Tadashi Kawamatas curious installations manifest at a variety of locations around the globe, from Centre Pompidou, Paris, and Madison Square Park, New York, to Documenta IX and the Shanghai Biennale. Works emphasise architectural space as urban or designed social context or product with often temporary pieces constructed from timber or locally salvaged materials. This book offers an invaluable survey, with photographic documentation ranging from early domestic interventions, through prolific activity in public realms and to the recent tree huts, which imagine an elevated, alternative perspective. With texts by Jonathan Watkins, Martin Friedman and Guy Tortosa.
Complete catalogue raisonné of the artist’s editioned works. Foreword by Alan Cristea with introduction and commentary on each project by Julian Opie and essay by Jonathan Watkins, director of Ikon Gallery, Birmingham. 272 pages with colour illustrations and full documentation of 169 limited editions and over 150 unlimited editions.
Swiss artist Beat Streuli (*1957) takes the urban environment and its inhabitants as the central motif of his work. His photographs are neither documentary nor conceptual: rather they lead us to a form of aesthetics that one could describe as the “glamour of the usual.” This monograph is a survey of his oeuvre of the last 15 years, which includes billboards and large-scale window installations on the facades of public buildings, and a selection of his installations of slide and video projections. Streuli by Streuli: an extensive image sequence mostly taken by the artist himself documents Streuli’s rejection of the classic museum exhibition context. Instead he takes the photographs back to their place of origin—public space. With newly commissioned texts by Raymond Bellour, Roberta Valtorta, and Jonathan Watkins.
Described as ‘wonderfully unreliable experiments’, Anya Gallaccio’s work is concerned essentially with the nature of change and the balance struck between growth and decay. One of the leading British sculptors of her generation, the artist’s practice demonstrates a remarkable ability to combine audience engagement with an intellectual rigour. Transforming the everyday to the extraordinary, her installations make use of a wide range of commonplace materials such as chocolate, ice blocks, salt, flowers, chalk, candles and vegetables. This publication was launched to coincide with the artist’s first survey exhibition at Ikon in Spring 2003, for which she was nominated for the Turner Prize and includes comprehensive documentation of some of her most celebrated work, as well insights into her most recent sculptural projects, previously unseen in the UK. An essay by art historian and critic Simon Watney included in the catalogue gives particular attention to individual pieces featured in the 2003 Ikon exhibition, while also providing a broader overview of Gallaccio’s past works, including exhibitions at Tate Britain in 2000 and 2002, in Basel, Switzerland from 1994-1996, and in Rome, Italy in 1994. Themes and influences are also explored by Watney, in particular, the artist’s fascination with concepts of time, cycles, fragility and mortality, and the impact of American philosopher Walt Whitman and the 1960s minimalist sculptors on her work. In addition, this catalogue includes multiple full colour photographs of Gallaccio’s work and an abstract ‘question and answer’ style selection of philosophical musings related to her ideas, compiled from various historical and philosophical texts by writer Angus Cooke.
Avec les crÈations de Tadashi Kawamata (1953) implantÈes ici et l‡ sur la faÁade de l’institution parisienne ainsi que dans les recoins de la galerie, le visiteur est de retour dans un monde prÈfiguratif, un monde avant le monde, entre archaÔsme b‚ti et modernitÈ Ècologique, entre enfance (et ses cabanes dans les arbres) et ‚ge de raison (et ses Èco-lodges so chic des forÍts pluviales plus ou moins primaires). L’ouvrage est l’occasion d’Èlargir le champ photographique de ses installations aux quatre coins du monde. PubliÈ ‡ l’occasion de l’installation in situ prÈsentÈe du 17 avril au 23 ao˚t 2010 au Centre Pompidou ‡ Paris.
This catalogue marked the most comprehensive exhibition to date of work by Palestinian artist Ahlam Shibli. In her photographs, Shibli deals with the everyday life of the Palestinian population living in Israel and with the consequences that arise from living together in a state of permanent conflict. Her work aspires to a straightforward communication of daily life, paradoxically rarely seen. One series here, Unrecognized, focuses on ‘Arab al Na’im’, a village in the Galilee region that does not exist on official maps. Photographs of the landscape, the villages, the villagers, their belongings and homes are remarkable for their spontaneity, openness and colour. The work epitomises the artist’s fundamental proposition and is remarkable for its openness and lack of bitterness. The artist explains ‘I am trying to show the price a minority is forced to pay to the majority to be accepted, even if it costs a change in identity, perhaps to survive, or maybe more than this.’ This publication features a foreword by Ikon Director Jonathan Watkins, a text by writer John Berger, full colour images, an essay by Kamal Boullata and a biography.
This catalogue coincided with the first major museum exhibition of early and recent paintings by Brazillian artist Beatriz Milhazes. The artist’s work is ostensibly abstract, but then clearly so much about the culture from which it springs. The layers of concentric patterns, circles in circles, spirals and arabesques, floral emblems and rosettes assert the baroque tradition of Brazil, as evident in contemporary popular imagery as it is in seventeenth century architecture and fine art. Combined with sophisticated, yet refreshingly unacademic references to regional and international modernisms, the artist’s work encourages us to take decorativeness seriously. This catalogue features essays by David Moos and Paulo Herkenhoff.
AA Bronson’s 2003 exhibition at Ikon consisted of one work, his portrait Felix, June 5th, 1994 – a vast photograph, taken of his deceased friend Felix a few hours after he died. Together with Felix Partz and Jorge Zontal, Bronson founded the acclaimed group General Idea, with whom he exhibited throughout the world for over thirty years. This exhibition marked his first UK show as a solo artist after Felix and Jorge died of AIDS related illnesses and as such, functioned as part of a healing process. The work itself was displayed alone in Ikon’s first floor galleries and as a consequence appeared as an iconic human gesture in an architectural void of blank white walls, having no juxtaposition or ‘competition’ with other work in the space. In echo of this, the catalogue contains only the single image, Felix, and also includes an in-depth interview between Bronson and German artist Matthias Herrmann. This candid exchange explores issues such as the boundaries between the public and the private, victimization, the literary/artistic depiction of AIDS sufferers and the relationship between death, art and audiences. Bronson’s gesture of photographing his close friend in death is at once tough in its record of the facts and beautifully tender, embodying an extraordinary tension between an assertive decorative quality – a Klimt-like collision of patterns and bright colours – and profound subject matter. In accompaniment to this, the interview recorded in this catalogue functions as a powerful and moving defense of Bronson’s efforts to face grief through creativity.
Il volume presenta per la prima volta l’antologia completa degli scritti di Giuseppe Penone: 190 testi poetici arricchiti da immagini di opere storiche di uno dei protagonisti indiscussi dell’Arte Povera e dalla documentazione fotografica della mostra personale tenutasi al MAMbo dal 25 settembre al 8 dicembre 2008. L’accostamento testo-immagine risulta fondamentale per il lettore che, nello sfogliare le pagine, ha la possibilità di cogliere il forte legame tra il “gesto della scrittura” e le opere di Penone.Arricchiscono il volume un saggio introduttivo di Gianfranco Maraniello, direttore del MAMbo, e una postfazione di Jonathan Watkins, direttore di Ikon Gallery-Birmingham, coproduttore con MAMbo di tale progetto editoriale.
This beautifully produced catalogue was produced to coincide with Grosse’s touring exhibition in 2002. The publication features a foreword, a transcribed conversation between Ikon Director Jonathan Watkins and the artist, essays by Marion Ackermann, Beate Ermacora and Roland Wäspe, full colour photographic documentation including installation shots from the Ikon exhibition, a bibliography and biography, with English and German translation. The book illustrates Grosse’s rejection of the traditional canvas as a foundation for her colourful, abstract paintings in favour of architectural form. The artist combines different varieties of paint and methods of application to cover the wall’s surfaces with intense colour. The context of architecture is crucial for Grosse, particularly for an understanding of her most recent work. Painted or sprayed directly onto walls, it constitutes an acknowledgement of the formal qualities of its most immediate environment. It also embodies the traces of the artist’s movements within the space in the process of painting. Architecture, informed by an architect’s understanding of human behaviour, thus provides a cue for the artist’s response. At once rigorous and informal, the finished work is compelling graffiti, beautiful evidence that ‘she was here’.
This beautifully produced catalogue accompanied the Ikon exhibition Somebodies, the first solo show in the UK by Japanese photographer Noguchi Rika. Consisting of four photographic series – I Dreamt of Flying, Colour of the Planet, About the World Below Zero and Rocket Hill – The Planet demonstrates the artist’s distinct vision of our world as an alien place. Noguchi does not manipulate her images, either through direction of her subjects or through darkroom processes. ‘I wish to photograph the truth, explains the artist…to find new ways of looking at the earth’. This illustrated publication features colour images of the four series that featured in the exhibition, together with a foreword and essay by Ikon Director Jonathan Watkins, a statement from the artist about the production of About the World Below Zero, a list of works, a biography, a bibliography and an essay by Atsuo Yasuda. This catalogue also features English and Japanese text.
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