In 1967, Richard Long, then twenty-two years old and a student at Saint Martin’s School of Art in London, walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The resulting work, A Line Made by Walking, was not only the starting point for Long’s career as an artist but also a landmark for a new kind of art emerging in Europe and the Americas. The formal simplicity of Long’s artwork suggested a relation to minimalism, but its location outside the gallery context and its suggestion of bodily actions also connected it to a new generation of artists whose work combined the organic, the temporary, the nonmaterial, and the performative to offer a critique of the art system and its language, forms, and values. Long’s work bridged the concerns of his North American and European counterparts, connecting the industrial scale of Robert Smithson to the modesty of Gilberto Zorio, the exercises in dematerialization of Robert Morris with the organic forms of Alighiero e Boetti, and the performance of Yvonne Rainer with that of Joseph Beuys.

Although A Line Made by Walking is an instantly recognizable work, no detailed analysis of this foundational piece has yet been published. At a time when Richard Long’s career is being celebrated and reassessed, this study by writer and curator Dieter Roelstraete could not be more timely.

One Work series
Distributed for Afterall Books

Having made a name for himself in the Roman art scene of the early 1960s, Jannis Kounellis resurfaced, with extraordinary intuition and creative force, in the Arte Povera movement–the first Italian art movement to be recognized on an international level. Using materials that were initially considered unusual, such as wool, coal, live animals, plants, and theatrical sets, and endowed with a keen sixth sense, Kounellis worked to eliminated the ideological boundary that separates life from art, ethics from aesthetics, creation from production, the social and the political from the individual and the anarchic. Kounellis’s intense artistic odyssey, his more than four decades of fervent and impassioned activity, is here richly illustrated on the occasion of his first large-scale exhibition in Belgium.

When Marcel Duchamp shipped Constantin Brancusi’s sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling’s exhibition at New York’s Casey Kaplan Gallery were confronted with Staling’s own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi’s country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling’s art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work’s own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art’s most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work’s heart. Economies, ecologies, coincidences and convergences are all simply means to an end — although ‘simply’ may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling’s other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals. Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the Sao Paulo Biennial (2005). Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling’s work, examining circularity and serendipity and their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord’s Focus scrutinizes Wilhelm Noack oHG (2006) as an example of material cinema. Artist’s Choice is a extract from Flann O’Brien’s 1996 novel The Third Policeman, a fantastical conversation about bicycles swapping atoms with their riders. Artists Writings include five project statements, all of which consist, in varying proportions, of history, science and speculative fiction.

Chiasera’s range is manifold: it extends from painting and drawing through sculpture and installation to film and performance. He carves heads out of wood, emerges disguised in the roles of the most diverse figures in the history of art, dedicates to them their own archive or sculpts enormous sculptures out of clay only to blow them up and generate something new once again. Paolo Chiasera’s work changes its form frequently and allows the viewer to take in various angles. The artist’s book presents various projects that were customized in collaboration with the graphic designer Till Gathman on varying paper, quality and size.

Can art express questions about justice? Could art, perhaps, even create justice? In Aesthetic Justice, sociologist Pascal Gielen and curator Niels Van Tomme invite a variety of artists and critical thinkers-including Zoe Beloff, Arne De Boever, Mark Fisher, Matt Fraser, Tessa Overbeek, Kerry James Marshall, Viktor Misiano, Carlos Motta, Nat Muller, Julie Atlas Muz, Gerald Raunig, Dieter Roelstraete, Hito Steyerl, Julia Svetlichnaja, Hakan Topal, Samuel Vriezen and Christian Wolff-to reflect on new futures for the notion and practice of justice. The book offers thought-provoking views on the ways in which art may confront and potentially redirect social and political futures. Incorporating analyses of contemporary artworks that challenge the social, political or economic status quo, as well as interviews with artists and theoretical reflections, Aesthetic Justice considers the liberating potential of aesthetic frameworks and suggests alternatives for a more just future.

With essays by Maria Berman, Nuria Enguita Mayo, Ricardo Nicolau, Dieter Roelstraete, Doris von Drathen English Designed by Purtill Family Business 207 � 254 mm, 128 pages, 55 color and 8 b/w, illustrations, softcover The first monograph to be published on the work of Leonor Antunes, villa, how to use is released in association with the exhibition Antunes conceived for the Serralves Villa in 2011. The result of a close collaboration between the artist and graphic designer Conny Purtill, this fully-illustrated publication includes installation views of Antunes’ exhibition (which featured works produced by the artist over the past decade alongside pieces specifically created for the Villa spaces), as well as five essays that offer an in-depth survey on Antunes’ art. Dieter Roelstraete highlights the speculative concerns that, under the blanket term architecture, Antunes shares with the three most important German-speaking philosophers of the twentieth century (Wittgenstein, Heidegger, and Adorno): identity and belonging, homeliness and uprootedness, measures and proportion, space and balance. Taking the case study of Manhattan’s Park Avenue after WWII, Maria Berman examines the theme of duplication in architecture. Doris van Drathen finds in Leonor Antunes’ work the use of “measurement” as a tool of grasping the world. Nuria Enguita Mayo addresses the problems of duplication, faktura and restriction, while Ricardo Nicolau reflects on the dialogue of the artist with the architecture of the Serralves Villa and the memory of other buildings from the history of modernism.

This is the first extensive survey catalogue of the work of Vancouver-based artist Ian Wallaceża key figure of the extraordinary artistic ferment in the Canadian city of Vancouver, a pioneer and theorist of its internationally regarded tradition of photo-conceptualism, and a teacher and colleague of such luminaries as Jeff Wall, Rodney Graham, and Stan Douglas. Energized by the dialectic tensions between monochrome painting and documentary or staged photography, between the emblematic sites of street, studio and nature, Wallaceżs practice fosters engagement with the persistent impulses of vanguard modernism.A distinguished company of European thinkers, curators and critics have been invited to consider Wallaceżs art, inspirations, and influence: Vanessa Joan M¸ller considers the persistence of the monochrome in the artistżs oeuvre; Thomas Weski considers his engagement with the development of photo-conceptualism; Dieter Roelstraete addresses the dialectics of street and studio; and the eminent French philosopher Jacques Rancičre pursues his on-going meditation on the politics of aesthetics, which has had a strong influence on Wallaceżs thinking about art. The indispensable reference includes extensive color reproductions, catalogue of exhibited works, a chronology, and thorough bibliographic information.

The third volume of the Documenta 14 magazine South as a State of Mind is devoted to the working motif of “language or hunger.” The issue examines various forms and histories of language, lexicon and fable, as well as political ecology and environmental violence: climate and conflict, the iconography of famine, the aesthetics of hunger, and the connection between colonialism, land rights issues, environmental self-determination and cultural production.
Contributors include Nabil Ahmed, Sotirios Bahtsetzis, Moyra Davey, Natasha Ginwala, Gordon Hookey, Tina Modotti, Joaquín Orellana, Jina Politi, Pope.L, Lisa Robertson, Dieter Roelstraete, Lala Rukh, Savitri Sawhney, Monika Szewczyk, Cecilia Vicuña and Vivian Ziherl, among others.

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