Zeitungsfotos / Newspaper Photographs. Thomas Ruff. Bookhorse.

Between 1981 and 1991 Thomas Ruff collected photographs from German newspapers and weeklies, amassing an archive of 2500 images. In 1990 and 1991 he selected 400 images from it, according to entirely subjective criteria, photographed them without captions, and had them reproduced as color prints in twice their original size.
For this book, Thomas Ruff re-photographed the templates of the Zeitungsfotos series so they could be reproduced in black-and-white on a colored background.

Designed by Lex Trüb

German / English
19.4 x 13.8 cm
800 pages

€33.00

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Desierto #3

28º Celsius is the temperature at which protection becomes superfluous. It is also the temperature at which swimming pools are acclimatized. Within the limits of this hygrothermal comfort zone, we do not require the intervention of our body’s thermoregulatory mechanisms nor that of any external artificial thermal controls in order to feel pleasantly comfortable while carrying out a sedentary activity without clothing. 28º Celsius is thus the temperature at which clothing can disappear, just as architecture could.

Dark Portraits. Dino Ignani. Rome 1982-1985.

Dark Portraits Rome 1982-1985 is the first book by Roman photographer Dino Ignani. The book is a selection from the artist’s archive: shots of the youth that lit up the Roman night life in the early ’80s and, in particular, the venues and events related to the so-called dark universe. The dark community encompassed the various musical tendencies and the fashion of those years: from post-punk to new romantic to gothic. These photos were shot in video-bars, discos and other places where dark events took place at the time (Olimpo, Supersonic, Angelo Azzurro, Blue Bar, C-Club, Venice, Black Out, Uonna Club, Piper, Cinema Espero) and where Ignani would invite the habitués to pose for their portraits.
With an essay by Roberto D’Agostino.

€25.00

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We cordially invite you to the presentation of Kasia Fudakowski’s vinyl

‘Stoikerinnen’

→ Thursday 28th August 2014, starts at 7pm

hosted by Chert gallery and Motto Bookshop, Skalitzerstr. 68
organised together with Kunstverein Harburger Bahnhof, Hamburg and Apparent Extent, Cologne.

Live performance by Kasia Fudakowski and Dorothy Feaver, 8pm sharp.

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This record is part of the exhibition ‘Stoikerinnen\’ by Kasia Fudakowski, June 14 – September 19, 2014 at Kunstverein Harburger Bahnhof, Hamburg, curated by Anna Sabrina Schmid.

Music sampled with kind permission from ‘Don’t Split Valley and Hill’ by Tobias Levin and Volker Zander. Recorded at Electric Avenue Studio, Westwerk e. V., Hamburg, 2014. Published by Apparent Extent and Kunstverein Harburger Bahnhof. All rights reserved.

Featuring Alexander Brenchley, Dorothy Feaver, Christopher Fillipini, Kasia Fudakowski, Sam de Groot, Paul Haworth, William Kherbek, Helen Marten, Ayumi Rahn, Anna Sabrina Schmid and Anna Szaflarski.

ARC #18. Royal College of Art.

This Issue of Arc, The royal college of art’s student-led Magazine, carries an accent.
It is about personnal voice and how things are spoken both and off the page.
The Magazine have Been edited, designed and filled by current student by across the college, with special commissions by artist and writers who have, in some ways, inflected those studying by way of saying or seeing.

€8.50

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Ark : Words and Images from the Royal College of Art Magazine 1950-1978

Ark : Words and Images from the Royal College of Art Magazine 1950-1978 is an Anthology of the magazine Ark. It Includes original materials from Ark magazine selected and introduced by students on the critical and writing about art and design MA programme at the RCA today. Also featured in full colours, alle the Ark Magazine’s cover and index of their’s contents.

€20.00

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The visual Event : An Education In Appearance. Oliver Klimpel (ed.). SPECTOR BOOKS.

Is it possible to understand graphic design as a practice beyond an object-centric approach, as a practice beyond the conception and production of well-designed and printed artefacts? Which other potentials to create a public should be considered integral to design as an activity? “The Visual Event” explores the question of how such an extended practice could be thought, which graphic, spatial and temporal forms such a situational practice could take, and tests the idea of the “visual event” from various perspectives of visual culture. The project compiles numerous contributions by artists, academics, designers, architects, and students of the System-Design Class at the Academy of Visual Arts Leipzig.

€22.00

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VELE.Tobias Zielony. Spector Books.

“Le Vele di Scampia” is a futuristic housing estate in northern Naples and a Camorra battlefield. Conceived by Francesco di Salvo in the late seventies and widely recognised for their urbanistic, “Le Vele” (The Sails) were squatted by mafia families even before completion. Today the building complex is a symbol of the Camorra’s power in the Naples region and a key centre of European drug trafficking. Matteo Garrone shot his movie “Gomorra” based on the Novel by Roberto Saviano on the site in 2008. Tobias Zielony’s film “Le Vele di Scampia” from 2009 originates in this very place. Seven thousand single images, shot at night with a digital single-lens reflex camera, are used to create nine minutes of animation film. The book “Vele” is based on this animation film with an selection of 287 single images.

€40.00

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Mirrors And Others. A. Schulze. Spector Books.

In 2011, Andreas Schulze lived in Paris thanks to a research grant. At some point, he visited the Louvre, let himself be swept up by the stream of tourists, looked at pictures, met an old friend and started to photograph his series “Louvre”. A reflection on the nature of image production in front of images, whose significance is granted by virtue of the famous exhibition location. In “Text” he writes about the feeling of stumbling around between images of torture, tenderness and all the humorous pic- tures in between. In the chapter “Image” he takes over the stage direction: He de-contextualizes media images in order to pair them in new groups of two. He develops his own grammar promoting patterns and forms from one page to the next. A visual narrative flow emerges with unexpected turns that reformulates the question of the origin of images.

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Andreas Schulze hielt sich 2011 mit einem Stipendium in Paris auf. Irgendwann besuchte er den Louvre, ließ sich vom Strom der Touristen mitreißen, schaute sich Bilder an, traf einen alten Freund und begann seine Serie „Louvre“ zu fotografieren. Eine Reflexion zum Bildermachen vor Bildern, deren Bedeutung durch den berühmten Ausstellungsort verbürgt ist. In „Text“ schreibt er, wie es sich anfühlt, zwischen Folterbildern, Zärtlichkeitsbildern und all den dazwischenliegenden Witzbildern herumzustolpern. Im Kapitel „Image“ übernimmt er die Regie: Er dekontextualisiert Medienbilder, um sie zu Bildpaaren zu sortieren. Er entwickelt eine eigene Grammatik, die Muster und Formen von einer Seite zur nächsten vorantreibt. Es entsteht ein visueller Erzählfluss mit unerwarteten Wendungen, der die Frage nach der Herkunft der Bilder neu stellt.

152 pp. German/English
Gestaltung: Anna Lena von Helldorff
Leipzig 2014
ISBN: 978-3-944669-39-7

€26.00

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Kader Attia: Transformations. Ellen Blumenstein (Ed.). Spector Books.

The manifold entanglements of African and Western culture are a central motif in the oeuvre of the Algerian-French artist Kader Attia. The influence of traditional African architecture on European modernism forms the background for his voluminous spatial installations, videos and photographs, as much as the re-appropriation of North and South American black music within African Jazz and Pop of the 1960s up to the 1980s. His work manifests the productivity of dissonance: Where African masks, stuffed animals, scientific instruments, and historical artifacts seemingly have nothing in common, the artist unearths connections between Europe’s handling of its own colonial history, current migration politics, and the urbanistic realities of its metropolises of today. Based on Kader Attia’s solo show “Repair. 5 Acts” at the KW Institute for Contemporary Art, Berlin, this publication focuses on works from the years 2008–2013 and places them in a broader art historical concept.

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Die vielfältigen Verschränkungen afrikanischer und westlicher Kultur sind ein zentrales Motiv im Oeuvre des algerisch- französischen Künstlers Kader Attia: der Einfluss traditioneller afrikanischer Architektur auf die europäische Moderne bilden ebenso den Hintergrund für seine raumgreifenden Installationen, Videos und Fotografien, wie die Wiederaneignung nord-, bzw. südamerikanischer schwarzer Musik im afrikanischen Jazz und Pop der 1960er bis 80er Jahre. In seinem Werk zeigt sich die Produktivität der Dissonanz: wo afrikanische Masken, ausgestopfte Tiere, naturwissenschaftliche Instrumente, historische Artefakte scheinbar nichts miteinander zu tun haben, stellt der Künstler Verbindungen zwischen dem europäischen Umgang mit der eigenen Kolonialgeschichte, der aktuellen Migrationspolitik und städtebauliche Realitäten in den Metrololen von heute her. Ausgehend von Kader Attias Einzel- ausstellung „Reparatur. 5 Akte“ in den KW Institute for Contemporary Art fokussiert diese Publikation auf Werke aus den Jahren 2008 – 2013 und stellt sie in einen breiteren kunsthistorischen Kontext.

224 pp. German/English
Design / Gestaltung: Studio Quentin Walesch
Herausgeber: Ellen Blumenstein, KW Institute for Contemporary Art
Leipzig 2014
ISBN: 978-3-944669-23-6

€34.00

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