutions, designers and publishers to realise projects with artists and writers. The projects forge intersections among art, design, education, and consumer culture to rethink how institutions address and engage spectators.
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Beyond Objecthood: The Exhibition as a Critical Form since 1968
In 1976, Bas Jan Ader’s boat, the Ocean Wave, was found unmanned and partially submerged 150 miles off the coast of Ireland by a Spanish fishing vessel. The Dutch artist’s boat was taken to La Coruña for investigation. Days later, the boat was stolen and the cult of Ader, whose body was never recovered, was truly cemented. In this volume, artists Marion van Wijk and Koos Dalstra, compile ten years of research into this unsolved mystery. The Spanish police report documenting the theft is reproduced in facsimile alongside a translation into English, many pages of additional documentation, and the transcriptions of interviews produced during the editors’ investigations.
The report itself begins on April 27, 1976 and ends on February 1, 1977 and documents history of the Ocean Wave from the discovery of the vessel to the closure of the case. This book is an expanded version of the earlier edition by Veenman Publishers. It includes interviews with Mary Sue Anderson, Don Couto, Charles Esche, and Luis Ramos.
Edited by Marion van Wijk and Koos Dalstra
First Edition (2017)
€45.00
Mousse Issue #59 – Summer 2017
Featuring: Rahel Aima, Basma Alsharif, Robert Barry, Andrew Berardini, Yann Chateigné Tytelman, Nick Currie, Aria Dean, Kevin Jerome Everson, Fredi Fischli and Niels Olsen, Orit Gat, Jarrett Gregory, Trix and Robert Haussmann, Jens Hoffmann, Adam Jasper, Stefan Kalmár, John Knight, Erkki Kurenniemi, Duane Linklater, Chus Martínez, Robertas Narkus, Kathy Noble, Hans Ulrich Obrist, Andréa Picard, Ana Teixeira Pinto, Seth Price, Johannes Raether, Kitty Scott, Leilah Weinraub, Julia Weist, Elvia Wilk, Lantian Xie, Yan Xing.
€10.00
Art Against Art – Issue #4
The art market is being kept alive with constant stimulus in the form of Venice-Basel-Kassel-Athens-Frieze-TEFAF. As the series of electric shocks continue, the art market is still in a period of reconfiguration trying to find longevity in the new. Whereas the art fair format inherently lacks culture – merely being a market place/forum for where exchange takes place – the biennial format has become too broad to create lasting cultural meaning; therefore the art market must look elsewhere for metrics of value. But if it only finds mirrors of its own logic (the free market itself), it will do nothing more than to accelerate the process upon which it has been organizing itself.
Definitions of culture have traditionally meant that the market can reflect on them too to prevent it from being flippant and volatile. The free market functions anchorless and incomprehensible without definitions – landmines of bubbles created without any meta signifier or even private collections and museums springing up that hang on the whim of the collector/personality/entrepreneur rather than frames of reference that create wider cultural value.
Contributors: Iain Robertson, Andrew Rankin, Antek Walczak, Samuel Veissière, Marina Pinsky, Taslima Ahmed, Klaus Theweleit, Jeff Berwick, Guan Xiao.
€9.00