In his wonderfully ambiguous One Minute Sculptures, which are only humorous at first glance, the Vienna-based conceptualist, Erwin Wurm, takes a literal approach to sculpture while also taking the medium apart: anyone can be a piece of art for a minute by following his instructions. The non-human works by which he is best known, the overinflated and floppy Fat Car and Fat House, are likewise spirited, thoughtful critiques, in this case of consumer culture. Their strained poses, like those of his One Minute participants, raise immediate, simple questions concerning normality and the meaning or lack of it in both artistic conventions and human actions. Wurm’s profoundly humane work is an eye-opener to social forces, and always playful. Those who know it look forward to each new piece. This informative monograph assembles many previously unpublished videos, sculptures, installations and performances.
L’art peut-il se passer de formes jusqu”à devenir invisible ? L’art peut-il être – et jusqu”à quel point ? – imperceptible ? Cet ouvrage propose une série de réponses à ces questions qui hantent l’histoire de l”art depuis ses origines et sont particulièrement prégnantes au XXe siècle comme dans la production la plus récente. Le terme inframince inventé par Marcel Duchamp, jusqu’à présent très peu étudié par l”historiographie, cristallise ces interrogations et les opérations plastiques qui leurs sont liées. Il sert ici de point d”ancrage à une analyse au cas par cas d”oeuvres particulièrement exemplaires du devenir imperceptible de la plasticité. Ce livre, qui puise dans de nombreux exemples modernes et contemporains la matière de ses analyses (Piero Manzoni, Robert Barry, Ian Wilson, Max Neuhaus, Jiri Kovanda, Roman Ondâk…), est cependant tout sauf encyclopédique : il propose une étude des singularités formelles et des disruptions qu’elles produisent sans souci d’exhaustivité. Comment l’oeuvre peut-elle être là sans insister sur sa présence ? Comment la disparition peut-elle devenir l”autre nom de la manifestation ? Autant d’interrogations auxquelles ces pages donnent une résonance théorique et historique. De l’inframince donc ou comment construire des intensités par soustraction.
Can you recall what you were doing on April 3, 1990? What about on July 17, 1996? October 23, 1998? In Date Paintings, time itself has become art–art that carries viewers back in time. These black and white paintings are pure realism, the existence of time put in painting, thus rendering the works–up to a certain point–both viewable and readable. The 11 paintings, made by Conceptual artist On Kawara over the course of a decade, allow viewers to complete their reading with personal associations, historical events or academic interpretations. The book, conceived with Kawara himself, is a decidedly different and intimate take on an artist’s monograph. In it, Kawara has invented a simple and striking way to make art by taking his time and using the calendar to make a kind of non-individual art work.
A new publication spotlights Gordon Matta-Clark’s only extant architectural piece
In 1972, Gordon Matta-Clark (1943–78) installed a dumpster on the street between 98 and 112 Greene Street in New York’s SoHo neighborhood, an architectural artwork he called Open House. Matta-Clark used discarded, scavenged materials old pieces of wood, doors to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and artists moved around the space, their pedestrian movements activating the sculpture and captured in a Super-8 film of the piece.
Matta-Clark is best known for his building cuts and architectural interventions. Because of the nature of this work and its context sited in spaces abandoned or slated for demolition Matta-Clark’s “anarchitecture” was almost necessarily ephemeral, surviving as only documentation and sculptural sections. Open House (1972) is the only still-extant architectural piece by Matta-Clark.
Gordon Matta-Clark: Open House is the first publication to focus on this crucial piece by the artist, using it as a way into his complex body of work. Featuring contributions from Sophie Costes, Thierry Davila and Lydia Yee, this volume takes a historical and theoretical approach to Open House and Matta-Clark’s entire oeuvre.
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