Drawing – classically means pencil on paper. It is characterized by certain swiftness, a spontaneity and geniality of simplicity, inspiration and rapid realization. A drawing is often an interleaving of text and image as well as the invention of manners of notation. The More I Draw and the exhibition at Museum für Gegenwartskunst Siegen, 5 September 2010 – 13 February 2011, provides a survey of the current practice of drawing and its historic roots in the 1960s. Featuring 50 international artists, contemporary tendencies in drawings, especially the serial, narrative, descriptive and mythologizing forms, are comprehensively introduced. Ryoko Aoki, Silvia Bächli, Joseph Beuys, Frédric Bruly Brouabré, Jimmie Durham, Heinz Emigholz, Tracey Emin, Nanne Meyer, Dan Perjovschi, Raymond Pettibon, Alexander Roob, Tomas Schmit, David Shrigley, Nedko Solakov, Mariusz Tarkawian, André Thomkins, Cy Twombly, Sandra Vásquez de la Horra, Jorinde Voigt, Anne-Mie van Kerckhoven, Ralf Ziervogel

Among capitals created ex nihilo such as Brasilia, Canberra, Islamabad, Putrajaya or Astana, Naypyitaw, Myanmar’s seat of government since 2005, stands out as unique. The sociologist Heinz Schütte and the photographer Wolfgang Bellwinkel have attempted to concentrate their joint study on the new capital within the continuum of Myanmar’s history and on the political circumstances under which it came into being. In their book which was launched in Yangon in January, they show the regime’s understanding of its role and mission in the history of the multi-ethnic state of Myanmar and its attempt to perpetuate military hegemony even under the fragile conditions of a democratic opening. Will it ever be possible to adapt the intimidating spatial layout and the dissociating architectural forms of Naypyitaw to the requirements of a future society in which pluralism and civic participation may become the rule? Essay and photographic representations both view and interpret the surface of the settlement structure and search for the underlying layers of meaning. The result is an interpretation by two outsiders whose points of reference are European and Asian urban structures which they fail to discover in Naypyitaw. Nevertheless, they propose that the logic of Naypyitaw can be traced to Myanmar’s ethnic and religious policies pursued ever since the first unification of the empire with its capital Bagan under King Anawrahta in the 11th century.

Starting in the late 1960s but especially in the 70s, the most innovative Italian coachbuilders, from Bertone to Pininfarina, followed a radical design path. With fantastical wedge-shaped speedsters, their goal was nothing less than reimagining the car. Many of their ideas–as reflected in the concept vehicles in this book–ended up on the scrap heap of design history, while other concepts have remained influential up to the present. Rainer W. Schlegelmilch, best known for his spectacular Formula 1 photography, captured all of this 70s explosion of automotive creativity with his unique photographic eye. With his artful staging, the angular concept car silhouettes took on the curvy and alluring forms of models. Through these futuristic design concepts from the 70s, we get even closer to the spirit of that decade–one that continues to hold us in its thrall.

As publisher of the satirical magazine OZ – the hippies’ handbook and monument to psychedelia – Richard Neville was at the centre of a cyclone of radicals, rock musicians, artists and hustlers. OZ was at the forefront of the ’60s underground movement, featuring articles by Germaine Greer, groundbreaking design by pop artist Martin Sharp and cartoons by Robert Crumb. When the magazine was tried for obscenity at the Old Bailey, John Lennon and Yoko Ono marched in protest and John Peel, George Melly and Edward de Bono were among its defendants.

Now updated to include a chapter on the legacy of flower power a generation later, Richard Neville demythologises the 1960s in this hilarious, colourful and provocative memoir of the times.

In 1963, Nam June Paik created a new genre of exhibition with his first solo show, The Exposition of Electronic Music-Electronic Television at Galerie Parnass in Wuppertal, West Germany. Fresh from his studies with John Cage and Karlheinz Stockhausen, and already a Fluxus veteran, Paik created a disorienting environment that foreshadowed much of what was to come in the 1960s: visitors, greeted at the entrance by a freshly slaughtered ox head, were not only confronted with the newness of the electronic image in Paik’s TV monitors, but also found themselves integrated into a Dadaistic installation that included prepared pianos, mechanical sound objects, record players and audio tape installations. Exposition reconstructs this landmark show.

In Numbers is the first volume to address an overlooked art form that is neither artist’s book nor ephemera, but is entirely its own unique entity: the artist’s serial publication. Across such groundswell moments as the small press boom of the 1960s, the correspondence art movement of the early 1970s and the DIY zine culture of the 1980s and early 1990s, artists have seized on magazine and postcard formats as forms in themselves. These are not publications that print criticism, manifestos or reproductions of artworks; rather, they are themselves artworks, in large part factured by younger artists operating at the peripheries of mainstream art cultures, or by established artists looking for an alternative to the marketplace. Dating from 1955 to the present, In Numbers begins with Wallace Berman’s Semina and continues through Joe Brainard’s C Comics, Situationist Times, Eleanor Antin’s 100 Boots, File, Robert Heinecken’s modified periodicals, the Japanese group Provoke’s magazine, Ian Hamilton Finlay’s Poor.Old.Tired.Horse, Fluxus, Art-Language, Raymond Pettibon’s Tripping Corpse, Maurizio Cattelan’s Permanent Food and contemporary examples such as North Drive Press, LTTR and Continuous Project. (Approximately 60 publications in total are surveyed.) Documenting the history of each publication-its inception, production, distribution and impact-together with a fully illustrated bibliography for each title, In Numbers is embellished with essays by Clive Phillpot, Nancy Princenthal, William S. Wilson and Neville Wakefield. An illustrated conversation between Collier Schorr and Gil Blank provides an overview.

Ron Mueck, the hyperrealist sculptor, learned his craft making models and puppets for television and movies. He was nearly 40 when his work came to the attention of Charles Saatchi. At Saatchi’s urging, he began to show his sculptures in gallery and museum contexts in the late 1990s. They met with astonishment and praise, particularly Dead Dad, a silicon and mixed-media model of Mueck’s father’s body, perfectly proportioned but less than four feet long, which made its debut at the highly publicized Sensation show. The human presence and perfection of detail in Mueck’s work, the realism and mysterious, transfigured quality of his figures, which stems in part from his extravagant liberties with scale, excited immediate international attention. Since then, the artist’s fame has increased steadily with each new work. This second, expanded edition of the monograph of record updates the only comprehensive publication on Mueck’s work. Bastian’s catalogue raisonne lists all of his works to date.

Book One: Selected Writings offers an illustrated and complete collection of the texts Tacita Dean has written concerning films and other projects she has made between 1992 and the present. Book Two: 12.10.02 – 21.12.02 reprints the artist’s book Dean made for her show at the Kunstverein für die Rheinlande und Westfalen in October 2002. The exhibition dates provide the title of the book, which in turn relates to the discovery and filming of Marcel Broodthaers’ studio, his Section Cinema in Düsseldorf and the works that were inspired by this. Book Three: W. G. Sebald gives homage to the German writer who was killed in a car accident in 2001. It takes its starting point from a reference in his book The Rings of Saturn and then weaves a meandering narrative between history and autobiography, England and Germany, and ends up, strangely enough, in Texas. Book Four: The Russian Ending shows a set of 20 photogravures made by the artist in 2001. From found postcards the artist made fictional sad endings for films, borrowing from the early days of the Danish Film Industry when it was necessary to make two endings: a happy one for the Americans and a sad one for the Russians. Book Five: Boots is a soliloquy presented in three languages: English, French and German. Each version is a different fictional take on the movement and musings of the character, Boots, in a villa in Portugal. Though it looks like a film script, the book is in fact a transcription of the action in a film with the same name. Book Six: Complete Works and Filmography, 1991 – 2003 is exactly what it says it is. Book Seven: Essays includes texts by Julia Garimorth, Rita Kersting, Jean-Luc Nancy and Michael Newman with a foreword by Laurence Bossé, Senior Curator at ARC/Museé d’art moderne de la ville de Paris. Essays by Julia Garimorth, Rita Kersting, Michael Newman and Jean-Luc Nancy.

Just how do images retain their power to fascinate, despite the background swell of visual chatter that has come to characterise contemporary social and cultural life? Despite the prevalence of ‘the visual’ in today’s social and economic world order, we know surprisingly little about how images function. Models of communications theory and ‘semiotics’ have provided valuable insight into the way in which art, in film, television and advertising convey specific beliefs and messages. But this is only one facet of the life of images. Beyond there lies a hotly disputed theoretical terrain ranging across different, more-or-less discreet academic disciplines and areas of research: from philosophy and psychology on the one hand to semiotics and mediology on the other; from theories of perception to reception theory; from theoretical sociology to the more open field of contemporary cultural criticism. In this volume, some of the foremost thinkers in the field of ‘visual theory’ provide important critical insight into the very real difficulties involved in theorising the image, both from a ‘technical’, philosophical and/or political point of view. Including essays by Régis Debray, Martine Joly, Dick Hebdige, Scott Lash, Heinz Paetzold and Richard Wollheim.

Edgard Varèse, the pioneering composer of electronic music, formed the subject of a major exhibition in Basel in 2006; it displayed many previously unknown documents from the composer’s estate, including manuscripts, letters, and other material. This volume contains detailed commentaries on all the items on display, as well as thirty-two essays by leading authors from Europe and America. Varèse’s life and music are discussed under the following headings: Influences – Points of Orientation; Conductor and Initiator in New York; Probing Uncharted Territory; Impact and Reception. Many previously unknown documents from the composer’s estate, recently acquired by the Paul Sacher Foundation, form the basis of a nuanced picture of Varèse’s life, musical thought, and compositional output. The book is lavishly illustrated with facsimiles of manuscripts, letters, and other documents from the composer’s collection, as well as reproductions of paintings, drawings and sculpture documenting Varèse’s close ties to the visual arts. Contributors: JONATHAN W. BERNARD, GIANMARIO BORIO, DIANE BOUCHARD, AUSTIN CLARKSON, HERMANN DANUSER, MICHEL DUCHESNEAU, SABINE FEISST, KYLE GANN, FRITZ GERBER, THEO HIRSBRUNNER, ANNE JOSTKLEIGREWE, MATTHIAS KASSEL, SYLVIA KAHAN, KLAUS KROPFINGER, ERNST LICHTENHAHN, MALCOLM MACDONALD, GUIDO MAGNAGUAGNO, OLIVIA MATTIS, ULRICH MOSCH, HELGA DE LA MOTTE-HABER, FELIX MEYER, DIETER NANZ, ROBERT PIENCIKOWSKI, WOLFGANG RATHERT, DAVID SCHIFF, ANNE C. SHREFFLER, HEINZ STAHLHUT, JÜRG STENZL, DENISE VON GLAHN, CHOU WEN-CHUNG, HEIDY ZIMMERMANN.BR> Published in cooperation with the Paul Sacher Foundation.

Contents: EMscope Raymond Wilding-White- Happy Birthday Harold Bode- The Multiplier-Type Ring Modulator Karlheinz Stockhausen- Notes on Mixtur (1964) Robert Ceely- Electronic Music Three Ways Symposium: Programmed Control Robert A. Moog- Introduction to Programmed Control Emmanuel Ghent- The Coordinome in Relation to Electronic Music George w. Logemann- Techniques for Programmed Electronic Music Synthesis James Gabura and Gustav Ciamaga- Digital Computer Control of Sound Generating Apparatus for the Production of Electronic Music Luciano Berio- Remarks to the Kind Lady of Baltimore Contributors

Elenco degli artisti e architetti presenti: Radovan Delalle, Johann Georg Gsteu, Leonardo Mosso e Laura Mosso Castagno, Peter Nigst, Barna Von Satory e Georg Kohlmaier, Hans Peter Schlosser, Superstudio (con un inserto di 24]pp. illustrato con foto-collages, immagini fotografiche di megastrutture e istogrammi), Ekkehard Anderle, Hans Bischoffshausen, Planungsgruppe, Franz Enzenhofer, Heinz Frank, Atelier m 9, Angela Hareiter, Bau-Coperative Himmelblau, Hans Hollein, Operator Co, Herbert Murauer e Richard Kriesche, Herbert Missoni e Franz Cziharz, Jo-hanne-Charlotte Flegel e Gernot Nalbach, Giovanni Soccol e Romano Perusini, Ateler P + F, Predrag Ristic, Ingo Klug e Manfred Schwarzbauer, Jorrit Tornquist, Michael Tritthart, Rolf Wessely.

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