‘Dreaming Awake’ is part of a series of exhibitions at Marres, Maastricht, in which the building is used to show an all-encompassing single work of art. The project was developed by Brazilian curator Luiza Mello and Marres director Valentijn Byvanck, in collaboration with artists Dominique Gonzalez-Foerster, Daniel Steegmann Mangrané, and Luiz Zerbini. The exhibition presents a tropical rainforest peeled back in layers, opening up the connection between the sensory world and the dream – the experience of touch and the hypnotic pressure of an immersive environment. Through texts, interviews, and images, we are encouraged to sense these deeper layers of nature.

A lavishly illustrated book on the acclaimed visual artist, videographer, and filmmaker Dominique Gonzalez-Foerster, whose exceptionally diverse body of work explores her haunting visions of the past, present, and future. Dominique Gonzalez-Foerster calls herself “a prisoner of literature.” Through her work in spatial installations, video projection, and “apparitions” (performances), she has indeed told remarkable stories using unique and incredibly diverse methods. This book features a new work by the artist–a labyrinth of staged rooms constructed to send viewers on a visceral journey through time and through cinematography, literature, and science. Like much of her work, this piece draws on the artist’s own life. The book also offers an overview of Gonzalez-Foerster’s astonishing career: from her massive exhibit at the Tate Modern’s Turbine Hall, in which she installed replicas of iconic sculptural works, bunk beds, and a science fiction film, to the book-populated habitats she constructed at the Hispanic Society of America. Perceptive essays by leading art critics discuss Gonzalez-Foerster’s use of cinema, literature, architecture, and music as a means of self-exploration and expression. The result is a magnificent and deeply personal overview of an artist grappling with time, literature, narrative, and identity.

Chronotopes & Dioramas explores key themes developed in Dominique Gonzalez-Foerster’s site-specific 2009-2010 installation at Dia at the Hispanic Society of America. For this project, Gonzalez-Foerster took as her point of departure the Society’s renowned research library, expanding and updating the historic collection with twentieth-century literature by nearly 40 different authors. The artist installed these books in a trio of dioramas, organizing them by place of origin in one of three regions: the desert, the tropics and the North Atlantic. This companion volume to the installation includes new writing by Gonzalez-Foerster’s past collaborator, the celbrated Spanish novelist Enrique Vila-Matas.

Première monographie consacrée à l’artiste Dominique Gonzalez-Foerster, Expodrome s’articule autour de l’exposition éponyme qui lui est consacrée à l’ARC / Musée d’Art moderne de la Ville de Paris. On y retrouve «l’équipe d’exposition» que l’artiste a montée, au fil des rencontres et des collaborations amorcées depuis l’an 2000. Dominique Gonzalez-Foester a constitué une équipe d’exposition avec divers intervenants, à l’image d’une équipe de tournage ; ainsi accompagnée, elle explore des situations de présentation inédites, impliquant à la fois architecture, cinéma, littérature, mode, musique. Ce mixage de discipline interroge la notion d’œuvre, rejouant ainsi les conditions classiques de l’exposition. Expodrome est conçu à partir de l’espace même de l’Arc, de sa lumière, de son échelle, du temps de déplacement du visiteur. Telle une plateforme, l’espace invite le visiteur à une expérience ouverte et inédite, un «voyage narratif» alternant contemplation, lecture, promenade et cinéma. Le catalogue réunit des contributions de Jean-Max Colard, Francesca Grassi, Hans Ulrich Obrist et Nicolas Ghesquière, Lisette Lagnado, Ange Leccia, Philippe Rahm et Angeline Scherf. Conçu à l’image de l’exposition, il se compose d’entités autonomes qui proposent à travers différents champs, littérature, mode, architecture, des éclairages singuliers sur l’œuvre de l’artiste.

TH.2058 is the ninth commission in Tate’s Unilever Series for which an artist is invited to transform the space of the Turbine Hall at Tate Modern. In this, Gonzalez-Foerster’s first ever commission in the UK, the Turbine Hall is transported to the year 2058. Incessant rain is plaguing London, changing its landscape and forcing its inhabitants to seek shelter within Tate Modern, amongst monumentally large sculptures swollen by the rainfall, fragmentary film projections and books, rescued from the rain. Without knowing Gonzalaz-Foerster’s dramatic plans for the space, some of the world’s leading science-fiction writers, critics and cultural commentators have been asked to imagine what the Turbine Hall might be like in 2058, and their responses combine with photographs of the work and an interview with the artist to create another, metaphorical world within the book. Contributors include: Catherine Dufour; Luc Lagier; Lisette Lagnado; Jessica Morgan; Jeff Noon; Philippe Parreno; and Enrique Vila-Matas.

The Japanese artist Miwa Yanagi achieved her breakthrough into the international art world with the photo series Elevator Girls, which intermingled the twin themes of consumer culture and the role of women. Originally begun as a performance project, Elevator Girls depicts groups of women in identical uniform enclosed in regimented consumer spaces. The Girls, modeled on the young women who operate elevators in Japanese department stores, stand in as a symbol of the repressive strictures governing the behavior of young women in contemporary Japanese society. Yanagi’s latest series, My Grandmothers, is a penetrating and fantastic analysis of the future dreams of young women. Using makeup and computer manipulation, she shows her protagonists as they imagine they will look and live in 50 years. Accompanied by brief, suggestive texts based on conversations with her subjects, these personal visions of life in the year 2050 run the gamut from a purple-haired grandma riding shotgun on her young stud’s motorcycle to a lonely elegant woman eating alone on a train. This first monograph on Miwa Yanagi includes work ranging from 1994 to three new images produced in early 2004.

Yukinori Maeda, Takashi Homma, Dominique Gonzalez-Foerster, Anne Daems, Susan Cianciolo, Els Beusen, Elein Fleiss, Yoshimi, Yayako Uchida, Takako Minekawa, Yurie Nagashima, Bless, Kazunari Hattori Here and There comes back, after two years of absence from the independent magazine scene, with Unexpected Travelling Issue, a sixth issue which counts already familiar but also new illustrious collaborations. In Nakako’s own words, the vision behind the Unexpected Travelling Issue was: “One day, someone told me her ideal garden is what looks like no one is taking care of, and have so many different pretty flowers in springtime. The other day my friend told me she has an ideal image of bringing up kids even though in reality she has to deal with daily life living in crowded Tokyo. I am into those stories, and new issue must be something related to this ‘ideal’ world. in each people’s minds. Maybe you can talk about ideal books making” With the sixth issue, Here and There consolidates its long-standing partnership with Nieves, which from now on will be publishing and distributing the magazine internationally. As Elein Fleiss once said, Here and There is the magazine of one person. The fact that Nakako’s name is credited as the author on the cover is not an egocentric statement but reveals the spirit in which she makes it. Some people make films, others write books or make artworks, and Nakako makes a magazine. It is her personal work and in that sense she makes it in her own way, unlike most magazines on the planet. It also means she is free from capitalistic rules, from imposed trends, from the industry of fashion. Instead, she is free to follow her desire and to link the magazine with her personal life.

Yukinori Maeda, Takashi Homma, Dominique Gonzalez-Foerster, Anne Daems, Susan Cianciolo, Els Beusen, Elein Fleiss, Yoshimi, Yayako Uchida, Takako Minekawa, Yurie Nagashima, Bless, Kazunari Hattori Here and There comes back, after two years of absence from the independent magazine scene, with Unexpected Travelling Issue, a sixth issue which counts already familiar but also new illustrious collaborations. In Nakako’s own words, the vision behind the Unexpected Travelling Issue was: “One day, someone told me her ideal garden is what looks like no one is taking care of, and have so many different pretty flowers in springtime. The other day my friend told me she has an ideal image of bringing up kids even though in reality she has to deal with daily life living in crowded Tokyo. I am into those stories, and new issue must be something related to this ‘ideal’ world. in each people’s minds. Maybe you can talk about ideal books making” With the sixth issue, Here and There consolidates its long-standing partnership with Nieves, which from now on will be publishing and distributing the magazine internationally. As Elein Fleiss once said, Here and There is the magazine of one person. The fact that Nakako’s name is credited as the author on the cover is not an egocentric statement but reveals the spirit in which she makes it. Some people make films, others write books or make artworks, and Nakako makes a magazine. It is her personal work and in that sense she makes it in her own way, unlike most magazines on the planet. It also means she is free from capitalistic rules, from imposed trends, from the industry of fashion. Instead, she is free to follow her desire and to link the magazine with her personal life.

E IL TOPO. Storia di una rivista d’artista con un’insolita strategia editoriale, è il doppio volume a cura di Gabriele di Matteo e Franco Silvestro, edito da a+mbookstore, realizzato e pubblicato grazie al sostegno della Direzione Generale per la Creatività Contemporanea del Ministero per i Beni e le Attività Culturali nell’ambito del programma dell’Italian Council (2022). Il progetto editoriale E IL TOPO, che ricostruisce l’evoluzione e gli esiti dell’omonima rivista d’artista pubblicata dal 1992 al 1996 e dal 2012 ad oggi, è composto da un cofanetto contenente due volumi, oltre a otto poster d’artista allegati. Il primo tomo è costituito dalla riproduzione “esatta e fedele” dei 33 numeri della rivista in stampa anastatica e misura originale; il secondo tomo ricostruisce, attraverso i contributi critici di Anna Cuomo, Françoise Lonardoni e Giorgio Verzotti, la matrice concettuale da cui ha origine questo singolare esempio di editoria indipendente di matrice collettiva.
Nel tempo hanno collaborato con la rivista artisti e autori differenti, tra i quali: Stefano Arienti, Massimo Bartolini, Vanessa Beecroft, IAIN BAXTER&, Maurizio Cattelan, Mark Dion, Jimmie Durham, Dominique Gonzalez-Foerster, John Lurie, Eva Marisaldi, Miltos Manetas, Amedeo Martegani, Cesare Viel, Luca Vitone e altri.

Catalogue for Biennale Architettura 2014. Swiss Pavilion. With the partecipation of Herzo& de Meuron, Lorenza Baroncelli, Liam Gillick, Dominique Gonzalez-Foerster, Dorothea von Hantelmann, Philippe Parreno, Tino Seghal, Atelier Bow-Wow, Stefano Boeri, Eleanor Bron, Elizabeth Diller, Olafur Eliasson, Dan Graham, Samantha Hardingham, Carsten Höller, Koo Jeong A, Asad Raza, Rikrit Tiravanija and Mirko Zardini

A highly provocative, mindbending, beautifully designed, and visionary look at the landscape of our rapidly evolving digital era. 50 years after Marshall McLuhan’s ground breaking book on the influence of technology on culture in “The Medium is the Massage,” Basar, Coupland and Obrist extend the analysis to today, touring the world that’s redefined by the Internet, decoding and explaining what they call the ‘extreme present’. THE AGE OF EARTHQUAKES is a quick-fire paperback, harnessing the images, language and perceptions of our unfurling digital lives. The authors offer five characteristics of the Extreme Present (see below); invent a glossary of new words to describe how we are truly feeling today; and ‘mindsource’ images and illustrations from over 30 contemporary artists. Wayne Daly’s striking graphic design imports the surreal, juxtaposed, mashed mannerisms of screen to page. It’s like a culturally prescient, all-knowing email to the reader: possibly the best email they will ever read. Welcome to THE AGE OF EARTHQUAKES, a paper portrait of Now, where the Internet hasn’t just changed the structure of our brains these past few years, it’s also changing the structure of the planet. This is a new history of the world that fits perfectly in your back pocket. 30+ artists contributions: With contributions from Farah Al Qasimi, Ed Atkins, Alessandro Bavo, Gabriele Basilico, Josh Bitelli, James Bridle, Cao Fei, Alex Mackin Dolan, Thomas Dozol, Constant Dullaart, Cecile B Evans, Rami Farook, Hans-Peter Feldmann, GCC, K-Hole, Liam Gillick, Dominique Gonzalez-Foerster, Eloise Hawser, Camille Henrot, Hu Fang, K-Hole, Koo Jeong-A, Katja Novitskova, Lara Ogel, Trevor Paglen, Yuri Patterson, Jon Rafman, Bunny Rogers, Bogosi Sekhukhuni, Taryn Simon, Hito Steyerl, Michael Stipe, Rosemarie Trockel, Amalia Ulman, David Weir, Trevor Yeung.

Amidst current global uncertainty failure has become a central subject of investigation in recent art. Artists have actively claimed the space of failure to propose a resistant view of the world. Here success is deemed overrated, doubt embraced, experimentation encouraged and risk considered a viable position. Between the poles of success and failure lies a productive space where paradox rules and dogma is refused. This anthology establishes failure as a core concern in contemporary cultural production. Artists surveyed include Bas Jan Ader, Francis Alys, John Baldessari, Chris Burden, Phil Collins, Martin Creed, David Critchley, Fischli & Weiss, Ceal Floyer, Isa Genzken, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Wade Guyton, International Necronautical Society, Ray Johnson, Mike Kelley, Martin Kippenberger, Michael Krebber, Bruce Nauman, Simon Patterson, Janette Parris, Yvonne Rainer, Robert Rauschenberg, Dieter Roth, Allen Ruppersberg, Roman Signer, Annika Strom, Paul Thek and William Wegman. Writers include Giorgio Agamben, Samuel Beckett, Daniel Birnbaum, Bazon Brock, Johanna Burton, Emma Cocker, Gilles Deleuze, Russell Ferguson, Ann Goldstein, Jorg Heiser, Jennifer Higgie, Richard Hylton, Jean-Yves Jouannais, Lisa Lee, Stuart Morgan, Hans-Joachim Muller, Karl Popper, Edgar Schmitz and Coosje van Bruggen.

The artist’s house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including Jorge Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art.

With contributions by Mark Borthwick, Camille Vivier, Torbjorn Rodland, Laetitia Benat, Jork Weismann, Johnny Gembitsky, Juergen Teller, Banu Cennetoglu, Jack Pierson, Bettina Komenda, Anders Edström, Giasco Bertoli Purple Look With contributions by Terry Richardson, Mauricio Guillen, Takashi Homma, Patterson Beckwith Purple Beauty With contributions by Alex Antitch, Sabine Schründer, Ange Leccia Purple Prose, “the food, drug and clothes issue” Purple Special by Dominique Gonzalez-Foerster Art Direction: Christophe Brunnquell

With contributions by Andreas Angelidakis, Annette Aurell, Vanessa Beecroft, Laetitia Benat, Dike Blair, Mark Borthwick, Banu Cennetoglu, Anders Edström, Maria Finn, Elein Fleiss, Dominique Gonzalez-Foerster, Miquel Gori, Mauricio Guillen, John Minh Guyen, Anne-Iris Guyonnet, Takashi Homma, Bernard Joisten, Olaf Klaasseni, Marcelo Krasilcic, Claude Lévêque, Miltos Manetas, Jack Pierson, Terry Richardson, Torbjorn Rodland, François Rotger, Collier Schorr, Laura Sciacovelli, Kenshu Shintsubo, Chikashi Suzuki, Ellen Treasure, Viktor & Rolf, Camille Vivier.

Piero Gilardi is a pioneer of Arte Povera and a proud advocate of an ecological-concerned undertaking in visual arts. He is a peripatetic artist who gathered information about experimental art and creators in the 1960s, promoting the work of Richard Long or Jan Dibbets, and introducing Bruce Nauman or Eva Hesse into Europe. He is also a political activist who marched with FIAT workers in the 1970s, and who founded, in the 2000s the Living Art Park, commissioning earthworks to contemporary artists such as Dominique Gonzalez-Foerster or Lara Almarcegui. For all this and for much more—his design and fashion creations, his social endeavors, etc.—Piero Gilardi is emblematic of the evolutions of art and society of the last five decades. He is an artist whose works and theoretical researches are still relevant to map what art could achieve and how art could be useful in the “real world.”

A l’image des artistes regroupÈs depuis 1997 dans la structure Anna Sanders qui assument les contraintes et les conventions du ´cinÈma d’auteurª, nous avons mobilisÈ dans ce dossier les outils de l’analyse de films en les confrontant aux dÈclarations d’intention des rÈalisateurs. Nous reproduisons dÈlibÈrÈment les a priori formels et mÈthodologiques associÈs aux Ètudes filmiques, tout en nous inscrivant dans une perspective auteuriste. Paradoxalement, nous allons ainsi ‡ l’encontre du caractËre industriel et collectif du cinÈma qui est la raison d’Ítre de la S‡rl Anna Sanders Films. Ce parti pris prÈsente l’avantage selon nous de se distinguer de la littÈrature secondaire consacrÈe ‡ leurs activitÈs d’artistes-cinÈastes. Cette derniËre est principalement constituÈe d’articles de revues d’art (Art Press, Parachute, Purple Prose), d’entretiens et de livres illustrÈs qui oscillent entre la rhÈtorique du manifeste et la forme du catalogue d’exposition. Il faut encore remarquer que ces ouvrages sont eux-mÍmes produits par des structures auxquelles Anna Sanders Films est Ètroitement associÈe, allant mÍme jusqu’‡ nommer une collection aux Presses du rÈel.
††† Cette structure de production de films est en dÈcalage par rapport au milieu de l’art contemporain, autour duquel gravitent Pierre Huyghe, Dominique Gonzalez-Foerster, Charles de Meaux, Philippe Parreno et Apichatpong Weerasethakul. Nous assistons ‡ la superposition du dispositif de la salle obscure au white box qui est la rËgle d’usage dans les espaces d’exposition. Cette rencontre instille dans le champ de l’art contemporain diffÈrentes problÈmatiques cinÈmatographiques, telles que la durÈe, l’expÈrience du tournage et l’expÈrimentation des formes du rÈcit. Inversement, la pratique de l’installation et l’attention mobile et acentrÈe mise en jeu dans l’exposition ou l’environnement imprËgnent leur pratique de cinÈastes. Anna Sanders Films constitue un ensemble vide, un lieu de disponibilitÈ pouvant Ítre investi par diffÈrents auteurs.

Rappelons en effet que les deux artistes ont achetÈ sur catalogue les droits d’exploitation de ce personnage de manga ‡ une entreprise japonaise qui crÈe des silhouettes prÍtes ‡ Ítre animÈes ‡ travers diffÈrents media (publicitÈ, dessins animÈs, bande-dessinÈe). Aussi, Huyghe, Parreno, Gonzalez-Foerster ou encore Rikrit Tiravanija ont-ils investi le support AnnLee. Cette circulation entre les supports (photographie, affiche, sculpture, film, vidÈo, installation, magazine) manifeste un certain nombre de prÈoccupations (fictionnalisation, disponibilitÈ, transversalitÈ) qui se cristalliseront autour des films produits par Anna Sanders.
††† Ces productions de courts comme de longs mÈtrages sont apprÈhendÈes dans le prÈsent dossier selon leurs spÈcificitÈs de textes filmiques. En faisant porter l’accent sur la logique interne des oeuvres et en la confrontant aux dÈclarations d’intention des auteurs, nous pouvons dÈgager les stratÈgies de reprÈsentation mises en jeu. Nous Èprouvons ainsi la validitÈ de ces objets autonomes, en prenant ‡ la lettre le projet d’occupation du territoire du cinÈma ÈnoncÈ par l’outil de production Anna Sanders. En analysant tour ‡ tour les dÈmarches des signataires des films Anna Sanders, nous mettons en lumiËre le caractËre non uniforme des esthÈtiques et des logiques, qui sont tiraillÈes entre la forme du cinÈma d’essai (d’o˘ la rÈception majoritaire de Weerasethakul dans les revues de cinÈma et les chroniques de films au sein des quotidiens) et la pratique de plasticiens (d’o˘ la prise en compte des dispositifs de projection de Huyghe, Parreno et Gonzalez-Foerster par la critique d’art principalement). Quant ‡ De Meaux, qui occupe la fonction de producteur, il s’inscrit rÈsolument dans le champ du cinÈma, tout en convoquant des stratÈgies issues de l’art conceptuel.
††† La rubrique suisse est entiËrement dÈvolue ‡ la 61e Èdition du Festival de Locarno. C’est l’occasion de revenir sur les dÈbuts en cinÈma de Nanni Moretti, auquel le festival a consacrÈ sa rÈtrospective. Les derniËres productions de Lionel Baier, Antoine Cattin et Pavel Kostomarov, Fernand Melgar, Jacqueline Veuve et Jean-Charles Fitoussi sont ainsi passÈes en revue, parmi d’autres films. Sur un plan plus institutionnel, la polÈmique qui s’est nouÈe autour des dÈclarations du chef de la section cinÈma de l’OFC est Ègalement rapportÈe.

Co-organized by Hans Ulrich Obrist and Philippe Parreno as a group exhibition that would occupy time rather than space, “Il Tempo del Postino” usurped the durational dimension of theater by presenting time-based art on the stage of the Manchester Opera House (July 12 – 14, 2007). The book Live Recorded Delay constitutes the only documentation of this legendary project. Entirely conceived by the graphic design team M/M (Paris), it is both a personal archive and an open-ended score for future restagings of the event. With some 140 photographs of the rehearsals, eleven drawn portraits of the participating artists as well as contributions by Nancy Spector, Hans Ulrich Obrist, and Philippe Parreno, the book traces the making of the show and renders a distinctive portrait of a heterogenous but loosely affiliated group. Among the artists featured are Doug Aitken, Matthew Barney and Jonathan Bepler, Tacita Dean, Trisha Donnelly, Olafur Eliasson, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal, and Rirkrit Tiravanija.

Vides. Une rétrospective est une exposition paradoxale : à travers la réactualisation de neuf ” expositions vides “, elle apparaît simultanément comme un projet expérimental qui refuse les règles classiques des arts visuels et comme un objet historique qui confronte les réalisations de Art & Language, Robert Barry, Stanley Brouwn, Maria EichRorn, Bethan Huws, Robert Irwin, Yves Klein, Roman Ondàk et Laurie Parsons. Support et prolongement de la manifestation, cet ouvrage dessine les contours du concept de ” vider dans l’art, l’esthétique, la philosophie, la religion, les sciences, la culture populaire, l’architecture et la musique, en abordant les problématiques du rien, de la vacuité, de l’invisible et de l’ineffable, du rejet et de la destruction. John Armleder Mathieu Copeland Laurent Le Bon Gustav Metzger Mai-Thu Perret Clive Phillpot Philippe Pirotte (s.l.d.r.). S’ouvrant sur un catalogue qui documente les neuf expositions historiques et contemporaines retenues, le livre comporte également une anthologie d’une quarantaine de textes, souvent inédits, ainsi que des contributions d’artistes spécialement réalisées pour l’ouvrage. Les essais de Benjàmin Buchloh, Jean-François Chevrier, Lucy Lippard, Bernard Marcadé; Anne Moeglin-Delcroix, Sadie Plant, Didier Semin ou Sarah Wilson s’entrecroisent ainsi avec des entretiens réalisés avec Robert Barry, Ben, Morgan Fisher, Claude Parent ou Jacques Villeglé, et les propositions de Dominique Gonzalez-Foerster, Hans Haacke, Malcolm McLaren, Olivier Mosset, Sturtevant ou Lawrence Weiner. À travers la riche documentation et les textes de spécialistes réunis, cet ensemble se propose d’évaluer les origines, les dispositifs et les résonances de ce geste artistique capital, consistant à vider l’espace d’exposition plutôt qu’à le remplir.

Philippe Parreno a toujours refusé la publication d’un catalogue sur son travail. Ceci est donc le premier livre monographique qui lui est consacré. Les auteurs du catalogue sont tous des artistes, architectes ou cinéastes, avec qui il a travaillé. Maurizio Cattelan, Dominique Gonzalez-Foerster, Pierre Huyghe, Liam Gillick, Jorge Pardo, Doug Aitken, François Roche, Carsten Holler, Rirkrit Tiravanija… Les graphistes du livre, M/M Paris ont également et à plusieurs reprises travaillé avec lui. Chacun des travaux illustrés est accompagné d’une légende qui définit en quelques lignes leurs mécanismes de production. Ce livre monographique est donc une tentative de saisir une pratique à travers différents scénarios.

With contributors from Europe, America, and Asia, Purple’s global perspective has transformed contemporary magazine style. Past contributors from the photo, fashion, literary, art, and music communities to this popular journal have included Jack Pierson, Martin Margiela, Mariko Mori, Richard Prince, Susan Cianciolo, Harmony Korine, Terry Richardson, Comme des Garcons, Andrea Zittel, Mark Borthwick, Victor & Rolf, John McCracken, Takashi Homma, Helmut Lang, Marc Gonzales, Dike Blair, Dominique Gonzalez-Foerster and many more.

Presenting fifty projects from French-born, New York–based contemporary artist Pierre Huyghe’s twenty-year career, this richly illustrated book provides an overview of his work across film, installation art, and live event. Since the 1990s, Huyghe’s work has challenged the status of the exhibition format. With projects like the One Year Celebration and the foundation in 1995 of the collaborative Association of Freed Time, Huyghe developed a particular interest in the relationship between time and memory—an interest that has carried through to his works, Untilled and the three-part The Host and the Cloud. Most recently, his projects include an untitled piece for the Documenta 13 in Kassel, Germany; Amidst Karlsaue Park’s compost heap—an area detached from museums and cultural institutions and not intended to be seen—Huyghe installed common park objects from different moments in art history, as well as the Documenta in years past, from one of Joseph Beuys’s uprooted oaks to Dominique Gonzalez-Foerster’s pink bench.
           
Published to accompany a major exhibition of Huyghe’s work opening at the Los Angeles County Museum of Art in November 2014, this book offers the first comprehensive overview of the artist’s career. The structure of the book brings to light Huyghe’s creative process, with each step in the creation of featured projects amply illustrated with photographs, drawings, and preparatory sketches.

To the Moon via the Beach was a three-day exhibition in the Amphitheatre in Arles. Using tons of sand specially shipped there, the iconic arena was transformed into a beach and, during a process of non-stop activity co-ordinated by Willem Stijger, slowly mutated into a moonscape. It created a backdrop for a series of interventions by 20 artists in and around the arena—Uri Aran, Daniel Buren, Elvire Bonduelle, Lili Reynaud-Dewar, Loretta Fahrenholz, Fischli & Weiss, Jef Geys, Dominique Gonzalez-Foerster/Ari Benjamin Meyers/Tristan Bera, Douglas Gordon, Pierre Huyghe, Klara Lidén, Renata Lucas, Benoît Maire, Oscar Murillo, Anri Sala, Pilvi Takala, Rirkrit Tiravanija, Tris Vonna-Michell, and Lawrence Weiner. This book offers a complete record of the event, and presents chronological photographic documentation, allowing the event to be reconstructed and understood as a whole for the first time. An extensive discussion between Liam Gillick, Philippe Parreno, and Hans Ulrich Obrist sheds light on the event’s historical context and its experimental potential.

“Expologie est un cycle de rencontres dédié aux expositions emblématiques de l’histoire de l’art contemporain conçu par Clément Dirié. Cette première série se consacre aux années 1990 en France, où des expositions-manifestes portèrent le renouveau sur la scène artistique française et internationale en redéfinissant le format de l’exposition et l’expérience de l’art. Après s’être intéressé à « Traffic » (CAPC, 1996), la deuxième séance revient sur « L’Hiver de l’amour », une exposition organisée à l’ARC/musée d’Art moderne de la Ville de Paris du 10 février au 13 mars 1994.

Pendant deux mois, cinq jeunes commissaires – Elein Fleiss, Dominique Gonzalez-Foerster, Bernard Joisten, Jean-Luc Vilmouth et Olivier Zahm – réunis au sein de la revue Purple Prose – et plus de quarante artistes transforment le premier étage du MAMVP en exposition climatique. Que pouvait-on y voir ? « Des séances de cinéma. Des séances de biographie, de vidéo, de couleurs… Des contacts, des sensations. Des envies d’adaptations et de proximités. Une déambulation qui traverse la maladie, les tendances, les souvenirs. Des escaliers perturbés. Une terrasse en état de choc avant une longue allée de contrastes. Des lectures possibles. Un square à traverser et l’obscurité urbaine, la pluie des images » (éditorial au magazine de l’exposition).

Panorama générationnel subjectif de l’art mais aussi de la musique, du stylisme, du cinéma, de la vidéo et de l’architecture du début des années 1990, l’exposition plaçait les affects au centre du jeu. En réunissant acteurs et actrices de l’époque, témoignages ultérieurs et projection d’archives rares et inédites, la rencontre à la Bourse de Commerce revient aussi sur la manière dont « L’Hiver de l’amour » s’inscrivit dans le paysage artistique de son temps et ses résonances postérieures.”

Video has grown to assume a central role in the visual arts, with video installation being the most prominent form. But the moving image in contemporary art should not be understood as a single form of expression: today the moving image encompasses a wide range of practices—including video, installation, film, Internet art, and so on—each of which must be described and understood in its own terms. This anthology addresses this plurality by including texts by film theorists such as Raymond Bellour and Annika Wik, alongside contributions by internationally established art critics and curators such as Saul Anton, Stéphanie Moisdon Trembley, and Jean-Christophe Royoux. In addition, Black Box Illuminated examines the ways in which the Nordic art scene has been a productive place during the past decade for artists working with moving images. The publication includes interviews with Eija-Liisa Ahtila, Eva Koch, and Liisa Roberts, three artists whose work has been formative for the understanding of narrative in relation to the viewer, space, and the moving image. Other artists discussed in the anthology include Doug Aitken, Dominique Gonzalez-Foerster, Douglas Gordon, Mark Lewis, Shirin Neshat, Philippe Parreno, Pipilotti Rist, and Sam Taylor-Wood.