Il volume contiene tre serie di disegni a partire dalle illustrazioni per l'”Histoire de l’oeil” di Bataille per continuare con il manoscritto del “Viaggio in Grecia”, fitto di notazioni, particolari, schizzi, iniziato nel 1962, e infine i disegni per la “Hilarotragoedia” di Manganelli realizzati nel 1964 a documentare un’amicizia e una predilezione letteraria.

The 50th anniversary edition of MoMA’s trendsetting book on conceptual art In the summer of 1970, the Museum of Modern Art in New York mounted the now legendary exhibition Information, one of the first surveys of conceptual art. Conceived by MoMA’s celebrated curator Kynaston McShine as an “international report” on contemporary trends, the show and attendant catalog together assembled the work of more than 150 artists from 15 countries to explore the parameters and possibilities of the emerging art practices of the era. Noting the participating artists’ attunement to the “mobility and change that pervades their time,” McShine underscored their interest in “ways of rapidly exchanging ideas, rather than embalming the idea in an ‘object.’” Indeed, much of the work in the exhibition engaged mass-communications systems, such as broadcast television and the postal service, and addressed viewers directly, often encouraging their participation in return. The catalog, rather than merely document the show, functioned autonomously: it included a list of recommended reading, a chance-based index by critic Lucy Lippard, and individual artist contributions in the form of photographic documentation, textual description, drawings and diagrams―some relating to work in the exhibition and others to artworks as yet unrealized. This facsimile edition of the original Information catalog, which has long been out of print, invites reengagement with MoMA’s landmark exhibition while illuminating the early history of conceptual art.

Pan Am: History, Design & Identityis an inspired tribute to one of the most influential companies of the 20th century and a superbly told cultural history of American modernism. It is the captivating story of an airline company that refused to consider anything impossible and single-handedly revolutionized air travel. From modest beginnings in the late 1920’s, Pan Am developed into the world’s best known airline with astonishing speed. Its rapid rise was accompanied by highly effective publicity campaigns which featured some of the best design and advertising in the industry. Pan Am plays a significant role in American popular culture and many of its iconic designs have remained in our collective memory down to the present day. The book takes the reader on a journey into the daring world of early air travel, follows the first crossings of the Atlantic and Pacific oceans, investigates commercial aviation during World War II, and gives a feeling of the thrill of the jet age when a plane ticket started to become more affordable for the general public and mass tourism took off. A spellbinding visual storyline featuring more than 900 photos and illustrations supplements the meticulously researched text, allowing readers to retrace for themselves Pan Am’s resourceful marketing and design initiatives. No expense has been spared to reproduce this critical part of American cultural history: Many museums and private collectors cooperated and Callisto’s production manager supervised the digitalization and recorded the properties of much of the original commercial art reproduced in this book, taking note of any special colors or other significant characteristics. To enable the reader to enjoy them with the same intensity Pan Am’s customers did many years ago, the Collector’s Limited Edition features additional varnishes and Pantone colors to simulate originals as closely as feasible. The result is a book that presents all commercial art with unparalleled accuracy and vivacity.

“For us,” said Soviet leader Nikita Khrushchev in his memoirs, “there was something supernatural about the Metro.” Visiting any of the dozen or so Metro networks built across the Soviet Union between the 1930s and 1980s, it is easy to see why. Rather than the straightforward systems of London, Paris or New York, these networks were used as a propaganda artwork―a fusion of sculpture, architecture and art that combined Byzantine, medieval, baroque and constructivist ideas and infused them with the notion that communism would mean a “communal luxury” for all. Today these astonishing spaces remain the closest realization of a Soviet utopia. Following his bestselling quest for Soviet Bus Stops, Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, Soviet Metro Stations documents this wealth of diverse architecture. Along the way Herwig captures the elements that make up this singular Soviet experience: neon, concrete, escalators, signage, mosaics and relief sculptures all combine to build a vivid map of the Soviet Metro. Soviet Metro Stations includes an essay by the leading architectural and political writer Owen Hatherley, author of the acclaimed books Landscapes of Communism (2015), Trans-Europe Express (2018) and The Adventures of Owen Hatherley in the Post-Soviet Space.

“Early Works” presents Chinese photographer Han Lei’s black and white photography from the 1980s and ‘90s. Han Lei began taking documentary-style photographs in the 80s, focusing on everyday life and street scenes in and around his hometown of Kaifeng. The photographs in the photobook astonish in several ways. First, there’s Han Lei’s mastery as a photographer: his work preserves a bygone China, and it does so with such clarity and simplicity that they elicit a strange sense of nostalgia. Further, Han Lei possesses a gift for the “decisive moment,” for framing single shots that manage to reveal a larger truth or tell fragments of a greater story. Han Lei’s photographs capture China in a period of change: “The figures, faces, and environments he photographed indicate the cracks in collectivism. People had lost traditional cultural roots, but they were also full of longing for, confusion about, and misunderstandings of modernity; a stifling blindness that had persisted unchanged for several thousand years and Han’s dynamic capturing of this blindness seemed to prefigure the massive price that would later be paid for urbanization and commercialization: the deformed tackiness that dominates the entire face of reality.” (from Zhu Zhu’s foreword)

The advent of the Kodak camera in 1888 made photography accessible to amateurs as well as to professionals. Artists were not immune to its allure, and many began experimenting with the camera as a means of observing the world and capturing their own images of it. Snapshot investigates seven Post-Impressionist painters and printmakers: Pierre Bonnard, George Hendrik Breitner, Maurice Denis, Henri Evenepoel, Henri Rivière, Félix Vallotton, and Edouard Vuillard. Although celebrated for their works on canvas and paper, these artists also made many personal and informal snapshots. Depicting interiors, city streets, nudes, and portraits, these photographs were kept private and never exhibited. As a result, most have never been seen by the public.

Juxtaposing personal photographs with related paintings and prints by these Post-Impressionist artists, Snapshot offers a new perspective on early photography and on the synthesis of painting, printmaking, and photography at the end of the 19th century.

Having wandered the ruins of Hiroshima, Tokyo and other Japanese cities after WW II, The Metabolists – four architects, a critic, an industrial designer and a graphic designer – showed with the launch of their manifesto Metabolism 1960 how they would employ biological systems (aided by Japan?s massive advances in technology) as inspiration for buildings and cities that could change and adapt to the vicissitudes of modern life. Units could be added or removed from buildings like Kisho Kurokawa’s Capsule Tower in Tokyo as required; buildings themselves could be added or removed from cities at will in the cell-like master-plans of Fumihiko Maki. Project Japan features a series of vivid, empathetic conversations, replete with surprising connections and occasional clashes between Koolhaas and Obrist and their subjects. The story that unfolds is illuminated, contradicted and validated by commentaries from a broad range their forebearers, associates, critics, and progeny, including Toyo Ito and Charles Jencks. Interspersed with the interviews and commentary are hundreds of never-before-seen images: master-plans from Manchuria to Tokyo, intimate snapshots of the Metabolists at work and play, architectural models, magazine excerpts and astonishing sci-fi urban visions. Presented in a clear chronology from the tabula rasa of a colonized Manchuria in the 1930s; a devastated Japan after the war; to the establishment of Metabolism at the 1960 World Design Conference; to the rise of Kisho Kurokawa as the first celebrity architect; to the apotheosis of the movement at Expo ?70 in Osaka. Koolhaas and Obrist unearth a history that casts new light on the key issues that both enervate and motivate architecture today: celebrity and seriousness, sustainability and monumentality, globalization, government participation (and abdication), and the necessity for architecture to reach beyond its traditional boundaries in order to embrace the future. Extensive interviews with Arata Isozaki, Toshiko Kato, Kiyonori Kikutake, Noboru Kawazoe, Fumihiko Maki, Kisho Kurokawa, Kenji Ekuan, Atsushi Shimokobe, and Takako and Noritaka Tange

The extraordinarily diverse work of the American photographer Mark Morrisroe has until now mostly been exhibited and discussed in connection with his famous Boston colleagues Nan Goldin and David Armstrong. Like them, Morrisroe documented his circle of friends, whose lifestyles were inspired by punk and bohemia. He finished his studies at the School of the Museum of Fine Arts in Boston in 1982, a few years later than Goldin and Armstrong. He moved to New York in the middle of the 1980s, and died of AIDS-related illnesses in 1989 when he was only 30. Mark Morrisroe’s short period of creativity in the 1980s was astonishingly productive and stands out because of its individual aesthetic. He captured his friends in painterly portraits and nude photographs; the Polaroid camera became a mirror of his own body, reflecting its illness and decay. During the three years leading up to his death he transferred his photographic experiments more and more to the darkroom, where he used pages from porn magazines and X-ray images of himself as negatives. This first comprehensive monograph, realized on occasion of an exhibition at the Fotomuseum Winterthur and in collaboration with The Estate of Mark Morrisroe (Ringier Collection), shows many unknown works: from the tumultuous punk beginnings to the sandwich prints produced through extensive laboratory work, the graininess and muted colors of which are reminiscent of Pictorialism. The book is illustrated with more than 500 images, and accompanied by newly commissioned essays and a complete biography.

Few stories in the history of photography are as astonishing and as compelling as that of the octogenarian Czech photographer Miroslav Tichý. With crude homemade cameras fashioned out of cardboard and duct tape, Tichý took several thousand pictures of the women of his Moravian hometown of Kyjov throughout the 1960s and ’70s. These pictures of women going about their daily business are at once banal and extraordinary, transforming the ordinary moments of work and leisure into small epiphanies. Blurred and off-kilter, his photographs have a striking contemporaneity, resembling the early paintings of Gerhard Richter or the photographs of Sigmar Polke. Printed imperfectly and deliberately battered, they evince a surprising retrograde or even antimodernist feeling, which, in the context of the Cold War atmosphere of provincial Czechoslovakia, just before and after the liberalizing moment of the Prague Spring (1968), undoubtedly constituted a kind of oblique political provocation, a nose-thumbing response to the progressive realist perfectionism of official Soviet culture. The catalogue Miroslav Tichý accompanies an exhibition of the same title at the International Center of Photography organized by Chief Curator Brian Wallis. Critical evaluations by Brian Wallis, Roman Buxbaum, Carolyn Christov-Bakargiev, and Richard Prince introduce more than 250 plates and illustrations.

James Turrell works with phenomena of light like no other artist. Since the 1960s he has been building astonishing spaces that allow light to be experienced both in its material and its spiritual qualities. In recent years Turrell has developed an increasing interest in the staging of architecture through the use of light. He has realized several landmark works with this in mind–his light installation for the opening of the Kunsthaus Bregenz, his light design for an administrative building in Leipzig, and the light events on the Pont du Gard, a Roman bridge in Southern France. James Turrell: Lighting a Planet documents his all-inclusive staging of Planet m, including numerous photographs, sketches, interviews, comparative illustrations and an enlightening essay. Planet m is the Bertelsmann pavilion, the secret landmark of the EXPO 2000 at Hanover, which takes on a nocturnal second life through Turrell’s ever-shifting atmospheres of light.

Mark Cohen first came to the attention of the photography world in 1973 with a solo exhibition at the Museum of Modern Art, New York. This iconic show proved to the art world that Cohen was the heir apparent to the explosive street photography of the 60s. Now, after more than thirty years, Cohen’s complex and influential body of work is presented for the first time in Grim Street, an astonishing collection of Americana as original and effective as the work of Robert Frank, Garry Winogrand, or Weegee.

Cohen’s photography confronts the viewer with a startling beauty, rapidly shifting from rough and confrontational to quiet, respectful, and serene. In Grim Street, filled with what Cohen calls “grab shots,” you can easily imagine the photographer guilefully patrolling the streets of Wilkes-Barre, the Pennsylvania mine-town he calls home. His camera, often prefocused and shot from the hip, scrolls around its subjects searching for tidbits of delectable detail. Then suddenly thrusting out towards its subjects, a strobe bursts, capturing a violently cropped spot of stockinged legs creeping around a corner, or a woman’s bared teeth and stretched lips. In these images emerges a cluttered world of visceral, sexualized encounters with the human body.

The photographs are equally fascinating for the inconsistent reaction of their subjects. In one shot, a group of young girls hide their faces with their coats and cower against a brick wall, desperately searching for any protection from Cohen’s camera. Another shot brandishes a dapper young man, hair greased and comb quickly pulled out for the glamour shot. But just when you think that you can’t see the photographs for all the noise, Cohen’s camera stands back in meditation, displaying sensitive compositions of the gardens of Wilkes-Barre and the small town’s residents engaging in their daily comforts. One of the more complex bodies of street photography around, Cohen’s work will open your eyes as wide as they can go and keep you flipping the pages for years to come.

“Cohen’s black-and-white photos…are deliberately disconcerting, almost vulgar….Heads are cropped out of the frame; truncated hands, legs, and arms loom monstrously into view; perspective warps. Cohen wasn’t alone in his harsh, comic view of down-home America, but his in-your-face take and fragmentary results were jarringly unique, and much imitated.” —Vince Aletti, The Village Voice

With Hidden Noise looks at sculpture and video art in terms of ventriloquism and its animating metaphors by presenting a selection of objects, sculptures and videos that are both evocative and illustrative of voice and voice throwing. The accompanying catalogue examines the one-to-one relationship between object and operator, sculpture and maker, and challenges the commonly held assumption that sculpture is strictly silent art. It looks at the different ways that sculptors have expressed themselves and their ideas through objects and, in turn, at how sculptures have been made to ‘speak’. Includes works by Marcel Duchamp, Asta Gröting, Lucy Gunning, Robert Morris, Juan Muòoz, Tony Oursler, Nam June Paik, Imogen Stidworthy, and Bill Woodrow. With texts by Stephen Feeke and Jon Wood, and catalogue entries by Liz Aston, Penelope Curtis, Stephen Feeke, Aura Satz and Jon Wood.

Imagine a world without things. There would be nothing to describe, explain, remark on, interpret, or complain about. Without things, we would, in short, stop speaking; we would become as mute as objects are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. Things That Talk aims to escape the opposition between positivist facts and cultural readings that bifurcates the current historiography of both art and science. Confronting this impasse from an interdisciplinary perspective, each author singles out one object for close attention: a Bosch drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each object is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine evocative objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At such junctures, certain things become objects of fascination, association, and endless consideration. Things That Talk fleetingly realizes the dream of a perfect language, in which words and world merge. Essays by Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise.

In an urban zone crisscrossed by multilane freeways and gridded with broad boulevards, the roadside billboards of Los Angeles may well be the city’s most visible platform for art. How Many Billboards? documents a 2010 project in which billboards in Los Angeles were turned over to 23 artists to do with as they wished, asserting the ongoing legacy of California Conceptualism and its combination of language-based strategies with Pop-inflected aesthetics. “Astonish!” declares Kenneth Anger’s billboard, in commanding upper-case orange lettering, recapitulating Diaghilev’s famous advice to Cocteau. “I Look Good, I Know,” says Yvonne Rainer’s billboard; “I Can’t Hear, I Can’t See, But I Look Good.” Martha Rosler’s collaboration with Josh Neufeld makes a plea for spending on higher education in California, and Renee Green’s image of a darkened shore with silhouetted figures gathered near a tourist ferry is accompanied by the two-line commentary “Strangers begin again/Native strangers hosting.” Other artists participating in this occasion are Michael Asher, Jennifer Bornstein, Eileen Cowin, Christina Fernandez, Ken Gonzales Day, Kira Lynn Harris, Larry Johnson, John Knight, David Lamelas, Brandon Lattu, Daniel Joseph Martinez, Kori Newkirk, Allen Ruppersberg, Allan Sekula, Susan Silton, Kerry Tribe, Jim Welling and Lauren Woods. Essays by Kimberli Meyer, Gloria Sutton and Nizan Shaked, who co-curated the project, contextualize the works in relation to Conceptual and Pop art idioms, provide background material on the artists and outline the MAK Center’s plans to enliven public space.