I Grew up on the Back of a Water Ox is an artistic project that uniquely juxtaposes the calculated pictorial language of advertising with the emotionally charged, unintentional beauty of private photography. The result is a book in which an extraordinary advertising campaign interwines with an immigrant’s oral history, laconically but breath-takingly told. Lee has been the face of Lily’s Stomach Supply for more than ten years. Lee came to Europe from Thailand in the 1970s. First to Germany, then to Switzerland. She stands for the Zurich based panasian restaurant’s unconventional and surprising advertising campaign. A.C. Kupper has directed the design for this project from the outset. Lee, who ist actually called Jintana Junhom, is not a fictious figure, but an authentic protagonist who is closely connected to Lily’s in many ways. A.C. Kupper has made Lee, a face that has changed over time and yet remains familiar and recognizable, into its visual communication icon. This book takes us through the world of Lily’s Stomach Supply and Lee’s life, featuring wonderful private photographs, advertisements, slogans and design. Esther Epstein met Lee regularly and talked to her about her life and has now made these conversations into a fascinating true story about a woman who came to Zurich from Bangkok. Cello Rohr & Stefan Tamò are catering entrepreneurs from Zurich (Josef, Italia, Mobile Cuisine, Primitivo) and they also initiated Lily’s Stomach Supply—from 1999 in Langstrasse in Zurich and from 2003 in Rebgasse in Basel.

Eileen Gray (1878-1976) was a versatile designer and architect who navigated numerous literary and artistic circles over the course of her life. This handsome volume chronicles Gray&;s career as a designer, architect, painter, and photographer. The book&;s essays, featuring copious new research, offer in-depth analysis of more than 50 individual designs and architectural projects, accompanied by both period and new photographs. Born in Ireland and educated in London, Gray proceeded to Paris where she opened a textile studio, studied the Japanese craft of lacquer that would become a primary technique in her design work, and owned and directed the influential gallery and store known as Jean Desert; Gray struggled for acceptance as a largely self-taught woman in male-dominated professions. Although she is now best known for her furniture, lighting, and carpets, she dedicated herself to many architectural and interior projects that were both personal and socially driven, including the Villa E 1027, the iconic modern house designed with Jean Badovici, as well as economical and demountable projects, such as the Camping Tent.

The Calabash Gallery is an art space founded by nos:books in 2014. Its dimension transforms to accommodate different artists’ works, and it exists everywhere. The Calabash Gallery has been a portable and assembled space, touring exhibitions around. This time it turns two-dimensional, to present Lee Yun Mei’s Tuplets. Lee Yun Mei is keen on organizing and reorganizing space, and she is blissfully content with her sensibility for everyday objects. In Tuplets, Lee takes inspiration from daily objects, designs and produces acrylic stencils of various shapes. With the plastic stencil accompanied with the book, the author / readers could trace the stencil contours on the 3-ply carbonless copy paper, organizing the objects unlimitedly in the limits of the page, leaving three layers of traces of space, to tear off and share them. Tuplets is jointly published with Lee’s other two titles Moderato and Tenuto.

Nelle lettere ai familiari e alla fidanzata, la pianista Lily Stumpf, il resoconto del soggiorno del ventiduenne artista bernese che, partito da Monaco di Baviera nell’ottobre del 1901, vivrà in Italia oltre sei mesi. Un viaggio alla ricerca di se stesso, profondamente segnato dall’impatto con la civiltà artistica e musicale italiana.

Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this original book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body. Finding parallels between the tactility of a drip of paint and a body’s reflexive movements, Elise Archias argues convincingly that Yvonne Rainer (b. 1934), Carolee Schneemann (b. 1939), and Vito Acconci (b. 1940) forged a dialogue between modernist aesthetics and their own artistic community’s embrace of all things ordinary through work that explored the abstraction born of the body’s materiality. Rainer’s task-like dances, Schneemann’s sensuous appropriations of popular entertainment, and Acconci’s behaviorist-inflected tests highlight the body’s unintended movements as vital reminders of embodied struggle amid the constraining structures in contemporary culture. Archias also draws compelling comparisons between embodiment as performed in the work of these three artists and in the sit-ins and other nonviolent protests of the era. 

No Sleep is a visual history of the halcyon days of New York City club life as told through flyer art. Spanning the late 80s through the late 90s, when nightlife buzz travelled via flyers and word of mouth, No Sleep features a collection of artwork from the personal archives of NYC DJs, promoters, club kids, nightlife impresarios, and the artists themselves. Club flyers, by design, were ephemeral objects distributed on street corners, outside of nightclubs and concert halls, in barbershops and retail shops, and were not intended to be preserved for posterity. Through the 90s, they became both increasingly prevalent and more sophisticated as printing technology evolved. Overnight, however, with the advent of the internet, the flyer essentially disappeared, despite it being common at one time for promoters to print thousands of flyers for any given event. Recently, these flyers have become sought-after collector’s items.

”I see my autobiography as an arbitrary segment of so many pages of time, of things that I have paid attention to at this point in my life,” wrote James Lee Byars (1932–1997) in 1969. He was then 37, about half the average male lifespan at the time, and accordingly thought it appropriate to write his “1/2 autobiography.” Byars’ art ranged from highly refined objects to extremely minimal performance and events, and books, ephemera and correspondence that he distributed widely among friends and colleagues. Today, more than 15 years after his death, assessments of his art must negotiate Byars’ performance of his charismatic self in his life and art. For his first major posthumous survey in the US, exhibition curators Magalí Arriola and Peter Eleey decided to produce a catalogue in two “halves,” playing on his “1/2 autobiography”: a catalogue of the exhibition itself, including new scholarship, and a sourcebook of primary documents. 1/2 an Autobiography, Sourcebook constitutes the latter volume–a reference guide filled with photographs and documents drawn from a variety of archival sources, including The Getty Research Institute, the Berkeley Art Museum and Pacific Film Archives, MoMA and Byars’ own papers. This volume also includes a series of previously unseen interviews that artist and art historian David Sewell conducted with Byars in the late 1970s in preparation for a book that was never published. These discussions cover a number of Byars’ major projects, among them The World Question CenterThe Holy Ghost and the artist’s time at CERN.

Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement’s sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women’s studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments.

Imaging Her Erotics integrates images from Schneemann’s works in painting, collage, drawing, and video sculptures with written material drawn from the artist’s journals, dream diaries, essays, and lectures. Encompassing four decades of her work, it demonstrates her profound influence on artists in all media. An opening essay by Kristine Stiles presents Schneemann’s major themes and places her work in a historical context. Among other topics, the book covers Schneemann’s response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani.

Uncollected Texts gathers out-of-print and unpublished early writings by groundbreaking artist Carolee Schneemann (born 1939).

Edited by art historian Branden W. Joseph, the texts span diverse formats: included are journal entries, criticism, poems, essays and performance notes culled primarily from short-run magazines such as Caterpillar, Film Culture, The Fox, Manipulations and Matter, as well as academic journals such as Performing Arts Journal and Art Journal and mainstream media outlets including the New York Times and the Village Voice.

The book serves as a companion to Schneemann’s two earliest books―Parts of a Body House Book and Cézanne, She Was a Great Painter―offering new perspectives on the artist’s life, work and ideas through many writings that have never been reproduced in their original form. It features Schneemann’s reflections on her own works, including “Meat Joy,” “Divisions and Rubble,” and “Kitch’s Last Meal.”

For this book, Danish artist and photographer Kasper Akhøj documented the ongoing restoration of E-1027, Eileen Gray’s modernist villa in France. Based on photographs taken by Gray which were first published in 1929, Akhøj’s photographs are a kind of remake, recreating the perspective and composition of the originals. During several visits to the villa between 2009 and 2017, he produced up to six versions of each of Gray’s images, but only included one of them here. The overlap of chronologies emphasises the restoration process and references the fascinating influence of a succession of occupants. With essays by Beatriz Colomina and Amy Zion, plus an interview with Akhøj.

“Their mutual obsession to record it all in their own media: egocentrifugal forces… who have succeeded here in dedicating their work to each other in the best way, by making them with each other in mind.”

F#1-13 is a collection of photographs, sculptures, wind barbs and texts around a gridded flag that blew for thirty-nine days in Citadel Park, Ghent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly

It’s hard to believe that the first edition of Alec Soth’s Sleeping by the Mississippi appeared only in 2004, so swiftly has the book become a classic of our time. Evolving from a series of road trips along the Mississippi River, Sleeping by the Mississippi captures America’s iconic yet oft-neglected “third coast.” Soth’s richly descriptive, large format color photographs describe an eclectic mix of individuals, landscapes and interiors. Sensuous in detail and raw in subject, his book elicits a consistent mood of loneliness, longing and reverie. “In the book’s 46 ruthlessly edited pictures,” writes Anne Wilkes Tucker, “Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex… The coherence of the project places Soth’s book exactly within the tradition of Walker Evans’ American Photographs and Robert Frank’s The Americans.” Like Frank’s classic book, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi River is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created from a quintessentially American spirit of wanderlust. Featuring a new linen-bound cover with a tipped-on image, this is the third print run of a volume which has become one of the most widely collected and highly acclaimed photo books of recent times. –This text refers to an out of print or unavailable edition of this title.

Todd Fisher´s photography originates from everyday life. He draws inspiration from his immediate surroundings and shoots just at the right moment to capture the mystical momentum rather than the narrative. His motives are of unknown protagonists at non-places. In the moment of taking a picture the situations seem to arise spontaneously, which in combination with his working methods makes Fisher´s photography authentic. Their documentary character is undeniable. Yet there is a clear distinction from photojournalism, because Fisher’s photographs incorporate artistic composition with a shifted and often non-linear focus. Where the street has a clear narrative, his personal view is more abstract and even opaque at times. Context is deliberately absent or left vague, allowing the viewer to create their own reality. His protagonists behave remarkably uniform, staring into nothingness or seem to be engaged in a strange relationship with structural features of their immediate environment. Following Todd Fishers photography is always fascinating, his work is intimate, mysterious, spontaneous, witty, and sad at the same time.

Exhibition catalogue published in conjunction with show held February 7 – March 29, 2008. Text by Brenda Richardson. Includes checklist and a “fictional conversation” between Byars and Marie-Puck Broodthaers.

Fashion model, surrealist artist, muse, photographer, war correspondent—Lee Miller defies categorization. She was a woman who refused to be penned in, a free spirit constantly on the move from New York to London to Paris, from husbands to lovers and back, from photojournalistic objectivism to surrealism.
Midcareer, she made the unprecedented transition from one side of the lens to the other, from a Condé Nast model in Jazz Age New York to fashion photographer, creating stunning images that imbued fashion with her signature wit and whimsy. Miller became a celebrated Surrealist under the tutelage of her lover, Man Ray, and then joined the war effort during World War II, documenting everything from the liberation of concentration camps to the daily life of Nazi-occupied Paris. Miller was recognized as “one of the most distinguished living photographers” during her hey-day as a fashion photographer, but an astonishing number of these images have remained unpublished. Lee Miller in Fashion is the first book to examine how her career as a model and fashion photographer illuminates her life story and connects to international fashion history from the late 1920s until the early 1950s.
The world of fashion emerges as the backbone of Miller’s creative development, as well as an integral lens through which to understand the effects of war on the lives of women in the 1940s and 1950s. Miller witnessed incredible acts of resistance born out through fashion—and her photographic record of women’s indomitable spirit even in times of war has remained an invaluable resource in fashion and global history. Lee Miller in Fashion presents these striking archival fashion photographs as well as contact sheets, memos, and Miller’s published illustrations, vividly setting the wit, irrepressible creativity, and daring of Miller within the larger story of women’s experience of fashion, art, and war in the twentieth century.
“In all her different worlds, she moved with freedom. In all her roles, she was her own bold self.”
—Antony Penrose

Founded in 1987 at the initiation of Kasper König, Portikus is Frankfurt’s hottest venue for contemporary art and has quickly become one of Germany’s leading venues, with an impressive roster of shows by artists such as On Kawara, Luc Tuymans and Franz West. In 2004 Portikus gained a new curator, Nikola Dietrich, a prominent presence on the European art scene. Dietrich has done much to further energize Portikus, and this volume presents a survey of the gallery’s last three years under her guidance. Dietrich has mounted more than 20 exhibitions with international artists, among them Koo Jeong-a, Felix Gmelin, Yoko Ono (in collaboration with students from the Städelschule), Olafur Eliasson, Matthew Ritchie, Chung Seoyoung, Sean Snyder, Mark Leckey, Marjetica Potrc, Tomas Saraceno, Dan Perjovschi, Francis Alÿs, John Baldessari, Daniel Buren and Maurizio Cattelan.

“In Spleen and Ideal, beauty is pursued across the disintegrating boundaries between male and female. Transgressive sexual encounters with what at times seems to be one and the same person are captured on instant film and mixed with impressions of the urban architecture in which they are anchored. In this project, which centers on gender and identity confusions, photography is a matter of decisive distance between immersion and detachment.”

James Lee Byars–who was born in Detroit in 1932 and died in Cairo in 1997–was one of the twentieth-century art world’s most unusual and elusive figures. Enamored with the imaginary and fleeting, pitting the immaterial against the material, Byars was not just an artist, he was a visionary and a dandy, who, always seeking perfection, knew how to cast a spell over his audience through his enigmatic performances, installations and sculptures. Using sandstone, marble, glass and gold, Byars created classical sculptural forms like spheres, circles, gates and columns. Im Full of Byars reveals his work to be a symbiosis of Fluxus, Minimalism and Conceptualism, that has lost none of its mystery or poetry with time. The volume includes a selection of sculptures, installations and never-before-seen documentation of his performances.

Softcover exhibition catalogue full of drawings of visionary projects by Boullee, Ledoux and Lequeu, made during the late 18th and early 19th centuries.

In this work, the author’s hometown is the main stage. It is a story that swings the memory while searching for a faint rip carved for the living in every day and a few shadows.

The most obvious Byars influence is Joseph Beuys, whom Byars met in 1969. And indeed, Byars adored Beuys. Beuys had a signature fedora and fisherman’s vest; Byars affected a top hat and gold lame outfit. Byars wrote Beuys a stream of letters, addressing them to Genius Beuys” and “Great Beuys,” each an elaborately folded work of art, expressing admiration and proposing collaborations (“Let’s do a little show together”). Beuys never wrote back.” http://www.artnet.com/magazineus/reviews/davis/davis6-15-06.asp

Lee Friedlander’s exploration of one of photography’s most enduring genres began almost by chance, in the late 1970s, when a teacher colleague at Rice University in Houston lined up a regular schedule of nude models for his students. Almost immediately, Friedlander found that he preferred to photograph the models at their homes, and ingeniously deployed household objects such as bedside lamps, potted plants and sofa fabrics to play off against the angular poses of the models and the emphatic framing of the overall composition. Friedlander’s nudes show every blemish, every contour that makes each body unique, while his flash often serves to counter this realism with a softening effect that often recedes the body’s shadow right up to its outline. With the publication of Friedlander’s nude portraits of Madonna (prints of which fetch huge sums), the series became among the photographer’s best known work, and eventually saw publication in 1991, from Jonathan Cape. Lee Friedlander: The Nudes significantly expands on the Cape edition (itself long out of print), with a total of 84 nudes, plus a new layout and design by Katy Homans and new separations by Thomas Palmer. As such, it offers the most lavish presentation of this key series in Friedlander’s massive oeuvre.
Lee Friedlander (born 1934) first came to public attention in the landmark exhibition New Documents, at The Museum of Modern Art, New York, in 1967. More than 40 books about his work have been published since the early 1970s, including Self-Portrait, Sticks and Stones, Cherry Blossom Time in Japan, Family, America by Car, People at Work, The New Cars 1964 and Mannequin. His career was the focus of a major traveling retrospective organized by The Museum of Modern Art in 2005.

Carolee Schneemann is one of the most important artists of the postwar period. Her work in a range of media—painting, film, video, dance and performance, constructions and installations, the written word, and assemblage—presents an unparalleled catalogue of radical aesthetic experimentation. Meat Joy, 1964, Fuses, 1964-66, Up To and Including Her Limits, 1973-1976, and Interior Scroll, 1975, are now considered canonical projects, required entries in any meaningful account of contemporary art, belying their once notoriety as feminist challenges of the very concept of the art historical canon. Throughout the last fifty years, Schneemann has participated in the most significant formulations of the avant-garde, having made crucial contributions in Fluxus, happenings, expanded cinema, and performance cultures, while complicating generic definitions that might cohere to her work. Schneemann has been the subject of numerous exhibitions and publications throughout her career, and her work is in the collections of Tate Modern, Commune di Milano, Centre Georges Pompidou, Muzeum Wspóczesne Wroclaw, Whitney Museum of American Art and the Museum of Modern Art. Carolee Schneemann: Unforgivable is the most thorough visual overview of Schneemann’s work to date. Organized by five interrelated categories—Interviews and Correspondence, Painting, Cinema, Sites, and Technological Processes—this volume brings together previously published essays and interviews by authorities on the artist’s work. The texts, many scarce or out of print, examine the significance of Schneemann’s work in its historical context, and its vital urgency for our present.

As the winner of the fourth Joan Miró prize, American artist Roni Horn (born 1955) received a monograph exhibition of her work at the Fundació Joan Miró in Barcelona and CaixaForum, which this volume accompanies. Though Horn considers drawing to be the activity unifying all strands of her work, she is prolific across multiple media, including sculpture, photography, books and works on paper. Her artistic practice links aspects of nature, landscape and materiality with the mechanics of perception and communication. As affirmed by this recent award, Horn’s oeuvre is endlessly open-ended. Roni Horn: Everything Was Sleeping as if the Universe Were a Mistake includes an interview with the artist by Julie Ault.

Bringing together unique and rarely seen photographs, paintings, sculpture and drawings, this exquisite book tells the story of the tumultuous relationship between the artists Man Ray (1890–1976) and Lee Miller (1907–1977). From 1929 to 1932, the two lived together in Paris, first as teacher and student, and later as lovers. Historically, Miller has been described as Man Ray’s muse, but Partners in Surrealism reveals how their brief, mercurial love affair was a key source of mutual and sustained inspiration, resulting in some of the most powerful work of each artist’s career. Featuring a candid and poignant contribution from Antony Penrose, the son of Miller and the English painter Roland Penrose, on the relationship between Man Ray and his parents in later years, this is an extraordinary exploration of the love, lust and desire that drove the art of the Surrealists.

“Like most fathers, Lee Friedlander has made photographs of his wife and children throughout their lives together. Unlike most fathers, Friedlander happens to be one of the greatest living photographers. In Family, Friedlander departs from his well-known terrain of the open road and the city street, focusing instead on his wife, Maria, his children and (later) his grandchildren. The result is an intimate narrative of a family’s complex life, from 1958 to the present. The subjects are natural and unaffected in front of the ever-present lens, and the pictures make it clear that Friedlander’s camera was a constant presence in the home, a natural extension of the artist himself. Over and over Friedlander recognized in an instant things that were precious and universal, yet specific to his own situation. Friedlander has done us a great honor by publishing these images. The inventive design of Family enhances the integrity of Friedlander’s family album.”

« Elle s’est appelée successivement Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler. Ma mère aimait qu’on parle d’elle. Sa vie n’apparaît pas dans mon travail. Ça l’agaçait. Quand j’ai posé ma caméra au pied du lit dans lequel elle agonisait, parce que je craignais qu’elle n’expire en mon absence, alors que je voulais être là, entendre son dernier mot, elle s’est exclamée : “Enfin”. »Sophie Calle raconte Monique à travers des extraits de carnets intimes et de photographies issues d’albums de famille et présente son installation créée au Palais de Tokyo en hommage à sa mère décédée en 2007. Mais ce livre est avant tout un véritable objet conçu avec l’artiste. Le texte de la couverture est brodé pour en faire un objet précieux et l’ensemble des textes liés à l’installation sont gaufrés afin de retrouver la matière de certaines œuvres de Sophie Calle.Il s’agit d’un ouvrage très personnel et émouvant et en même temps d’une réflexion sur la mort qui touche chacun d’entre nous.

Published on the occasion of the Paul Klee – Fausto Melotti exhibition at Museo d’Arte Lugano, the catalog compares over 70 paintings, watercolors and drawings by the Swiss-German painter Paul Klee, a leading figure in twentieth-century art, with some 80 sculptures and drawings by Fausto Melotti, an Italian artist whose name has become increasingly well-known at an international level in recent years. The catalog highlights the relationships and affinities between Paul Klee and Fausto Melotti by means of a surprising dialogue between their works. The division by chapters on specific topics underscores the convergence between the two artists on such subjects as music, the alphabet, the city, nature and animals. Just as Klee’s compositions are determined by ever-changing rhythms and geometries, and breathe life into slender acrobatic subjects and a succession of letters and symbols, Melotti’s wire sculptures, welded and twisted together into aerial constructions, adhere to a musical cadence, agree with and contradict mathematical proportions, trace letters of the alphabet and the essential figures of people and animals. A large selection of critical essays and short writings by contemporary artists contribute to casting light on the relationship between these two protagonists of twentieth-century art.

This artist’s book is published on the occasion of Dedobbeleer s solo exhibition at Lokremise St. Gallen, travelling to Centre d art contemporain d Ivry, Le Crédac, Ivry-sur-Seine, and De Vleeshal, Middelburg. The book, together with Dedobbeleer’s sculptural works, reflects in a refined, and sometimes humorous manner on centuries-old traditions in sculpture, sophisticated design and banal, everyday culture

Published on the occasion of an exhibition at Rat Hole Gallery, Tokyo. Features excerpts from Friedlander’s Self Portrait, Little Screen, Early Works, The American Monument, Portraits, Nudes, Letters from the People, Self Portrait 1990s, Architectural America, Stems and Landscape.

Transiting Pop art, Feminist Expressionism, Conceptualism and Minimalism, Lee Lozano (1930-1999) sits alongside Eva Hesse and Hannah Wilke as a radical and influential model for younger generations of female artists. Lozano’s notebooks, which she approached as drawings, and which were later dismantled and sold as individual pages, became a part of her artmaking at the height of her fame in the late 1960s. Reproduced here for the first time, as an affordably-priced facsimile reprint, the three notebooks collected here, which were kept between 1967-1970, contain sketches for her Wavepaintings, writings about the trajectory of her artistic process and the language pieces that she became famous for prior to her withdrawal from the art world. They thus constitute the fullest and richest document on an artist whose relevance and profile have recently seen a steady ascent.

Evolving from a series of road trips along the Mississippi River, Alec Soth’s Sleeping by the Mississippi captures America’s iconic yet oft-neglected “third coast.” Soth’s richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. “In the book’s 46 ruthlessly edited pictures,” writes Anne Wilkes Tucker, “Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.” Like Robert Frank’s classic The Americans, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.

Official description: “Discographisme Récréatif [Homemade Record Sleeves] is both a documentary and archival work begun in 1996. It’s composed of different iconographic montages made from record sleeves and CD jackets. The distinctive feature: these covers, be they 45s, 33s, or CDs, mostly found at flea markets, have all been redone or modified by anonymous individuals using the original covers as a guideline and as a source of inspiration. The first book issued in 2004 compiled around 100 examples of found altered or homemade record sleeves. The second one contains around 200 sleeves.” The first volume of this book was already an absolute winner and this new volume goes much further, with twice the number of images and larger pages. This book highlights a trove of found creative efforts with many handmade album covers that exceed the design qualities of the originals. A true celebration of the kind of visual playfulness that makes the distinction between official works of art and other creative endeavors so unimportant. We imported a limited number of copies of this book, first and foremost because we wanted our own copies and couldn’t find it over here at all. Act fast vinyl lovers. This wasn’t easy to get and it might be a while before we are able to import more.

In Sticks & Stones, Lee Friedlander offers his view of America as seen through its architecture. In 192 square-format pictures shot over the past 15 years, Friedlander has framed the familiar through his own unique way of seeing the world. Whether he’s representing modest vernacular buildings or monumental skyscrapers, Friedlander liberates them from our preconceived notions and gives us a new way of looking at our surrounding environment. Shot during the course of countless trips to urban and rural areas across the country, many of them made by car (the driver’s window sometimes providing Friedlander with an extra frame), these pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches. Nevertheless, man’s presence is not at stake here; streets, roads, fa ades, and buildings offer their own visual intrigue, without reference to their makers. And in the end, it is not even the grand buildings themselves that prick our interest, but rather the forgettable architectural elements–the poles, posts, sidewalks, fences, phone booths, alleys, parked cars–that through photographic juxtaposition with all kinds of buildings help us to discover the spirit of an Architectural America.

Lee Friedlander’s surreal sensibility is on full display in this set of photographs, originally published in 1970. Here Friedlander focuses on how his physical presence impacts his photographs. Known for capturing subjects outside of himself–nudes, landscapes–Friedlander writes: “At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings.” Readers can witness this progression through the images here as Friedlander appears in shadow, reflected in windows and mirrors, and, only occasionally, fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect–elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist’s life and mind. There are nearly 50 duotone images in this reprint edition of Lee Friedlander: Self Portrait, which includes a new essay about the work by writer John Szarkowski.

Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of disinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work — he most often produces extended series of pictures on a chosen theme, then publishes them in book form — is broad in subject matter and supple and complex in style, and focuses on what he calls America’s “social landscape.” At the same time, he has pursued a playful dialogue with artistic tradition — as though open-eyed curiosity about the world and a sophisticated taste for the wiles of picture-making were one and the same thing. Lee Friedlander takes a deep critical look at Friedlander’s abundantly productive career. Including over 500 photographs grouped by series, and an incisive essay by Peter Galassi, Chief Curator of Photography at The Museum of Modern Art, this publication is the most comprehensive review of the photographer’s career to date.

The works of influential cult artist James Lee Byars explore themes of death, transformation, and transience and are deceptively simple in form, yet pack an existential punch. Explored here is one of his last pieces The White Mass.

In 1956, James Lee Byars rented a sod farm for a midnight, full moon exhibition of his abstract figure sculptures; guests viewed the work from sleds pulled over snow. In 1959, he abandoned durable materials for paper and fabric. In 1965, a nun performed his A 1,000-Foot Chinese Paper at the Carnegie International. The wondrous story of James Lee Byars begins in 1932 and ends in 1997, and its unique synthesis of Conceptual art, Minimalism, and Fluxus reflects an unending striving for beauty and perfection. The story passes by way of Japan, a place where Byars lived for many years, and where he combined the formal and symbolic aspects of Noh theater and Shinto rituals with elements of Western science, art, and philosophy, developing an appreciation for the transient, ceremonial character of performance as an essential quality of his art. Over his lifetime, he was known for works characterized by an extreme simplicity of form and material that simultaneously appeared astonishingly luxurious.~Life, Love, and Death presents a critical review of Byars’ oeuvre and traces his development as an artist from his formative period in Japan to his later years in New York–ranging from his performances and works on paper and fabric devoted to the theme of life, to his splendid late sculptures in gold, marble, and velvet which deal with death as the embodiment of perfection. Edited by Klaus Ottman.~Essays by Viola Michely and Martina Weinhart.

Nikki S. Lee: Projects, is part street photography, part performance art. In a series of extraordinary transformations, this young, Korean-born conceptual artist unfolds a multiplicity of lives and identities documented through the lens of her point-and-shoot camera as she ibecomesi a young punk in the East Village, a Connecticut-based exotic dancer, or a senior citizen picking through thrift stores in Murray Hill.

With this collection of photographs, interspersed with an anthology of quotations about sleeping and dreaming, Scianna takes us and himself on a journey inside a dimension of life that is natural and mysterious, necessary and distrubing, every-day and universal. Often the camera freezes movement, isolating a single moment in the endless flux of reality. Through the mystery of sleep, life itself, like the photographic image, becomes static, as if in suspense. Ferdinando Scianna has always been fascinated by the sight of figures wrapped in sleep. As he recounts “…I realized just how many of my pictures were of sleeping people, and that I had always been taking such pictures ever since I started photography, wherever the chances of life and of my job had led me.” Fascination became a minor obsession, and over 30 years Scianna has captured thousands of images of people and animals sleeping in the most diverse places on earth – in the countryside, in cities, in deserts, on street corners, in moving trains, and in their own homes.

Schneemann’s remarkable “More Than Meat Joy” documents a large portion of this performance artist’s career: 1958 to 1977. The book is particularly rich because it uses the artist’s own documentation: photos, notes, sketches, commentary, and script-like documents.

A new edition of the only book that documents Schneemann’s complete works up to 1978. As performance art books go, this one is especially unusual for its integration of large numbers of photographs with performance scores as well as descriptive texts. Schneemann — one of the original creators of performance art — began making events and “happenings” in 1960. Over thirty works are documented here (this book was originally published in 1979). The range of her work has been substantial and broadly influential: from solo improvisations to large group ensemble pieces, from starkly bare stagings to multi-media and multi-sensory extravaganzas. Schneemann’s performance works — direct extensions of her equally important work as a painter and filmmaker — have been performed throughout Europe and the United States. This book includes sections of her selected writings gathered from art and literary magazines, diaries, and journals; and it completed by a festschrift of tributes from notable artists, poets, and critics. More Than Meat Joy is vital to an understanding of the origins and intentions of performance art, as well as being the expression of an enormously important artist.

“Gordon Matta-Clark – In the Belly of Anarchitect” is a project by Pierre Huyghe and Rirkrit Tiravanija in co-operation with the art historian Pamela M. Lee. It is the work of two artists around and through the oeuvre of Gordon Matta-Clark, the attempt of a transmission of a Matta-Clark-experience into the present. The project and the exhibition are based on a student workshop held at Frankfurt´s Städelschule under the direction of Hocine Bouhlou and represent a continuation of the art academy´s long tradition of close connections between art, cooking and architecture.

The gallery space of Portikus is blocked through a large wall made of bread. The bread has been baked in situ, and the visitors are invited to eat their way through the wall in order to enter the space. This physical experience is part of the approach to Gordon Matta-Clark. Inside the gallery space numerous actions and presentations will happen throughout the opening weekend. Pamela M. Lee will give a lecture with the title “The Raw and the Baked”. Huyghe and Tiravanija will split a cake-house. There will be baking, eating and Graffiti. Finally, a selection of Gordon Matta-Clark´s films will be screened until the end of the exhibition.

The films, sculptures, photographs and installations of Portugese duo Joao Maria Gusmao (born 1979) and Pedro Paiva (born 1977) capture magical everyday moments. This book includes previously unseen works.

A massive, groundbreaking, international anthology of concrete poetry by women, from Mira Schendel to Susan Howe This expansive volume is the first collection of concrete poetry by women, with artists and poets from the US, Latin America, Europe and Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page. Owing, perhaps, to the fact that concrete poetry’s attempt to revolutionize poetry foregrounded the male-dominated channels in which it circulated, some of the women in this volume―Ilse Garnier or Giulia Niccolai, for instance―were active in the movement’s epicenters, yet failed to attain a visibility or ample representation in international anthologies such as Emmett Williams’s Anthology of Concrete Poetry (1967) and Mary Ellen Solt’s Concrete Poetry: A World View (1968). This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by over 40 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).

Fiat Lux is a meticulously curated photographic collection of sacred spaces spread across the largest region of Italy that is Puglia. In the heel of the boot known for its century-old architectural heritage, this book sheds a light on contemporary, ignored and overlooked buildings from the brutalist, to the modernist – or the simply eccentric. A landmark survey celebrating misunderstood architects and underrated designs, Fiat Lux investigates and examines the relationship between public holy spaces, divine authority and daily living in the south of Italy. With nearly 200 buildings cataloged over the course of five years, this guide is the most extensive study of the kind ever conducted in the region and an essential guide for every architectural enthusiast.

The final decade of the nineteenth century possesses a power to intrigue and fascinate that seems only to grow with time. More than a mere decade, the 1890s continues to inspire works of both fiction and non-fiction. It is a period known by many names – fin-de-siècle, Decadent Nineties, the Beardsley Years, the Yellow Decade, even the Naughty Nineties – and populated by a coterie of literary and artistic icons whose work captured the spirit of the passing age. Despite a number of important developments in photography during this time, the subject has tended to be treated in isolation from this surrounding culture. The seven essays in this book on the subject of nude photography were published in The Studio, The Photogram or the Photographic Times between June 1893 and September 1898, and although their focus is on practical photography, the three authors make frequent allusions – veiled or explicit – to the wider world of arts and letters. A scholarly introduction by James Downs clearly shows how these essays formed part of a larger conversation about aesthetics, sexuality and representation in art at the turn of the last century.

Designed by Irish architect and designer Eileen Gray (1878–1976), E-1027 has only recently taken on the status of an architectural icon. Jürgen Beck’s photographs of the house approach the building as if in search of something. He captures the overgrown paths that he walks to take him to the house, while steering clear of views of the coast and the Côte d’Azur beach and avoiding long shots, as these would falsely enlarge the space, which was designed as an intimate place for work and leisure activities. This establishes a dialogue between the photographs and the architecture; just like Gray herself in the space she designed, the pictures are in search of an expression of openness that admits other forms of life and work, a flexible structure to accommodate the rhythm of the days and everyday situations. Beck directs our eye to a design that takes into consideration people’s psychological and emotional needs and gives things their own name and their own relationships. The images are accompanied by an essay by Swiss author Dorothee Elmiger, who extends Beck’s view of Gray by introducing fragments of text that switch between analysis and impressionistic accounts.

Notes on Fundamental Joy; seeking the elimination of oppression through the social and political transformation of the patriarchy that otherwise threatens to bury us holds up the work of JEB, Clytia Fuller, Tee Corinne, Ruth Mountaingrove, Katie Niles, Carol Osmer, Honey Lee Cottrell, and others, documenting a community of women/womyn in their collective embrace of the ‘back to the land’ movement. Through the lens of pervasive image-making—women holding cameras, women taking pictures of women—the project considers the radical potential of social and political optimism predicated on the absence of men. The book includes a personal essay by writer and artist Ariel Goldberg realized in two parts, understanding the photographs and wider cultural moment through a broader gender lexicon and in the context of trans-exclusionism. Printed on Igeba IBO One 60gsm, a lightweight semi-transparent paper which allows for the show-through of images between page, creating an exchange and dialog between partially visible photographs.

« Qui sont les magiciens de la terre ? les médecins ? les politiciens ? les plombiers ? les écrivains ?… »Extrait de la préface d’Alain Segen. Au printemps 1989, dans son oeuvre installée au Centre Pompidou, à l’entrée du 5e étage, l’artiste Barbara Kruger déclinait une longue liste de trente-trois professions, défiant le titre-même de l’exposition, dans une veine polémique qui persista longtemps. « L’appellation de magiciens est à mon avis plus importante que celle d’artistes, car elle inclut et dépasse la définition-même de l’art, surtout maintenant, depuis que les concepts d’art et d’artiste sont morts maintes et maintes fois. Magiciens est une prophétie d’avenir, et l’artiste devient un diseur d’oracles. » écrivait récemment Huang Yong Ping.Tout à la fois pionnière et insolite, Magiciens de la terre représenta un moment-seuil dans l’histoire des grandes expositions du xxe siècle. Du 18 mai au 14 août 1989, dans les galeries d’exposition du Centre Pompidou et de La Grande halle de la Villette, elle rassembla près de six cents oeuvres produites par plus d’une centaine d’artistes contemporains. Pour première fois sur une scène occidentale, la moitié des artistes provenaient de ces territoires géographiques (Afrique, Antilles, Asie, Europe de l’Est, Océanie) jusqu’alors ignorés par les acteurs d’un monde occidental encore tout-puissant et ethnocentré. Jean-Hubert Martin, son commissaire, en avait conçu le projet en rencontrant des artistes issus de ces cultures qu’il décrivit avec ironie comme « invisibles » et fustigeait, dans un parti-pris politique résolument anticolonial, « l’idée communément admise qu’il n’y a de création en arts plastiques que dans le monde occidental ou fortement occidentalisé. »Vingt-cinq ans après Magiciens de la Terre, à une époque où les arts visuels traversent une période de globalisation accélérée, le Centre Pompidou organise, à partir du printemps 2014, une série d’évènements qui se proposent d’examiner la genèse de Magiciens de la Terre afin de resituer l’exposition dans son contexte et de comprendre, notamment, le rôle que celle-ci a joué dans le processus d’extension géographique du marché de l’art contemporain.Cet anniversaire s’ouvrira sur un colloque international qui permettra à de grandes personnalités du monde de l’art de réfléchir au sens à donner aujourd’hui à l’entreprise des commissaires de l’exposition, à la représentation de l’Autre ou à ce qu’est un artiste de nos jours en Afrique, en Inde, en Chine, en Australie.Une exposition-documentaire offrira au public l’accès aux archives de l’exposition de 1989 à travers une mise en scène imaginéepar l’artiste Sarkis, déjà present en 1989. Une université d’été proposera également un programme d’échange et de confrontations entre jeunes chercheurs.Le légendaire catalogue d’exposition de 1989 étant depuis longtemps indisponible, il était essentiel de proposer un nouvel ouvrage qui reviendrait sur le projet en donnant la parole à des artistes, sociologues, historiens, commissaires et critiques d’art tels que Raymonde Moulin, Annie Cohen-Solal, Mark Francis, Hou Hanru ou encore au critique et théoricien de l’art Bernard Marcadé. Chacune des oeuvres exposées à l’époque sera présentée et les artistes seront invités à répondre à la question « Qu’est-ce que Magiciens de la Terre a changé pour vous? » à travers des écrits ou des oeuvres spécialement réalisées pour cet ouvrage.

Ventinove racconti scelti dalla coppia Ann e Jeff VanderMeer (“Weird Tales”, “Trilogia dell’Area X”) con il meglio della narrativa fantastica declinata in chiave femminista; ventinove autrici sia classiche che contemporanee per un’antologia che proietta il presente in direzione di mondi a volte avveniristici e a volte surreali, investendo di nuova luce i meccanismi che sottendono non solo la costruzione dell’identità sessuale, ma anche il potere stesso. Coordinamento per l’edizione italiana a cura di Claudia Durastanti e Veronica Raimo. Racconti di Eleanor Arnason, Kelly Barnhill, Octavia E. Butler, Leonora Carrington, Angelica Carter, L. Timmel Duchamp, Carol Emshwiller, Kelley Eskridge, Angélica Gorodischer, Hiromi Goto, Eileen Gunn, Leena Krohn, Tanith Lee, Ursula K. Le Guin, Rose Lemberg, Pat Murphy, Nnedi Okorafor, Susan Palwick, Kit Reed, Anne Richter, Joanna Russ, Pamela Sargent, Rachel Swirsky, Vandana Singh, Karin Tidbeck, James Tiptree Jr., Catherynne M. Valente, Élisabeth Vonarburg.

24/7. Algorithmic sovereignty. Anxiety. Artificial intelligence. Automation. Crowdfunding. Data extraction. Entreprecariat. Exploitation. Free labour. Free time. Gig working. Human-in-the-loop. Logistics. Machine vision. Man-machine complexity. Micro-labour. No future. Outsourcing. Peripheral work. Platform economy. Post-capitalism. Post-work. Procrastination. Quantification. Self-improvement. Social media fatigue. Time management. Unemployment. These are arguably just a few of the many keywords required to navigate our fragile, troubled, scattered present, in which the borders between life and work, home and office, sleep and wake, private and public, human and machine have faded, and in which the personal is not just political but economic. Edited by Domenico Quaranta and Janez Janša, featuring words by !Mediengruppe Bitnik (Carmen Weisskopf and Domagoj Smoljo) and Felix Stalder, Silvio Lorusso, Luciana Parisi, and Domenico Quaranta and works by !Mediengruppe Bitnik, Danilo Correale, Elisa Giardina Papa, Sanela Jahić, Silvio Lorusso, Jonas Lund, Michael Mandiberg, Eva and Franco Mattes, Anna Ridler, Sebastian Schmieg, Sašo Sedlaček, and Guido Segni, Hyperemployment – Post-work, Online Labour and Automation is an attempt to scrutinise and explore some of these issues. A catchphrase borrowed from media theorist Ian Bogost, describing “the Exhausting Work of the Technology User,” hyperemployment allows us to grasp a situation which the current pandemic has turned endemic, to analyse the present and discuss possible futures.

Les photographies qui composent le livre de Tabitha Soren Surface Tension sont des reproductions à la chambre 20×25 de l’écran de sa tablette numérique. En arrière-plan, derrière les traces de doigts qui recouvrent ce dernier, figure un corpus d’images provenant aussi bien de l’historique de ses recherches internet, des réseaux sociaux qu’elle consulte que des sms qu’elle reçoit. Des clichés de feux de forêt, de protestations, de répressions policières, des clichés qui constituent l’actualité et que nous consultons quotidiennement et souvent de manière machinal. Son geste artistique met en évidence la constante interaction que nous entretenons avec notre téléphone et évoque la réalité collective de millions d’humains constamment attirés par leurs écrans et qui à force de recevoir un flot incessant d’informations en constant renouvellement, oublie peu à peu qu’ils participent aussi au monde physiquement et collectivement. Le livre est accompagné d’un essai écrit par Jia Tolentino, rédactrice pour le New Yorker et autrice de la collection d’essais intitulée « Trick Mirror: Reflections on Self-Delusion ».

Portable World documents an exhibition of the same name that was held from October 5, 1973 to January 1, 1974, at the Museum of Contemporary Crafts in New York City. The exhibition examined the transient nature of society that was burgeoning into the new norm in the mid-20th century. As Barbara Bullock, curator of the exhibition notes in the “Portable World” catalog, “People who lead a relatively stable existence are showing a marked inclination for portable possessions. Twenty percent of the population moves each year. This movement and the urban centers require objects with succinct form and function, providing maximum use within the confines of minimum space” With objects including a telescopic umbrella, portable greenhouse, and gas powered pogo stick, this far-out exhibition featured more than 200 items that collapse, unhinge, deflate, stack, roll, or fold for ease in transport. But is it craft? In an October 4, 1973 New York Times article about “Portable World,” museum director Paul J. Smith had this to say, “Machined objects stimulate design thinking among craftsmen who are only involved in hand crafts. Why not have weavers produce sleeping bags on the loom?”

Slittamenti della performance è un progetto editoriale, sviluppato in due volumi, che ha l’intento di narrare analiticamente la nascita, lo sviluppo e le varie articolazioni della performance art internazionale dagli anni Sessanta ai giorni nostri. Slittamenti della performance, Volume I. Anni 1960 – 2000 tratta l’avventura performatica dalla sua nascita alla fine del millennio, seguendone le vicissitudini, le significazioni e gli sconfinamenti che ha sviluppato negli anni. Il saggio è un excursus critico e non edulcorato che si insinua nelle esasperazioni fisiche di Gina Pane, Ulay e Marina Abramovic, Vito Acconci, Chris Burden, Guerilla Art Action Group e gli Azionisti viennesi, nel femminismo radicale di Judy Chicago, Carolee Schneemann, Yayoi Kusama, Valie Export ed altre, passando per artisti apolidi come i Coum Transmission, Leigh Bowery, Joan Jonas, Luigi Ontani, Urs Lüthi, Rebecca Horn, James Lee Byars, Hélio Oiticica, Rebecca Horn, Jannis Kounellis e molti altri e fino alla ridiscussione corporea della Black Identity di David Hammons, Adrian Piper, Senga Nengudi e Lorraine O’Grady. Negli anni Novanta, il corpo è slittato dalla sua fissità organica alla mutevolezza folgorante dell’epoca postumana dove Matthew Barney, Jana Sterbak, Janine Antoni, Paul McCarthy, Mike Kelley, Bruce Nauman, Félix González-Torres e altri esplorano le geometrie corporee per caricarle di nuovi significati. Con il corpo postorganico l’incessante ricerca biotecnologica e neuroscientifica cambiano prospettiva alla funzionalità corporea sublimando il suo desiderio di mutazione.

Exhibition catalogue published in conjunction with Art Metropole’s 10th Anniversary exhibition held November 17 – December 8, 1984. Designed by AA Bronson. Text by AA Bronson, John Goodwin, Christina Ritchie, and Peggy Gale. Includes an exhibition checklist and an Art Metropole chronology from 1974 – 1984. Indexes works by: Vito Acconci, Vincenzo Agnetti, Shelagh Alexander, Laurie Anderson, Carl Andre, Ant Farm, Eleanor Antin, Ida Applebroog, Shusaka Arakawa, Ryan Arnott, Robert Ashley, David Askevold, Alice Aycock, John Baldessari, Robert Barry, Carole Gallagher, Luciano Bartolini, Lothar Baumgarten, Joseph Beuys, Caroline Tisdall, Dara Birnbaum, Mel Bochner, Alighiero Boetti, Christian Boltanski, Pierre Boogaerts, Jonathan Borofsky, Brad Brace, George Brecht, Hans Breder, Marcel Broodthaers, Stanley Brouwn, David Buchan, Hank Bull, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Richard C., Miriam Cahn, John Cage, Ulises Carrion, James Casebere, Sarah Charlesworth, Sandro Chia, Giuseppe Chiari, Robert Christo, Collective Chromazone, Heinz Cibulka, Francesco Clemente, James Collins, Claudio Costa, Robert Cumming, Greg Curnoe, Hanne Darboven, Lowel D. Darling, Juan Da Villa, Constance De Jong, Tom Dean, Mario Diacono, Antonio Dias, Jan Dibbets, Martin Disler, Jean Dubuffet, Marcel Duchamp, Mary Beth Edelson, Kit Edwards, Felipe Ehrenberg, Valie Export, Hans-Peter Feldmann, Robert Filliou, A.M. Fine, Hervé Fischer, Joel Fisher, Copp Fletcher, Robert Fones, Ken Friedman, Hamish Fulton, Phillip Galgiani, Eldon Garnet, Gilbert and George, Jochen Gerz, Michael Gibbs, Jon Gibson, Oliver Girling, Randy Gledhill, Tom Graff, Dan Graham, John Greer, Walther Gutman, Hans Haacke, Dieter Hacker, Noel Harding, Keith Haring, Stephen Harris, Matt Harley, Michael Heizer, Gerard Hemsworth, Jan Herman, Geoff Hendricks, Dick Higgins, Susan Hiller, Hans Hollein, Jenny Holzer, Rebecca Horn, Douglas Huebler, Sonja Ivekovic, Jasper Johns, Ray Johnson, Joe Jones, On Kawara, Anselm Kiefer, Kijkhuis, Yves Klein, John Knight, Richard Kostelanetz, Joseph Kosuth, Jannis Kounellis, Les Krims, David Lamelas, Bernard Lassus, Vera Lemecha, Les Levine, Sol LeWitt, Tina Lhotsky, Roy Lichtenstein, Colin Lochhead, Richard Long, Robert Longo, Nino Longobardi, Urs Luthi, George Maciunas, Allan Mackay, David MacWilliam, Paul Maenz, Arnaud Maggs, Liz Magor, John Massey, Hansjorg Mayer, Bruce McLean, Sandra Meigs, Mario Merz, Eric Metcalfe, Phillip Monk, Michael Morris, Muntadas, Ian Murray, Norman Ogue Mustill, Maurizio Nannucci, Opal L. Nations, Bruce Nauman, Linda Neaman, Al Neil, Hermann Nitsch, Barbara Noah, Arlene Golant, Claes Oldenburg, Luigi Ontani, Dennis Oppenheim, Nam June Paik, Giulio Paolini, Andy Patton, Steve Paxton, A.R. Penck, Giuseppe Penone, Bern Porter, Royden Rabinowitch, Marcus Rätz, Steve Reich, Lothar Reiners, James Riddle, David Rosenberg, Martha Rosler, Dieter Rot, Ed Ruscha, Lawerence Weiner, Reiner Ruthenbeck, Jim de Sana, Lucas Samaras, Bernd Schmitz, Carolee Schneemann, Rudolf Schwarzkogler, Kurt Schwitters, Tom Sherman, Chieko Shiomi, Seth Siegelaub, Jack Wendler, Michael Snow, Valerie Solanas, Daniel Spoerri, Klaus Staeck, Ernesto Tatafiore, Paul Thek, Edwin Klein, Vincent Trasov, John Mitchell, Richard Tuttle, Cy Twombly, Ulay, Roland Van Den Berghe, M. Vaughan-James, Ben Vautier, Bernar Venet, Claudio Verna, Wolf Vostell, Martin Walde, Jeff Wall, Duane Lunden, Ian Wallace, Andy Warhol, Robert Watts, George Whiteside, Robert Wiens, Stephan Willats, Emmett Williams, Martha Wilson, Robert Wilson, Ludwig Wittgenstein, Krzysztof Wodiczko, Va Wölfl, Peter Wronski, Donna Wyszomierski, Keigo Yammamoto, La Monte Young, and R. Zybert.

Textes de Mabille, Brassaï, Eluard, Vollard, Valery, Sannt-Exupery, Ramuz, Mallarmé, Fargues, Dali, Courthion, Breton, Heine, Prassinos, Jouve, Péret .Illustrations de Bill Brandt, Brassaï, Dali, Picasso, Tanguy, Klee, Kandinsky, Ernst, Cézanne, Bellmer (La Poupée), Seligmann, Duchamp .

Un chapitre méconnu de l’engagement des surréalistes et de l’avant-garde artistique des années 1930. En 1931, en réaction à l’ouverture de l’Exposition coloniale internationale à Vincennes, les surréalistes dénoncent la politique impérialiste de la France par l’organisation d’une contre-exposition intitulée « La vérité sur les colonies ». Si cet ouvrage revient sur ce chapitre particulier du combat surréaliste et de son iconographie subversive (photographies, productions graphiques et photomontages militants), il aborde également les rapports équivoques que la photographie moderne a entretenu avec les cultures « autres », passées ou contemporaines. À travers la collection de photographies du Musée national d’art moderne (Laure Albin-Guillot, Pierre Boucher, Pierre Ichac, François Kollar, Eli Lotar, Man Ray, Roger Parry, André Steiner, Titaÿna, Pierre Verger, René Zuber…), le regard d’alors révèle toute sa complexité, entre fétichisation et renouvellement des codes de la représentation exotique.

Part of JRP|Ringer’s innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field–from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs–with pioneering curators Anne D’Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator’s death in 2005, critic Aaron Schuster summed up, “the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a ‘spiritual guest worker’… If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice–itself defined by selection and arrangement–would come to be seen as an art that operates on the field of art itself?”

An essential compendium on the work, life and legacy of the transgressive autofiction pioneer The American author Kathy Acker was one of the most influential writers of the 20th century. Working through a tradition spanning Bataille, Burroughs, Schneemann, French critical theory and pornography, she wrote numerous novels, essays, poems and novellas from the early 1970s to the late 1990s, among them the classics The Childlike Life of the Black Tarantula, Blood and Guts in High School and In Memoriam to Identity. A truly pioneering postmodernist, plagiarist and postpunk feminist, Acker continues to inspire generations of writers, philosophers and artists, from her contemporaries such as Dodie Bellamy, Avital Ronell, McKenzie Wark and Chris Kraus to younger writers such as Bhanu Kapil and Olivia Laing. Get Rid of Meaning is the first comprehensive publication to synthesize art and literary perspectives on Acker’s work. It shows Acker’s own visual sensibility in her cut-up notebooks and her use of mail-art idioms, and orients her emergence within the 1970s art scenes in New York and California populated by Eleanor Antin, Lynn Hershman Leeson and Constance DeJong, among others—artists who made innovations in performance, of which Acker would make use. Also included is previously unpublished material from Acker’s personal archive and other collections, including correspondence, her library and various personal effects. Contributors include: Kathy Acker, Dodie Bellamy, Hanjo Berressem, Ruth Buchanan, Anja Casser, Georgina Colby, Leslie Dick, Claire Finch, Johnny Golding, Anja Kirschner, Chris Kraus, Sylvère Lotringer, Douglas A. Martin, Jason McBride, Karolin Meunier and Kerstin Stakemeier, Avital Ronell, Daniel Schulz, Matias Viegener and McKenzie Wark.

Botanist Jean Massart made a series of landscape photographs in Flanders between 1904 and 1911 to depict natural vegetation in the landscape and the relationship between agriculture and geography. In 1980 Georges Charlier re-photographed about 60 of Massarts images, and in 2003 Jan Kempenaers was commissioned to re-photograph the same scenes. A fourth series was made by Michiel De Cleene in 2014. A varying emphasis on documentarian, artistic, and scientific aspects can be seen in each. The collection now serves research on urbanisation and landscape mutations.

Quitting Your Day Job: Chauncey Hare’s Photographic Work is the first critical biography of the American photographer Chauncey Hare (1934-2019). Although Hare received a significant, if fleeting, degree of professional success, including a solo exhibition at the Museum of Modern Art in 1977, an Aperture monograph, and three Guggenheim fellowships, his work has not received the critical attention it deserves and his extraordinary life story remains obscure. This lack of recognition has much to do with Hare’s fanatical aversion to the commercial realms of the art world even at the height of his professional success. Perhaps his most overt declaration of aesthetic disavowal was his ultimate decision to renounce his identity as an artist in 1985 and pursue a career as a clinical therapist specializing in “work abuse” (which is also the title of a book he co-authored on the subject in 1997). Hare would subsequently donate his entire archive to the Bancroft Library at the University of California-notably not the Berkeley Museum of Art-with the provision that the original prints cannot be exhibited and that any reproduction of his work must include a caption that states that the photograph was created “to protest and warn against the growing domination of working people by multinational corporations and their elite owners and managers.” Quitting Your Day Job considers the vexed relation between art and politics that defined Hare’s career, drawing upon largely unexamined archival materials, new interviews and analyzing Hare’s brilliant and moving photographs alongside the prolix and oftentimes bathetic prefaces he wrote for the three collections of his photographs. The book presents a wide-ranging critical account of Hare’s life and art, suggesting the ways in which his work continues to resonate with contemporary concerns about the reach of corporations into everyday life, documentary photography’s longstanding complicity with the politics of liberal guilt, and art’s vexed relation to elite channels of power.

“Era estate e come molti bambini passavo le mie giornate ad un centro estivo. Una sera tornai a casa molto eccitata e dopo aver cenato da mia nonna salii al piano di sopra dove abitavamo io e mia madre con l’intenzione di andare a dormire. Appena entrai vidi mia madre e un uomo seduti sul divano a guardare la televisione. Mia madre mi chiese come fosse andata la giornata ed io non mi trattenni a mostrare ad entrambi ciò che avevo appreso. Cominciai a ballare e cantare di fronte alla televisione per circa 10 minuti, finché l’uomo non interruppe la mia performance dicendo “Si è fatto tardi, meglio che vada.”, seguito da uno sguardo fulminante da parte di mia madre. Una volta salutato l’uomo mia madre tornò in casa e mi disse “Possibile che devi farli scappare tutti?”. I Made Them Run Away è una storia a più livelli che intreccia assieme fotografia, immagini di archivio e testi scritti dalla madre dell’artista. Raccoglie ricordi del passato e sentimenti presenti per riflettere sulle dinamiche delle relazioni – il bisogno di attenzione, le aspettative che causano disillusione, insicurezza e giudizio. Spostandosi tra i diversi punti di vista, Zanin descrive il ricorrente complicato rapporto tra lei, sua madre e l’”uomo”, non costante, per lo più rappresentato come un’assenza all’interno del lavoro. ————————————- ‘It was summer and as many children did, I spent my days in a summer camp. One night I was very excited when I came home and after having had dinner with my grandmother I went upstairs, where my mother and I lived, with the intention of going to sleep. As I entered, I saw my mother and a man sitting on the couch watching television. My mother asked me how my day had been and I couldn’t stop myself from showing both of them what I had learned. I started dancing and singing in front of the television for about 10 minutes, until the man interrupted my performance by saying “It’s late, I’d better go.”, followed by my mother’s glare towards me. Having said goodbye to the man, my mother came back in the house yelling at me: “How is it possible that you make them all run away?”.’ I Made Them Run Away is a multi-layered story weaving together family images and photographs with texts written by the artist’s mother. It brings together memories from the past and feelings of the present to investigate the dynamics of relationships – the need for attention, the expectations that cause disillusionment, insecurity and judgment. Shifting between the different points of view, Zanin depicts the recurring complicated triangle relationship between she, her mother and the “man”, not constant, mostly represented as an absence in the work.

Peak is about the Dolomites, the UNESCO heritage Alpine range known as “the pale mountains”. The book illustrates the cyclicality affecting the Dolomites by focusing on the progressive morphing of summer into winter, dusk into dawn, whiteness into blackness, roughness into softness. The apex-nadir binomial frames the continuous pendular oscillation between two extremes. As such, Peak gives back the material fleetingness of the ever-changing Alpine environment through a publication that is at once an insight and an index of the eternal return conditioning the Dolomites. The volume unfolds as a circular paper dance between opposites continuously swapping the lead. The narrative starts with five completely blacked-out pages that progressively sublimate into an all-white double-spread sitting right in the middle of the volume: the peak of the day, the mountain top, the sharpest, protruding fore edge of the book.