Dogs Devouring Dead Horses

This volume, Dogs Devouring Dead Horses, stems from a collaboration between the artist Runa Islam and the designer Manuel Raeder against the backdrop of the exhibition she held at the Museum of Modern Art in New York (Projects 95: Runa Islam, 27 May 19 September 2011). This collaboration attempts to give another form to the works after the event of the exhibtion has passed. The artist provided Raeder with stills from the four films on show: Emergence (2011), This Much Is Uncertain (2009 2010), Magical Consciousness (2010) and The House Belongs to Those Who Inhabit It. (2008). According to the exhibition s curator, Christian Rattemeyer, these four films can be interpreted as a transition from a concern for the linguistic nature of film to one primarily focused on issues of reflection and projection . Raeder gave back to Islam a sculpture in print that does not just document the exhibition and offer a view of the three newer works on display, but draws upon the concepts underpinning the exhibition and the work of the filmmaker.

Text: Rattemeyer Christian, Farronato Milovan et al. pp. 140; paperback. Publisher: Bom Dia Boa Tarde Boa Noite, Berlin, 2013.

ISBN: 9783943514063| 3943514064

 34,00

ID: 18381

Product Description

This volume, Dogs Devouring Dead Horses, stems from a collaboration between the artist Runa Islam and the designer Manuel Raeder against the backdrop of the exhibition she held at the Museum of Modern Art in New York (Projects 95: Runa Islam, 27 May 19 September 2011). This collaboration attempts to give another form to the works after the event of the exhibtion has passed. The artist provided Raeder with stills from the four films on show: Emergence (2011), This Much Is Uncertain (2009 2010), Magical Consciousness (2010) and The House Belongs to Those Who Inhabit It. (2008). According to the exhibition s curator, Christian Rattemeyer, these four films can be interpreted as a transition from a concern for the linguistic nature of film to one primarily focused on issues of reflection and projection . Raeder gave back to Islam a sculpture in print that does not just document the exhibition and offer a view of the three newer works on display, but draws upon the concepts underpinning the exhibition and the work of the filmmaker.