Présente l’élaboration d’une oeuvre de l’artiste, à la villa Arson, à Nice, en 1994. Comme dans beaucoup de ses oeuvres récentes, Paul McCarthy veut explorer le décalage entre la société de consommation, d’une part, et le malaise intérieur et la triste réalité de beaucoup de gens, d’autre part.

Polish artist Monika Sosnowska makes work with space and about space, so that space becomes an experience and attributes such as “narrow” or “wide,” “closed” or “open,” “low” or “high” are experienced sensuously and emotionally.

In the Austria of the wild 1960s, the visionary designs of architects and artists garnered international attention. Described as the “Austrian phenomenon,” these projects and installations contained the concentrated creativity of the Austrian architectural neo-avant-garde between 1956 and 1973. In Vienna, these avant-garde dreams came to be symbolized by Hans Hollein’s Retti Candle Shop and Hermann Czech’s many cafés and bars, which are still successful today, including the Kleines Café (Little Café), Wunderbar, and Salzamt. The best-known protagonists of this scene include Hans Hollein, Walter Pichler, Raimund Abraham, Coop Himmelblau, Haus-Rucker-Co, Missing Link, and others. The book is fully illustrated in color and consists of two parts. The first contains “Documentation” of important publications from the years 1958–1973 in international trade journals like Archigram, Domus, Architectural Record, and Casabella, in which the young architects sought attention for their programs. The second is “Reconstruction,” a cross-section of images and texts from publications on the “Austrian phenomenon,” elucidated and situated in the context of international architectural history by authors such as Friedrich Achleitner, Bart Lootsma, Stanislaus von Moos, Joseph Rykwert, Anthony Vidler, and others.

The projects and preoccupations of the Icelandic artist Olafur Eliasson inspired this unique collaborative enterprise by artist, curator, scientists, and art critics. In his art, Eliasson explores our conceptions of nature and the scientific tools we use to observe, measure, and control it. Through his works—installations, site-specific sculptures, and photographs—the laboratory within the museum becomes the site not only of knowledge but also of aesthetic and sensual pleasure. Distinguished by a poetic economy of means and a quiet, elegant beauty, his work combines the ephemeral natural effects of light, water, and wind with more tangible materials such as wood, moss, and grass. Eliasson has often said that he is trying to recapture the Iceland of his childhood—with its hot springs, volcanoes, and frozen landscapes—in his art. In the book Eliasson’s works serve as the thematic prism for a wide range of essays exploring the intersection of science and art. The contributors range from chemists, geologists, and physicists to architects and cultural theorists. Among others, they include Per Bak, Aaron Betsky, Daniel Birnbaum, Jonathan Crary, Gyorgy Darvas, William Day, Manuel de Landa, Diller + Scofidio, Norman Foster, Peter Galison, Manuel Gausa, Brian Greene, Elizabeth Grosz, Marianne Krogh Jensen, Rem Koolhas, Henri Lefebvre, Gunter Leising, Bruce Mau, Hans Ulrich Obrist, Robert Osserman, John Rajchman, Jaime Salazar, Erik Scheldon, Richard Sennett, Kurt Schilcher, Michael Speaks, Ben van Berkel, Anthony Vidler, Hans C. von Baeyer, Peter Weibel, and Manfred Wolff-Plottegg.

Employing such decorative elements as scrolls, arrows and patterns, Los Angeles-based Lari Pittman–one of the most influential and challenging voices in contemporary painting–expertly directs our eye through his busy constellations of fragmented imagery (landscapes, domestic interiors, roots, flames, rope, spiderwebs), cobbling together a truly unique language. Critic Alex Farquharson has noted that Pittman’s work is cut up, overlayered and elaborately stylized… The very excess of imagery in the paintings, and the innumerable narratives they spark off, has the comparable effect of flattening illusionistic depth. This echoes the horizontal sprawl of L.A.’s diverse communities, and the pluralistic languages of commerce and dwelling with which each gives its pitch and establishes its patch. This collection of works from 2005 to 2008 features texts by independent curator and writer Klaus Kertess and Anthony Vidler, Dean and Professor at The Cooper Union School of Architecture.

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