SingularBooks_FALL/WINTER 2022

NEW RELEASES (+ BACK IN STOCK AND RECENT TITLES)

CARLOS BUNGA: OVERSEAS CORRESPONDENCE AGAINST THE EXTRAVAGANCE OF DESIRE

Known by his sculptural and painterly structures Carlos Bunga usually propose architecture as body and mindscape, combining a powerful materiality with the evocation of psychic states.

When in 2020 the Reina Sofía Museum proposed Carlos Bunga (Porto, 1976) to carry out a site-specific project for the Palacio de Cristal in El Retiro Park in Madrid, the artist began a research process on the origin of the building that became fundamental in the genesis of the project and of this artist book. Built, as a greenhouse, to celebrate the Philippine Islands Exhibition in 1987, the palace housed exotic plants and “exhibited” examples of the aboriginal population that in the correspondence established between Víctor Balaguer, Minister of Overseas, and Pedro Payo, Archbishop of Manila, is treated without the slightest consideration.

Manila Central Commission For the General Philippine Exposition Special Presidency

His Excellency Señor Don Víctor Balaguer Manila, 11th April 1888

for the Overseas Museum and Library and for the library at Villanueva.

While we have not received replies from all of the local Boards that have designated a place to which the objects they sent to the Exposition should be returned, I can advance

POLÍGRAFA

Euro 45

ISBN 9788434314849 (english)

ISBN 9788434314832 (español) 128 pp.

12,5 x 18,5 cm / Guaflex cover with gold stamp and dry embossing, hand-wrapped with glassine paper

ARTIST’S BOOK, CONTEMPORANY ART

that those that have replied are happy to cede these objects to the Museum, although the three Igorots who own the five ounces of gold from the district of Benguet wish them to be returned or to be paid for at a rate of nine pesos each.

I sincerely thank you in my name and on behalf of the interested parties for condoning the advance payments made to the natives, and I would be grateful if you would kindly arrange to have the Royal Order of the 18th of October passed, as the Governor General of these islands has decided, so that its effects may be reflected in the bookkeeping.

I remain your most affectionate friend and obedient servant who kisses your hand.

Archbishop Fray Pedro

The letters that are reproduced here are accompanied by a series of drawings made in the process of setting up the project. The book is both an artwork and a denunciation of the abuse of power that still persists.

ODE TO CONSTRUCTION ABSTRACTION IN THE DIGITAL AGE

Ode to Construction – Abstraction in the Digital Age explores the intersections of graphic design and art through the means of generative code, gesturing playfully and melancholically towards the foundational legacies of the Suprematist and Constructivist movements of the early 20th century.

The content of each cahier is structured into eight categories: conversation, image as score, notes, quote, reference text, report, score and short story. These can be used as the reader/user sees fit, a story, an image or a quote can be used as a score, a score can be reversed or a reflection can be cut up and transformed into a new text.

Euro 29,90

ISBN 9789493148352 (english)

664 pp., 270 ill. 14,4 x 19,8 cm / paperback

ARTIST’S BOOK, CONTEMPORANY ART

The letters that are reproduced here are accompanied by a series of drawings made in the process of setting up the project. The book is both a work of art and a denunciation of the abuse of power that still persists.

GLENN MURCUTT INSIDE SIMPSON-LEE HOUSE

Foreword by Georges Descombes

Interview between Glenn Murcutt and Aureliano Ramella

Ornamento gathers a conversation with Glenn Murcutt through different media: dialectics, photography, drawings and documentary film. The discourse, which starts with the Simpson-Lee House, soon extends to the architect’s major concerns such as site, landscape, natural elements, local culture, understanding of technology, materials and ultimately architecture as response.

The publication includes two booklets; Text on one side, with Georges Descombes foreword about Murcutt’s work and the interview between Glenn Murcutt and Aureliano Ramella. On the other side a selection of 28 photographs taken by Sofia Romeo. Complementary to the interview, a card will be included in the slipcase where the reader will be able to find a private link to a film called “Inside Simpson-Lee House” by Aureliano Ramella. We are glad to include as well two of Simpson-Lee House original drawings; a 1:40 section and 1:200 house plan.

CALMO EDITIONS

Euro 26

ISBN 9788412212440 (english / español)

76 pp., 36 ill.

16 x 21,5 cm / paperback

STEPWELLS OF AHMEDABAD

WATER, GENDER, HERITAGE

Tanvi Jain, Priyanka Sheth, Aashini Sheth

A stepwell, locally called a ‘vaav’, is a type of subterranean water architecture that is prevalent in the Indian subcontinent. It attained unsurpassed importance in the semi-arid regions of western India. Stepwells of Ahmedabad is the culmination of five years of research undertaken by a collective of architects from India. Their research documents the magnificent water structures that are found in and around the city of Ahmedabad.

Rather than being just an architectural catalogue, this book aims to present a deeper understanding of the intrinsic social and ecological relationships related to these stepwells and their current condition in the city of Ahmedabad. This edition also sheds light on the lesser-known history of the roles played by women as patrons and users of these fascinating structures.

CALMO EDITIONS

Euro 26

ISBN 9788412212433 (english / español)

124 pp., 50 ill., 17 drawings 15 x 20 cm / paperback

ARCHITECTURE, THEORY / HISTORY / CRITICISM

ARCHITECTURE, THEORY / HISTORY / CRITICISM

The first English translation of Karel Teige’s “The Marketplace of Art“ in two volumes includes a critical introduction, inquiries, and extensive commentaries. Originally published in the Czech language in 1936, “The Marketplace of Art“ is the summation of Teige’s artistic, political, and theoretical work.

Acclaimed as one of the leading theoreticians of avant-garde art and architecture between the two world wars, Teige’s more political writings still remain to be discovered. Written in 1936, in the context of the rising conservative right-wing culture, and during the intense debates between the avant-garde artists and the Communist Party, “The Marketplace of Art“ is a response to the capitulation of contemporary art to fascist and Stalinist currents.

THE AUTHOR AS PRODUCER OF NOTHING

RAB-RAB PRESS

Euro 29,90

ISBN 9789526938981 (english) 72 + 136 pp.

12,3 x 20,8 cm / paperback

ART, THEORY / HISTORY / CRITICISM

The book includes the first publication of Gidal’s text from 1978, with a new introduction. Gidal in this dense theoretical essay deals with the limits of language and representation in the practice of experimental filmmaking and writing.

Considered as one of the most influential experimental filmmakers, Gidal’s lost text, The Author as Producer of Nothing, will give a new insight into the theoretical and political context to the artistic film practices.

FREE JAZZ COMMUNISM

RAB-RAB PRESS

Euro 16,90 ISBN 9789526938936 (english) 65 pp. 12,1 x 20 cm / paperback

Rab-Rab Press announces the publication of Free Jazz Communism, a new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962.

Including archive material and documents, commissioned theoretical and historical texts, and interviews, the book edited by Sezgin Boynik and Taneli Viitahuhta contextualizes politics of free jazz music in light of global decolonisation movements, anti-war activism, structures of racial capitalism, and forms of avant-garde music. By focusing on concerts of Shepp–Dixon Quartet, leading avant-garde jazz musicians from the US, in the socialist anti-colonial festival in Helsinki, the book is introducing complexities in the usual Cold War stories about the sixties, and pictures politics of jazz as something transcending boundaries of nation-state and capitalist market regulations.

RAB-RAB PRESS

Euro 22,60

ISBN 9789526938905 (english) 165 pp. 20,3 x 12,7 cm / paperback

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

THEORY / HISTORY / CRITICISM, POPULAR CULTURE

LE DEGRÉ 41 SINAPISÉ

ILYA ZDANEVICH – ILIAZD

ILIAZDA AT THE BIRTHDAY PARTY

FROM SCRATCH ALBANIAN SUMMER PICARESQUE

COILED VERBAL SPRING DEVICES OF LENIN’S LANGUAGE

The first volume in “bie bao series” dedicated to militant zaum investigations of Ilya Zdanevich, known as Iliazd (1894-1975). Zdanevich was a poet, designer, typographer, theoretician, and publisher who developed a new philosophy and methodology from zaum (trans-sense) experiments. The series will include eight publications, covering many layers of Zdanevich’s rich theoretical and artistic output. Each volume will consist of a bio-bibliographical introduction, a commentary, a translation with annotations, and artistic intervention.

The second volume of the “bie bao series” presents a eulogy entitled “Iliazda at the Birthday Party”, a pseudo-autobiographical lecture delivered by Ilya Zdanevich in Paris in 1922. It reports on Zdanevich’s artistic and political adventures up until then. Along with an autobiography full of self-admiration, in this lecture Zdanevich gives an interpretation of his zaum dramas inspired by Freudianism, and humorously describes a colourful image of the Russian microcosm in Montparnasse.

From Scratch is a story of Albanian Summer: An Entertainment, an LP album released by Practical Music in London in 1984. The album was composed by Dave Smith, musician and a member of The Scratch Orchestra, and performed by Janet Sherbourne and Jan Steele, improvised and classical musicians. Through interviews, archival materials, and hard-to-find essays the publication contextualizes the background of British experimental musicians’ interest in socialist Albania. It includes new interviews with Dave Smith and Jan Steele, three essays by Smith on Albanian music and culture, an essay by Gavin Bryars on Smith’s music, discussions on the influence of A.L. Lloyd and Cornelius Cardew, and the role of the Albanian Society in the UK.

Coiled Verbal Spring: Devices of Lenin’s Language brings together the first English translation of the Russian Formalist and Futurist writings on Lenin’s revolutionary language. The book includes the Russian Formalists’ (Viktor Shklovsky, Boris Eikhenbaum, Yuri Tynyanov, Boris Tomashevsky, Lev Yakubinsky, and Boris Kazansky) most ‘political’ texts, first published in 1924 in the journal of the Left Front of the Arts (edited by Mayakovsky). Together with this collection, the publication also includes Futurist poet Alexei Kruchenykh’s Devices of Lenin’s Speech, from 1925. Indispensable for any serious research dealing with the relationship between revolutionary politics and artistic forms, these writings had remained a marginal note, both in studies on avant-garde art, and in much literature on Formalist theory.

RAB-RAB PRESS

Euro 16,90

ISBN 9789526938967 (english) 44 pp. 11 x 17 cm / paperback

RAB-RAB PRESS

Euro 16,90

ISBN 9789526938998 (english) 96 pp. 11 x 17 cm / paperback

ESSAY / LITERATURE, THEORY / HISTORY / CRITICISM

ESSAY / LITERATURE, THEORY / HISTORY / CRITICISM

RAB-RAB PRESS

Euro 22,60

ISBN 9799526938974 (english / albanian) 144 pp. 19 x 28 cm / paperback

POPULAR CULTURE, THEORY / HISTORY / CRITICIS

RAB-RAB PRESS

Euro 19,50

ISBN 9789529411382 (english) 367 pp. 14,1 x 21 cm / paperback

ESSAY / LITERATURE, THEORY / HISTORY / CRITICISM

POEMS I WILL NEVER RELEASE: CHIARA FUMAI 2007-2017

Edited by Francesco Urbano Ragazzi, Milovan Farronato, Andrea Bellini

Contributions by Irene Aristizábal, Andrea Bellini, Federico Campagna, Milovan Farronato, among others

This book is dedicated to the complex artistic trajectory of Chiara Fumai, who played a significant role in the development of performance and feminist aesthetics in the twenty-first century and who died prematurely in 2017, at the age of only thirty-nine.

Almost 500 pages long, the volume is divided into three main chapters. The first of these brings together essays by prominent writers, curators and artists who examine Chiara Fumai’s work from various perspectives, highlighting its intersections with anarchism, feminism, ideological forms and discourses of power and oppression, the animal rights movement, theater, surrealism and esotericism. The second chapter presents an imposing iconographic apparatus that documents Chiara Fumai’s entire artistic production, from 2007 to 2017, while the third offers an exhaustively detailed chronology and bibliography.

Conceived as a critical monograph on Fumai’s work as a visual artist, performer, DJ and music curator, Poems

I Will Never Release is the first volume to trace the entirety of her artistic path: from her scathing video performances and large-scale installations, to her more intimist practices of automatic writing and collage and her incursions into music.

SYMPTOMS OF THE FUTURE

Edited by Irena Boric, Mirjana Dragosavljevic, Dušica Dražic Anamarija Batista, Irena Boric, Mirjana Dragosavljevic, Dušica Dražic, Maja Hodošcek, Petra Mrša, Tanja Šljivar, Nataša Šukovic Design by Mane Radmanovic Photography by Dušica Dražic, Milutin Dražic, Maja Hodošcek, Marko Markovic, Petra Mrša, Goran Škofic

Symptoms of the Future is a project of Stereovizija in collaboration with Out of Sight. A range of topics – including care, situated knowledge, and togetherness and crisis – are intertwined throughout the contributions.

Taking the theme of solidarity as its narrative, Symptoms of the Future offers the visitor close connections with various works, either stimulating perception, thought and/or even physical relating beyond as it offers guidelines for staging an exhibition or scores for performing a work of art.

Box with various items of printed matter.

ONOMATOPEE

Euro 29,90

The printed matter in this box can be an exhibition, if you decide to follow its prepositions.

BEING TOGETHER A MANUAL FOR LIVING

Grace Ndiritu

Edited by Grace Ndiritu and Pieter Vermeulen

DISSENT WITHOUT MODIFICATION

Grace Ndiritu

FORMS OF MIGRATION

Edited by Stefan Maneval, Jennifer A. Reimer

Ömer Alkin, Salma Ahmad Caller, Reine Chahine, Chaza Charafeddine, Karolina Golimowska, Piotr Gwiazda, Ikram Hili, Ronaldo Lopes de Oliveira, Stefan Maneval, among others

A FEMALE GAZE CAROLINE WALKER PAINTING & DRAWINGS

Tristram Aver

Being Together: A Manual For Living falls in the lineage of publications such as The Journal of the Society for Education Through Art, which throughout the 1960s provided British art schools a window into experimental education. By contrast, Grace Ndiritu’s experience in creating radical pedagogies arose from a connected, yet unorthodox system of ‘self education’.

In 2012, she decided to spend time living in cities only when necessary. She thus lived in rural, alternative and often spiritual communities, while expanding her research into nomadic lifestyles and training in esoteric studies, which she began after graduating art school. This research led her to visit Thai and Tibetan Buddhist monasteries, permaculture communities in New Zealand, forest tree dwellers in Argentina, neo-tribal festivals such as Burning Man in Nevada, a Scottish Hare Krishna ashram, and the Findhorn Spiritual Community in Scotland. Such lifestyles forever transformed.

KRIEG

Euro 19,50

ISBN 9789076874005 (english)

12,5 x 19 cm / paperback

Dissent Without Modification (Bergen Kunsthall), written by Grace Ndiritu, is a research book composed of interviews with radical and progressive artists and thinkers, who started their education and careers in the 1990s. Some are well-known, some are not. They are African, European, and American women working as painters, photographers, performers, hackers, activists and educators, among other roles such as Lisha Sterling, Monster Chetwynd and Kathrin Böhm. What connects these brilliant women together, now in their late thirties, mid forties, early fifties and sixties; is that the decade of the 1990s had a culturally significant impact on their politics, career and personal life choices. The decade represented a creative coming of age for them all and their lives changed forever. The consequences of those changes are still reflected in their distinctive thoughts and practices today.

Forms of Migration explores the potential of literary and aesthetic forms of expression to shape our understanding of transnational migration processes.

The volume emphasises form because it is often the compositional structure and rhetoric of texts and images – their literary nature and formal qualities – that impact readers and beholders, opening up new interpretations of im/migrant experiences and identities.

Addressing im/migrant forms of expression around the globe, this rich, illustrated collection includes poetry, creative nonfiction, interviews, analyses of diasporic fashion, cinema, and mixed media installations, as well as performances turned into writing, photographic work, collages, and drawings. Forms of Migration shows us how to apprehend migration differently, through innovative storytelling, offering opportunities to confront the complexity of migration processes.

A Female Gaze explores the paintings and drawings of contemporary artist Caroline Walker through the lens of Laura Knight, arguably Nottingham’s most famous artist and the first woman to be elected a Royal Academian. Seperated by 100 years, both artists are united through their observations of women in everyday life, from moments of motherhood to women at work and the mundanity of domestic life.

With essays by Jennifer Higgie and Tristram Aver, this book contributes to rebalancing the gender bias legacy within art history, while celebrating the powerful artistic qualities of two extraordinary painters.

This book was published to accompany a major Nottingham Castle Trust exhibition, ‘Laura Knight and Caroline Walker: A Female Gaze’.

MOTTO BOOKS

Euro 20

ISBN 9788293101406 (english)

431 pp. 11 x 18 cm / paperback

ESSAY / LITERATURE, POPULAR CULTURE

CONTEMPORARY

FALSCHRUM BOOKS

Euro 29,90

ISBN 9783982077987 (english) 274 pp. 16,4 x 22,6 cm / hardback

ART

CONTEMPORARY ART, POPULAR CULTURE

BEAM EDITIONS

Euro 26

ISBN 9781739986520 (english) 96 pp. 17 x 24 cm / paperback

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

I SEE / YOU MEAN

5 PROSE FICTIONS FOR A.I.R.- TO BE READ, BUT NO OUT LOUD...

THE CARRIER BAG THEORY OF FICTION

Ursula K. Le Guin

Introduction by Donna Haraway

Images by Lee Bul

I See / You Mean is an experimental novel about mirrors, maps, relationships, the ocean, elusive success, and possible happiness. Through a collage of verbal photographs, overheard dialogue, sexual encounters, found material, and self identi¬fication devices (astrology, the I Ching, palmistry, Tarot), it charts from past to future the changing currents between two women and two men¬: a writer, a model/stockbroker/maybe dictator, a photographer, and an actor. A lot happens between the lines. Art critic Lucy Lippard wrote this novel in 1970 and became a feminist in the process: “I started writing and realized I was ashamed to be a woman. Then I had to find out why. Then I got very angry. The fragmented visual form came out of contemporary art and the conflicting emotions of 1960s political confrontation; they suggested a new way to put things back together—an open-ended, female way that didn’t pretend conclusions.”

NEW DOCUMENTS

Euro 26

ISBN 9781953441034 (english)

224 pp.

13.75 × 21.5 cm / paperback

Originally self-released in 1976 through A.I.R. Gallery, New York, the five short unpublished manuscripts collected in 5 Prose Fictions offer an abbreviated introduction to curator Lucy R. Lippard’s largely under-examined fictional work.

The republication of these pieces follows the recent rerelease of I See / You Mean and provides further context for the released of Brimstone this Fall, an anthology compiling over 50 of Lippard’s experimental and narrative fiction works from the early 1950s through the 1980s.

In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin tells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination.

Hacking the linear, progressive mode of the Techno-Heroic, the Carrier Bag Theory of human evolution proposes: ‘before the tool that forces energy outward, we made the tool that brings energy home.’ Prior to the preeminence of sticks, swords and the Hero’s killing tools, our ancestors’ greatest invention was the container: the basket of wild oats, the medicine bundle, the net made of your own hair, the home, the shrine, the place that contains whatever is sacred. The recipient, the holder, the story. The bag of stars.

This influential essay opens a portal to terra ignota, where the possibilities of human experience and knowledge can be discovered anew.

QUANTUM LISTENING

NEW DOCUMENTS

Euro 16,90

ISBN 9781953441089 (english) 16 pp. 21,6 x 27,9 cm / paperback

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

ESSAY / LITERATURE, POPULAR CULTURE

IGNOTA BOOKS

Euro 11,95

ISBN 9781999675998 (english) 302 pp. 11,2 x 16 cm / paperback

What is the difference between hearing and listening? Does sound have consciousness? Can you imagine listening beyond the edge of your own imagination?

In response to the anti-war movements of the 1960s, pioneering musician and composer Pauline Oliveros began to expand the way she made music, experimenting with meditation, movement and activism in her compositions. Fascinated by the role that sound and consciousness play in our daily lives, Oliveros developed a series of Sonic Meditations that would eventually lead to the creation of Deep Listening – a practice for healing and transformation open to all, rooted in her musicianship. Quantum Listening is a manifesto for listening as activism. Through simple yet profound exercises, Oliveros shows how Deep Listening is the foundation for a radically transformed social matrix: one in which compassion and peace form the basis for our actions in the world.

IGNOTA BOOKS

Euro 11,95 ISBN 9781838003944 (english) - pp. 11,2 x 16 cm / paperback

ESSAY / LITERATURE, POPULAR CULTURE

ART, THEORY / HISTORY / CRITICISM

CABINS

Cabins is the outcome of Matteo Ghidoni’s theoretical and critical research on “being”. Relying on architectural drawing, and through the investigation of a human’s most basic needs, Ghidoni produces ten abstractions of architecture, dedicated to the care of body and soul.

Cabins are not residential units as described by modern architecture; they do not impose fixed domestic functions although they anticipate potential daily actions by organizing them around a certain minimum number of elements: a bathtub, a sitting area, a shower, a shelf, and little more.

DESCRIPTION OF SAN MARCO BY MICHEL BUTOR

EUPAVILION EIGHT PROPOSALS FOR THE FIRST EUROPEAN PAVILION AT THE VENICE BIENNALE

Michel Butor’s Description of San Marco (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the iconic Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original, each genre of information is assigned a distinct typography of its own, hence interacting like voices in a play. Six decades later, the artist Giovanna Silva stumbled upon an English translation of the French essayist’s queer text in an archive at the New York Public Library. Returning to Venice, she cast her eye to the square and its surrounds, an iconic space at once populated by signs of contemporary life, but also astonishingly unchanged.

EUPavilion is structured as a research laboratory exploring the relationship between architecture and European institutions. Since 2018, the laboratory has collaborated with a number of partners, developing its research through the organisation of public events, academic activities and publications, with the ultimate goal of staging an exhibition of projects for a hypothetical European Pavilion at the Venice Biennale: EUPavilion Eight proposals. EUPavilion Eight proposals features eight projects for the first European Pavilion at the Venice Biennale drawing on both artistic and architectural practices from across Europe.

TAKING THE COUNTRY’S SIDE AGRICULTURE AND ARCHITECTURE

Sébastien Marot

Design by Letra

Are metropolises really the “manifest destiny” of humankind? Is the environmental predicament calling for more concentration and incorporation? Or is it conducive to some kind of urban exodus? By and large, what might be the principles and ethics of design in such a condition? These are some of the issues that this book addresses.

TakingtheCountry’sSide is an exhibition curated by Sébastien Marot, commissioned by the Lisbon Architecture Triennale for its 5th edition in 2019 and in co-production with CCB – Garagem Sul, in Lisbon. The exhibition is adapted by Archizoom for its presentation at EPFL, Lausanne. Consisting of 42 panels, a large chronological frieze, a compass of 4 scenarios and a series of videos, the exhibition content comes from two courses given by the philosopher Sébastien Marot at ENSAVT Paris-Est and EPFL on environmental history and the relationship between agriculture and architecture.

BRUNO

Euro 16,90

ISBN 9788899058555 (english) 76 pp. 21 x 28 cm / paperback, stapled book + folder

ARCHITECTURE, THEORY / HISTORY / CRITICISM

BRUNO

Euro 22,60

ISBN 9788899058388 (english) 136 pp. 17 x 24 cm / paperback

BRUNO

Euro 16,90 ISBN 9788899058548 (english) - pp. 23 x 32,2 cm / paperback

THEORY / HISTORY / CRITICISM

ARCHITECTURE, THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 45 ISBN 9788434313897 (english) 212 pp. 14 x 21,50 cm / paperback

ARCHITECTURE, THEORY / HISTORY / CRITICISM

NATURAL BEAUTY

Laurent Esmilaire and Tristan Chadney

Photographs by Tatiana Macedo

Design by Letra

On the one hand, NaturalBeauty takes the form of a series of statements on architecture, construction, rationality and photography. On the other, it proceeds as a photographic essay of Tatiana Macedo, that gathers side by side constructive forms, taking advantage of the structure of a book.

This is the third volumen of a five book series for the fith edition of Lisbon Architecture Triennale. A unique and limited collection edited by the curatorial team of The Poetics of Reason: a sparkling intellectual reflection from a three-year investigation on architectural rationality. With stunning visual references, the five books explore the various subjective and non-scientific dimensions of architecture with contributions from architects, philosophers, artists and acclaimed authors.

COSMETIC TECHNIQUES QUADERNS

#272

Ferran Grau and Nuria Casais

Essays by Guillermo López, Enric Llorach, Matilde Cassani, Nuria Casais y Ferran Grau, André Bideau, Pep Avilés, among others

Design by Bendita Gloria

Quaderns 272 sets out to analyse different cosmetic techniques by means of a critical approach organized on three levels, corresponding to three scales of the project. First, it looks at the current state of the face of the European city, constructed, reconstructed and transformed. Second, it debates the definition of the architectural object, analysing surface and depht, and, consequently, the idea of artifice from an external view of architecture as well as from a visión of the architecture of the public interior. Finally, like a digital zoom, cosmetic techniques are analysed by means of the study of the architectural fragment while simultaneously attendig to the identity of the whole. Architecture is defined by artífice, often in layers, thicker or thinner, revealing the cosmetic nature of the construction and the possibilities of a language.

ABOUT BUILDINGS AND FOOD QUADERNS #271

Xavier Monteys

Essays by Stephen Bates, Gianluca Burgio, Carlos Dias Coelho, Nuria Ortigosa, David Steegmann, among others. Interview with Carolyn Steel Design by Bendita Gloria

AboutBuildings&Food —taken the title from 1978 Talking Heads’ record— take care of the domestic space and the public space from the perspective of food. From this perspective, the relationship between both realities is clarified, since the food traces countless links between these two scenarios: from the supply to the waste, and even when the food separates them, or when we eat on the street we do not do it at home, also allows to observe new relationships between both spaces. At the same time, it seems opportune to also pick up on what affects the house at present, with the increasing presence of the prepared food that is delivered at home. In this case the reflection focuses on the dining space and its position in the house, which augurs that this space becomes a central space in the house and opens new perspectives that overcome functionalism.

EUROPA EUROPA QUADERNS #270

Moisés Puente

Essays by Philip Ursprung, Moritz Küng. Album by Bas Princen. Photographs by Maxime Delvaux, Filip Dujardin, Adrià Goula, José Hevia, Julien Hourcade, among others

Design by Bendita Gloria

Everything seems to indicate that we are facing a new cultural paradigm. In a short time we have gone from architectural culture that was almost exclusively penned and technical to an eminently visual one. In a world abounding with images, images have ceased to be mere representations of things and have become charged with meaning. In this new paradigm, images are much more powerful and influential tha words, and architecture seems to have stopped being read as text and is now put forward as image. The visual or iconic image has become a new law that articulates new ways of doing architecture. Perhaps we might wonder if all these new paradigms do nothing but fall back on something already well known, something often rehearsed which has been leading us for some time, again and again, up the same dead-end alley: the ever seductive power of ‘the new’.

POLÍGRAFA

Euro 25

ISBN 9788434313903 (english) 88 pp. 14 x 21,50 cm / paperback

ARCHITECTURE, THEORY / HISTORY / CRITICISM

QUADERNS

Euro 25

ISBN 9788434314016 (english)

ISBN 9788434314023 (català) 140 pp. 19 x 26 cm / paperback

ARCHITECTURE, MAGAZINE

QUADERNS

Euro 25

ISBN 9788434313774 (english)

ISBN 9788434313781 (català) 160 pp. 19 x 26 cm / paperback

ARCHITECTURE, MAGAZINE

QUADERNS

Euro 25

ISBN 9788434313736 (english)

ISBN 9788434313743 (català) 148 pp. 19 x 26 cm / paperback

ARCHITECTURE, MAGAZINE

LOG #48

EXPANDING MODES OF PRACTICE

LOG #49 OBSERVATIONS ON ARCHITECTURE AND THE CONTEMPORARY CITY

“The center of architecture is shifting and cannot hold”, writes guest editor Bryony Roberts in Log 48: Expanding Modes of Practice. This moment of change, in which issues of inequity and intersectionality are coming to the fore, represents “an invitation to think differently, a chance to reask the questions that haunted the 20th century”.

As the world reckons with the compounding crises of a pandemic, racial unrest, a recession, and climate change, Log 49 compiles essays, interviews, observations, and manifestos by 29 authors in an effort to make sense of architecture, the city, and nature in the midst of turmoil. This 196-page issue includes a special section, The Return of Nature, guest edited by architectural philosophers Gökhan Kodalak and Sanford Kwinter. Aspects of nature permeate the entire issue.

LOG #50 MODEL BEHAVIOR

LOG #51 OBSERVATIONS ON ARCHITECTURE AND THE CONTEMPORANY CITY

From the economic to the political, from public health to the climate, models seem to run the world. In architecture, the model is no longer just a physical tool for conceptualizing or representing architects’ visions but must also encompass digital and 3D-printed models, data and artificial intelligence models, business models, educational models, and even engage the discipline’s own questionable history in establishing role models.

One-quarter of the 200-page issue is devoted to Excursions in the Ecosphere, the sequel to The Return of Nature in Log 49. In this special section guest edited by Sanford Kwinter, Aleksandra Jaeschke synthesizes systems theory, greenhouse architecture, and banyan trees, Gökhan Kodalak plays with lines of forces in a David Foster Wallace memoir, and Kwinter and Bruce Mau discuss shifting paradigms of design.

LOG

Euro 19,50

ISBN 9780999237366 (english)

172 pp. 17 × 23 cm / paperback

ARCHITECTURE, MAGAZINE

LOG Euro 18,00 ISBN 9780999237373 (english) 196 pp. 17 × 23 cm / paperback

ARCHITECTURE, MAGAZINE

LOG Euro 19,50 ISBN 9780999237380 (english) 256 pp. 17 × 23 cm / paperback

LOG Euro 19,50 ISBN 9780999237397 (english) 198 pp. 17 × 23 cm / paperback

ARCHITECTURE, MAGAZINE

ARCHITECTURE, MAGAZINE

LOG #52

MODEL BEHAVIOR

LOG #53 WHY ITALY NOW?

LOG #54 COAUTHORING

Edited by Ana Miljacki and Ann Lui

LOG #55 COAUTHORING

Edited by Cynthia Davidson

Through essays, conversations, and reviews, the architects, artists, journalists, and theorists gathered in Log 52 interrogate architecture’s role in a world of social, virological, environmental, and paradigmatic change. As David Adjaye says in a conversation with curator Thelma Golden and artist Rick Lowe about Black social practice, the work to be done today “is a planetary project that’s about understanding a world filled with a multitude of peoples and perspectives.”

Log 53 asks the simple yet provocative question “Why Italy Now?” The responses are as diverse and multifaceted as the country itself. Exploring this seemingly well-trod ground, one discovers that because of its historic centrality – and its precarity – Italy remains relevant to the challenges facing architecture today. As contributor Giulia Amoresano writes: “Amid calls today to challenge the Eurocentrism of canonical histories of architecture’s modernity and to work on decolonizing its theories and practices, work needs to be done on what we think canonical spaces are.”

Log 54: Coauthoring gathers essays by and conversations with architects, curators, historians, and collectives that, as guest editors Ana Miljacki and Ann Lui write, begin to “imagine the field of architecture orienting around coauthoring instead of authoring” and “challenge the model of architectural authorship that dominates both architectural discourse and the market.” In so doing, the contributors to this 176page thematic issue “enter the space of political and identity negotiations to relinquish absolutes and to open up to multiple forms of agency.” These forms of agency manifest in numerous ways, from the Fluxus Manifesto to the words of an Enlightenment painter, from bats to spider webs, from cartography to geological deep time, from AI-generated toys to PowerPoint and Miro boards.

From a bridge to blockchain, Amazonian urbanism to artificial intelligence, Log 55 recognizes the vast concerns of architecture today. This 176-page open issue, which includes a 16-page color insert, compiles essays, building and exhibition reviews, and remarks by 25 architects, theorists, and artists from around the world. In Berlin, Tim Altenhof critiques the newly rebuilt Humboldt Forum; in Los Angeles, Victor J. Jones reviews Michael Maltzan’s Ribbon of Light Viaduct; in New York, Cynthia Davidson visits the late Virgil Abloh’s “social sculpture,” and Thomas de Monchaux views “Anthony Ames Fifty Paintings”; in Quito, Ana María Durán Calisto and Sanford Kwinter draw inspiration from Indigenous territorial intelligence; in Rotterdam, Christophe Van Gerrewey reflects on MVRDV’s Boijmans Depot; in Taipei, Kwang-Yu King compares two new cultural venues by OMA and RUR; and in Tokyo, Jan Vranoský pens a postmortem for Kisho Kurokawa’s Nakagin Capsule Tower.

LOG

Euro 19,50

ISBN 9781736500705 (english)

176 pp. 17 × 23 cm / paperback

ARCHITECTURE, MAGAZINE

LOG

Euro 19,50 ISBN 9781736500712 (english) 192 pp. 17 × 24 cm / paperback

ARCHITECTURE, MAGAZINE

LOG Euro 19,50 ISBN 9781736500729 (english) 176 pp. 16,5 x 23,5 cm / paperback

LOG Euro 19,50 ISBN 9781736500736 (english) 176 pp. 16,5 x 23,5 cm / paperback

ARCHITECTURE, MAGAZINE

ARCHITECTURE, MAGAZINE

ATOM

MISSION AND COMMISSION DOCUMENTA AND THE ART MARKET 1955-1968

IN THESE CIRCUMSTANCES ON COLLABORATION, PERFOMATIVITY, SELFORGANISATION AND TRANSDISCIPLINARITY IN RESEARCH-BASED PRACTICES

WHAT HAS LEFT SINCE WE LEFT SIX TAKES ON EUROPE

Printed in the edition of 200, Atom is an exploration of desire, beauty, loneliness, and introspection. It is also a reflection of our shifting understanding of the body and spaces we’ve inhabited in the last two turbulent years, and a project firmly rooted in the transformative power of the female gaze.

Atom captures a range of leather pieces by Fleet Ilya as tools of self-discovery, intimate connection, and collaborative creativity. The book, edited by Fleet Ilya co-founder Resha Sharma, comprises portraits of five heroines within their private spaces, still lives, immersive nature shots by Bazhenova-Yamasaki, and poetic text by Beata Duvaker.

Mission and Commission: documenta and the Art Market 1955 - 1968 explores the confluences and conflicts of such interests, approaching a well-known story from a novel, lesser-known angle. Today, documenta’s independence from the art market is a given – at least, on the formal level, but this has not always been the case. There was a time when documenta was at the centre of a web of vested interests as diverse as the need for funding, the desire to democratize art, and the lucrative pretensions of an emergent art market.

SOYAPRESS

Euro 49,90

ISBN 9785604212035 (english)

80 pp. 22 x 29 cm / paperback, edition of 200 numbered

POLÍGRAFA

Euro 19,50

ISBN 9788434314818 (english) 160 pp. 13,5 x 21 cm / paperback

CONTEMPORARY ART, CINEMA / PHOTOGRAPHY

THEORY / HISTORY / CRITICISM, CONTEMPORANY ART

Edited

In these circumstances: On collaboration, performativity, self-organisation and transdisciplinarity in research-based practices assembles curatorial, artistic and pedagogical practices inspired by a.pass: an inter- national artistic and educational research environment focusing on performativity and scenography. This book discloses a history of the methods of artistic research in the context of the academisation of art education, and an abrasion of the once unbridled scene of artist-run organisations in Northern Europe. There are 35 contributions, many of them collaborative, ranging from concrete projects to inter- rogative speculations about artistic research. It aims to demonstrate how artistic research operates institutionally through a complex intertwinement of practices and how a.pass, over the past 14 years, has carved out a space for artistic research to imbricate in fields of both art and education, and stir the sediments.

ONOMATOPEE

Euro 26

ISBN 9789493148857 (english) 240 pp. 13,5 x 20,5 cm / paperback

Marina Lalovic, Federico Lodoli, Daan Milius, Marwan Moujaes, Erica Petrillo, Giulio Squillacciotti, Huib Haye van der Werf and Ayse Zarakol.

Edited by Giulio Squillacciotti

What has left since we left articulates the fictional end of Europe with the language of love and separation. Likening the political bonds that tie together European countries to the fluctuations of romance and desire, the book unpacks the complexities of the European relationship by touching on ideas of identity, collapse, migration, conflict and hope.

The book features contributions by Ayse Zarakol, Marwan Moujaes, Federico Lodoli, Marina Lalovic and Erica Petrillo. Together, these texts complement and expand on the script for the film What has left since we left – directed by Giulio Squillacciotti and written with Daan Milius and Huib Haye van der Werf – which fictionalises the current European dystopia by re-enacting and problematising the rituals of kinship and relational struggles.

ONOMATOPEE

Euro 22,60

ISBN 9789493148307 (english) 112 pp., 44 ill. 14,5 x 23,5 cm / paperback

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

ANOTHER VERSION: THINKING THROUGH PERFORMING

Philippine Hoegen

LIMINAL PLACES

SEVEN SPATIAL STORIES TO RETURN HOME

THE MATERIAL KINSHIP READER

MATERIAL BEYOND EXTRACTION AND KINSHIP BEYOND THE NUCLEAR FAMILY

Edited by Clementine Edwards & Kris Dittel

ANOTHER VERSION: Thinking

Through Performing approaches performance as a method of producing different versions of the self, referred to as ‘versioning’. It explores technologies and processes that produce such versions, and asks the question of how to understand the self within this multiplicity.

ANOTHER VERSION: Thinking Through Performing proposes strategies of versioning as a means of attaching gesture, speech or lived experience to research questions or problems.

It is comprised of 7 cahiers containing games, scores, short stories, images, quotes and reflections that are often products of collaborative practices.

The spaces we design are intuitively connected with stories. Stories we have lived, have heard from others, and have imagined ourselves. When we write these stories, we implicitly design spaces. Spatial stories are therefore stories that can simultaneously be told or written as much as they can be developed through architectural methods.

Touching upon themes ranging from feminist critique of the architectural profession, to the controversial relationship between city and nature, to the constraining power of domestic space, in Seven Spatial Stories to Return Home architect and writer Chiara Dorbolò explores the state of transition of liminal places as a universal metaphor for personal life, making explicit the different roles physical space plays in the human experience of the world.

What does it mean to acknowledge one’s closeness to, enmeshment in or even kinship with the material world? And what does it mean to question family structures – the way they organise, coerce and make deviant certain lifeforms – and dwell in other possibilities of kin-making? Not just a jolly rethinking of objects or a polyamorous romp through relationships, The Material Kinship Reader reckons with the extractavist histories of materials and the social relations that frame much of contemporary life.

HOW TO MANEUVER: SHAPESHIFTING TEXTS AND OTHER PUBLISHING TACTICS

ONOMATOPEE

Euro 26

ISBN 9789493148284 (english)

184 pp., 32 ill.

17,5 x 25,5 cm / 7 stapled differently coloured cahiers

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

ONOMATOPEE

Euro 19,50

ISBN 9789493148758 (english)

160 pp.

12,5 x 17,6 cm / paperback

ONOMATOPEE

Euro 26

ISBN 9789493148789 (english) 480 pp., 60 ill. 11,4 x 16,2 cm / paperback

CONTEMPORARY ARCHITECTURE, THEORY / HISTORY / CRITICISM

THEORY / HISTORY / CRITICISM, POPULAR CULTURE

Edited

What is deemed publishable shapes our cultural landscape, but only partially reflects it. What becomes visible are publishing projects that have succeeded in passing by the multiple financial, political and legal valves governed by market and state alike.

This book presents a rich variety of writings, research projects and artworks that reflect on contemporary practices and histories of publishing, with a strong focus on the Arab world and resonant international practices.

From the hand-drawn, self-promoting banner to the relatively established independent publishing house, alternative publishing practices show both the breadth of possibility, as well as the great strength and vulnerability, of some of our most creative and daring civic propositions.

ONOMATOPEE

Euro 22,60

ISBN 9789493148857 (english) 240 pp., 240 ill. 15,5 x 21 cm / paperback

CONTEMPORARY ART, POPULAR CULTURE

PROCESS MUSIC SONGS, STORIES, AND STUDIES OF GRAPHIC CULTURE

Process Music refers to print media and the intentions behind design activity. It is interested in visual culture, providing deeper readings and close viewings of graphic design artifacts and activity, frequently examined through the lens of music. Employing a range of narrative voices, the works combine academic rigor with the accessibility of popular forms like music journalism. FitzGerald regards himself as a critical enthusiast: knowledgeable, appreciative and irreverent.

Process Music: songs, stories, and studies of graphic culture is the second book collection of writings by Kenneth FitzGerald.

FICTION PRACTICE PROTOTYPING THE OTHERWORDLY

THE TROUBLE WITH VALUE ART AND ITS MODES OF VALUATION

Exploring the radical potential of fiction as a tool for social change through speculative design, afro-surrealism, critical fabulations and alternative pedagogies.

This book discusses the symbolic and economic value that a work of art holds, being a product of its maker’s labour. This dynamic compilation of theoretical texts, essays and artistic contributions provides insight into current notions of value and value systems, and considers everything from the role of language to the circulation of art, and how it’s aided by the infrastructure of institutions. Along the way, The Trouble with Value tackles the historical legacies of devaluation in art, the value of artistic labour, and art’s capacity to tell stories beyond mainstream channels of dissemination.

RADICAL FRIENDS DECENTRALISED AUTONOMOUS ORGANISATIONS AND THE ARTS

First publication to document the use and potential of Decentralised Autonomous Organisations in the arts that use blockchain technology and build on NFT innovations.

Decentralised Autonomous Organisations (DAOs) offer unique tools for translocal peers to encode rules, relations and values into their joint ventures using blockchain technology. This new book, edited by Ruth Catlow and Penny Rafferty, who have been at the forefront of investigations into the relationship between DAOs and the arts, constitutes over 5 years of research with essays, interviews, exercises and prototypes from leading thinkers, artists and technologists across this emerging field.

ONOMATOPEE

Euro 22,60

ISBN 9789493148772 (english) 336 pp. 13x 20,9 cm / paperback

ART, ESSAY / LITERATURE, POPULAR CULTURE

ONOMATOPEE

Euro 19,50 ISBN 9789493148154 (english) 128 pp., 33 ill. 11 x 18 cm / paperback

DESIGN, THEORY / HISTORY / CRITICISM

ONOMATOPEE

Euro 22,60

ISBN 9789493148208 (english) 224 pp., 224 ill. 19 x 28,5 cm / paperback

TORQUE EDITIONS

Euro 26

ISBN 9780993248771 (english) 352 pp. 12,9 x 19,8 cm / paperback

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

THEORY / HISTORY / CRITICISM, POPULAR CULTURE

SOUNDS LIKE HER GENDER, SOUND ART AND SONIC CULTURES

CARLOS BUNGA. THE ARCHITECTURE OF LIFE ENVIRONMENTS, SCULPTURES, PAINTINGS, DRAWINGS AND FILMS

Curator Christine Eyene challenges the Eurocentric and patriarchal frameworks that have informed the history of sound art and, to some extent, continue to define current practice.

Sounds Like Her is a challenge to the restrictive social construct of female voices. The book re-frames how we experience the dynamic of sound as practiced by women from diverse cultures and gender identities.

Carlos Bunga’s sculptural and painterly structures propose architecture as body and mind scape. Using only cardboard and paint, Bunga fantastical buildings, furniture-like sculptures and paintings as immersive environments. His works combine a powerful materiality with the evocation of psychic states. This book surveys his actions and performances; and documents over a decade of installations including major new works created for his survey exhibition at MAAT and Carmona e Costa Foundation in Lisbon.

Enacting cycles of construction and destruction, Bunga explores states of dispossession and nomadism; the nature of spatial experience; and the creative and symbolic potential of ruin.

CARLOS BUNGA

Carlos Bunga

Essay by Adam Budak, João Fernandes, Marta Jecu, Ricardo Nicolau, María Inés Rodrígues

CARLOS BUNGA: TIME / TEMPORALITY

Carlos Bunga

BEAM EDITIONS

Euro 26

ISBN 9781916275904 (english)

80 pp.

17,5 x 24,6 cm / hardback

CONTEMPORARY ART, POPULAR CULTURE

POLÍGRAFA

Euro 35

ISBN 9788434313798 (english / português) 176 pp., 143 ill. 17 x 24 cm / hardback

CONTEMPORARY

Barcelona-based Portuguese artist Carlos Bunga (Porto, 1976) is well known for his large scale installations in which he often uses fragile, perishable materials to build architectural structures, which he sometimes later destroys in performances or even before the exhibition opens. Built over weeks, his site-specific projects are made in direct dialogue with the surrounding architecture. His work ranges from huge installations to video, sculptural objects and drawings that often reflect upon his installations.

Series of drawings made by artist Carlos Bunga in New York City, 2006. The repetition of these spiral drawings evidences an obsession with time, cycles, processes, movement, and transformation. The book, like a circle, has no beginning and no end. 500 copies edition.

BOM

Euro 35

DIA BOA TARDE BOA NOITE

ISBN 9783943514247 (english) 236 pp. 23 x 30 cm / hardback

ART

CONTEMPORARY ART, MONOGRAPH

CRU

Euro 20 ISBN 9788434314795 (english) 144 pp. 17 x 22,5 cm / paperback

ARTIST’S BOOK, CONTEMPORARY ART

KAYFA TA

Kayfa ta is a publishing initiative that uses the popular form of how-to manuals (how=kayfa, to=ta) to respond to some of today’s perceived needs; be they the development of skills, tools, thoughts, or sensibilities. These books situate themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, the factual and the fictional. Kayfa ta was founded in 2012 by Maha Maamoun and Ala Younis.

HOW TO DISAPPEAR

Haytham El-Wardany

Edited by Maha Maamoun and Ala Younis

HOW TO KNOW WHAT’S REALLY HAPPENING

Francis McKee

Edited

The homes are eternally wounded, covering up their lesions with ever more drapes and veils. A man passes his whole life within them concealed behind walls, until, one day, a distant sound comes to his ears, a sound that flows through all these obstacles, overleaps and is channeled through them. How did this sound make it in here? he ponders, silently, searches for the chink through which it entered and stops it up. The waves of sound, its unseen frequencies, spread out about him and wheel at supernatural speeds, reflecting back of certain rooftops and penetrating others. The sound waves from without tangle with those already present within and they swell and gather and flow out in all directions. For an instant, everything vanishes before these joyous waves.

In this post-truth era, how does one navigate the endless information available and choose a viable narrative of reality? In How to know what’s really happening Glasgowbased writer and curator Francis McKee looks at various techniques for determining verity, from those of spy agencies and whistle-blowers to mystics and scientists.

You get to your hotel room after a long journey. You drop your bag, turn out the lights, and lie down. A few hours later you wake up in total darkness. For a good minute you have no sense of who you are—though once you turn on the television, or more likely, log on to the Internet, then information floods your mind. You may ask: How do I know what’s really happening? This book offers a simple route through the morass of information. It will outline the things you need to know to answer this question. --Francis McKee

KAYFA TA

Euro 11,95

ISBN 9781955702065 (english) ISBN 9781955702072 (arabish) 64 pp. 9,6 x 14,8 cm / paperback

ART, ESSAY / LITERATURE

KAYFA TA

Euro 11,95

ISBN 9781955702003 (english) 56 pp. 9,6 x 14,8 cm / paperback

ART, ESSAY / LITERATURE, POPULAR CULTURE

HOW TO MEND: MOTHERHOOD AND ITS GHOSTS

HOW TO REMEMBER YOUR DREAMS

In How to Mend: On Motherhood and its Ghosts, Kayfa ta’s 4th monograph, Iman Mersal navigates a long and winding road, from the only surviving picture of the author has with her mother, to a deep search through what memory, photography, dreams and writing, a search of what is lost between the mainstream and more personal representations of motherhood and its struggles. How to mend the gap between the representation and the real, the photograph and its subject, the self and the other, the mother and her child.

The book is a sharp and creative reflection on the interweaving of personal and national/ideological dreams. The chapters are on facts and fictions created in both, how one retraces one’s way through them, and through the numerous philosophers/thinkers/ideas (from Sartre to Zizek, Abdel-Nasser to Ibn Taymiya and others) that appear and shape his life journey, studies and dreams.

HOW TO LOVE A HOMELAND

HOW TO MANEUVER: SHAPESHIFTING TEXTS AND OTHER PUBLISHING TACTICS

KAYFA TA

Euro 11,95

ISBN 9783956794254 (english)

ISBN 9781955702096 (arabish) 168 pp. 9,6 x 14,8 cm / paperback

ESSAY / LITERATURE, POPULAR CULTURE

KAYFA TA

Euro 11,95

ISBN 9781955702041 (english)

ISBN 9789953560397 (arabish) 128 pp. 9,6 x 14,8 cm / paperback

ESSAY / LITERATURE, POPULAR CULTURE

Russian writer and philosopher Oxana Timofeeva was born and grew up in various parts of the USSR. The book explores the difficulty of reducing one’s sense of homeland to one’s country alone, the philosophical interconnectedness of movement and rootedness, our plant and animal souls, and how we need to reimagine our desired, fictional if need be, homelands. The book interweaves vignettes from Timofeeva’s childhood across different parts of the USSR with a philosophical discussion of ideas on homeland in the thought of Brecht, Deleuze and Guattari, and other main figures of literature and philosophy.

What is deemed publishable shapes our cultural landscape, but only partially reflects it. What becomes visible are publishing projects that have succeeded in passing by the multiple financial, political and legal valves governed by market and state alike.

This book presents a rich variety of writings, research projects and artworks that reflect on contemporary practices and histories of publishing, with a strong focus on the Arab world and resonant international practices.

From the hand-drawn, self-promoting banner to the relatively established independent publishing house, alternative publishing practices show both the breadth of possibility, as well as the great strength and vulnerability, of some of our most creative and daring civic propositions.

KAYFA TA

Euro 11,95

ISBN 9781955702027 (english) 96 pp. 9,6 x 14,8 cm / paperback

ESSAY / LITERATURE, POPULAR CULTURE

KAYFA TA

Euro 26

ISBN 9789948344643 (english) 336 pp. 15 x 23 cm / paperback

CONTEMPORARY ART, POPULAR CULTURE

FILM AS A SUBVERSIVE ART

A classic returns with this new revised edition of the great Amos Vogel’s seminal book, Film as a Subversive Art, which was first published in 1974. The original edition has been out of print since 1987. According to Vogel, founder of Cinema 16, North America’s legendary film society, the book details the “accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored.”

So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.

The Destruction of Plot and Narrative

The style of the novel could be innocent.

From Kafka to Beckett, from Joyce to Burroughs, from Proust to Robbe-Grillet, there is an unbroken evolution towards vertical rather than horizontal explorations— investigations of atmosphere and states of being rather than the unfolding of fabricated plots. In an interview with L’Express, Ionesco referred to a play as a structure of states of consciousness and added that there no longer was a story, but rather “a progression by a kind of progressive condensation of states of mind, of a feeling, a situation, an anxiety.”

Euro 45,50

Film as a Subversive Art takes an outstanding place… in the already extensive literature on film. It’s pictorial enlightenment and its text make it an invaluable work.

—Luis Buñuel Amos Vogel is the moral conscience of the world of cinema.

—Werner Herzog

The man was a giant.

—Martin Scorsese

LETTERS HOME

This beautiful and mysterious book whose unedited pages contain a collection of letters that the famous brothers Jonas and Adolfas Mekas sent from America to Semeniškiai village, Biržai district, Lithuanian Soviet Socialist Republic. They were all addressed to the most important addressee of their lives – their mother, Elzbieta Mekien.

When Jonas Mekas died in 2019, aged 96, he left behind a monumental legacy. Widely recognised as the “godfather of American avant-garde cinema”, the auteur and poet’s boundary-breaking works propelled the New American Cinema movement of the 1960s and 70s to brave and brilliant new heights. Among their manifold contributions, the brothers founded the Film-Makers’ Cooperative and the Filmmakers’ Cinematheque in 1964, which – now known as the Anthology Film Archives – continues today as one of the world’s largest and most significant archives of avant-garde film. But this legacy is not all Jonas Mekas left behind though: before he died, he secretly organised several book projects to be published after his death. The most important of these, Letters Home, is perhaps the most personal of them all – a collection of handwritten letters the filmmaker and his brother Adolfas Mekas sent from America to their mother in Lithuania.

This collection of letters from Adolfas and Jonas Mekas shows the importance of writing as a way of memory-making. For many years Jonas Mekas would write in a diary before his diaries were replaced by constant filmic documentation of his life and surroundings. The intimate insight these letters provide are wonderful documents of their time as well as marks of the dying art of letter writing.

—Hans Ulrich Obrist

JONAS MEKAS: WALDEN DIARIES, NOTES AND SKETCHES

Edited by Christian Lebrat, Pip Chodorov

Texts by David E. James, Jean-Jacques Lebel

By following each cut in the film, this book is a systematic exploration of the shots, sequences, situations and characters included in the film Walden (1969) by Jonas Mekas. In collaboration with Re:Voir, Paris Expérimental published, in 1997, The Walden Book, to accompany the release of a boxset of the homonymous film by Jonas Mekas. It is an annotation of each cut in the film, interspersed with a selection of the best texts by theorists, filmmakers and poets, mostly American or French, devoted to one of the most beautiful films in the world. A literally infinite book: to pick up at the point where the beginning reaches its end.

JONAS MEKAS FILMS, VIDEOS, INSTALLATIONS 1962-2012

Catalogue raisonné edited by Pip Chodorov

Contributions by Emeric de Lastens, Benjamin Léon

Born in Lithuania in 1922, Jonas Mekas has made over 90 films, videos and installations since his arrival in New York in 1949. Each piece inventorial is accompanied by a technical text, a list of public collections and distributors, and one or several short notices summarizing the content of the work.

Presented in chronological order, Jonas Mekas’ oeuvre can be understood in its entirety. The editor as well as author of the foreword is Pip Chodorov, one of the best connoisseurs of Jonas Mekas’ work. An accompanying text by Emeric de Lastens and Benjamin Léon reposition the artist’s work in its historical context and its stylistic evolution. This book is also an invitation to travel through Jonas Mekas’ life work, thanks to many rich and evocative illustrations.

STAN BRAKHAGE FILMS 1952-2003

Catalogue raisonné edited by Emilie Vergé

Contributions by P. Adams Sitney

Stan Brakhage, American artist born in 1933, accomplished from 1952 to the year of his death in 2003, more than 300 films, all on film. Founder of a visionary cinema which finds its plastic and critical powers in the material itself of the film, Stan Brakhage is like a spiritual father for a whole generation of artists today.

FILM CULTURE INDEX 1955-1996

Edited by Adeline Coffinier, Victor Gresard

Contributions by Jonas Mekas, J. Hoberman, Andrew Sarris, P. Adams Sitney

Film Culture magazine, founded in 1955 by Jonas and Adolfas Mekas is an essential resource and document, measuring the pulse of the American avant-garde film from January 1955 to Winter 1996.

The publication contains several indexes: an index of authors, a subject index, an index of film titles and an index of illustrations, as well as a complete table of contents. The research tool proposed here is preceded by two rare documents.

The first is the transcription of a discussion at Columbia University in 2001 between Jonas Mekas, J. Hoberman, Andrew Sarris and P. Adams Sitney. The second is a reprint of the Editorial from # 14, November 1957, in which Jonas Mekas, editor of the journal, calls for the renewal of an experimental cinema in America.

RE:VOIR / PARIS EXPÉRIMENTAL

Euro 20

ISBN 9782912539533 (english)

146 pp. 12 x 20,5 cm / paperback CINEMA / PHOTOGRAPHY,

/ HISTORY / CRITICISM

PARIS EXPÉRIMENTAL

Euro 29,90

ISBN 9782912539441 (english) 380 pp. 17 x 24 cm / hardback

CINEMA / PHOTOGRAPHY, CONTEMPORARY ART

PARIS EXPÉRIMENTAL

Euro 39

ISBN 9782912539496 (english) 440 pp. 17 x 24 cm / hardback

CINEMA / PHOTOGRAPHY, CONTEMPORARY ART

PARIS EXPÉRIMENTAL

Euro 55

ISBN 9782912539458 (english)

192 pp., 9 ill. 15 x 22 cm / hardback

CINEMA / PHOTOGRAPHY, CONTEMPORARY ART

FRIEDL KUBELKA VOM GRÖLLER: ONE IS NOT ENOUGH PHOTOGRAPHY & FILM

Friedl Kubelka vom Gröller. Edited by Dietmar Schwärzler

Texts by Madeleine Bernstorff, Miranda July, Dietmar Schwärzler

MARIA LASSNIG. FILM WORKS

Edited by Eszter Kondor, Michael Loebenstein, Peter Pakesch, Hans Werner Poschauko

Contributions by James Boaden, Beatrice von Bormann, Jocelyn Miller, Stefanie Proksch-Weilguni, Isabella Reicher

The heart of Friedl Kubelka’s photographic work (who as a filmmaker goes by the name of Friedl vom Gröller) is constituted by portraiture –whether she captures friends, acquaintances, family members, filmmakers, artists or simply clients, each for the most part gazing directly into the camera.

Since 1972 to the present, Kubelka has also placed herself in front of the camera for her project Jahresportraits (Year’s Portraits) in which she mercilessly documents the process of aging. It has become the structural credo of Kubelka’s artistic practice to juxtapose the individual photograph with many other photographs. The monograph focuses upon individual serial works as combined with contemporary portrait series showing e.g. artists from Senegal which are combined with others from Kubelka’s archive. So as to multiply perspectives, individual portraits are juxtaposed with others (double portraits), or more. As extras, a magazine about the Senegalese mural painter Pape Mamadou Samb aka Papisto Boy and a DVD with a selection of 19 films by vom Gröller are attached to the book.

Maria Lassnig (1919–2014) is internationally recognized as one of the most important painters of the 20th and 21st centuries. The leitmotif of her painting, the act of rendering her body awareness visible, found additional expression in film in New York in the early 1970s. While several of these films have long since been part of her canonical works (e.g. Selfportrait, Iris, and Couples), many remained unfinished.

These “films in progress” can be regarded as autobiographical notes as well as an artistic experiment featuring many of Lassnig’s recognizable subjects and methods. In 2018, this filmic legacy was restored and in many cases completed according to her original concept and instructions by two close collaborators, artists Mara Mattuschka and Hans Werner Poschauko. This publication provides the first comprehensive index of Lassnig’s film works, offering insight into the filmmaker’s world of ideas through a wide selection of her own, previously unpublished notes. It includes contributions by James Boaden, Beatrice von Bormann, Jocelyn Miller, Stefanie Proksch-Weilguni, and Isabella Reicher and extensive conversations on the rediscovery of Lassnig’s fascinating films.

INDEX Euro 45,50 ISBN 9783960983309 (english) 320 pp., 470 ill. 20 x 27 cm / paperback

INDEX

Euro 29,90

ISBN 9783901644856 (english) 192 pp. 19 x 26 cm / paperback

CINEMA / PHOTOGRAPHY, CONTEMPORARY ART

8 METAPHORS (BECAUSE THE MOVING IMAGE IS NOT A BOOK)

Edited by Isla Leaver-Yap Luke Fowler, Laura Gannon, Duncan Marquiss, LaureProuvost, Grace Schwindt, Sam Stevens, Emma Wolukau-Wanambwa, Stina Wirfelt

To celebrate the publication of 8 Metaphors (because the moving image is not a book), the LUX Associate Artist Programme delivers an evening of readings, screenings and performances by the book’s writers and contributors.

8 Metaphors confronts the paradoxes and contradictions of 8 artists, who work primarily with the moving image, choosing to write, commission and edit a book that encapsulates their work. Their contributions— which include texts, interviews, scripts and scores—are a series of metaphors for the making of work, and making meaning. Taking its lead from 8 Metaphor’s publishing principle of how the moving image can be understood as a book, the launch event at the ICA will comprise readings, performances and screenings which examine how a book can be understood as an event.

TWO FILMS BY OWEN LAND

SHOOT SHOOT SHOOT PHOTOGRAPHY & FILM

THE FIRST DECADE OF THE LONDON FILM-MAKERS’ COOPERATIVE 1966-76

Edited by Mark Webber

Two Films by Owen Land features the illustrated scripts to the films Wide Angle Saxon and On the Marriage Broker Joke, complete with detailed footnotes that untangle their elaborate web of references. Reaching far beyond the two films alluded to in the title, it also includes a new interview, annotated filmography and recent essays by the artist.

The 1960s and 1970s were a defining period for artists’ film and video, and the London Film-Makers’ Co-operative (LFMC) was one of the major international centres. Shoot Shoot Shoot documents the first decade of an artist-led organisation that pioneered the moving image as an art form in the UK, tracing its development from within London’s counterculture towards establishing its own identity within premises that uniquely incorporated a distribution office, cinema space and film workshop.

AFTERIMAGE #11 SIGHTING SNOW

Edited by Simon Field, Guy L’Eclair, Michael O’Pray

LUX

Euro 19,50

ISBN 9780956794130 (english) 212 pp. 15,15 x 23 cm / paperback

CINEMA / PHOTOGRAPHY, PERFORMING ART

LUX

Euro 16,90

ISBN 9780954856915 (english) 136 pp. 10,8 x 17,5 cm / paperback

CINEMA / PHOTOGRAPHY, PERFORMING ART

LUX

Euro 35

ISBN 9780956794130 (english) 288 pp., 193 ill. 17 x 24 cm / paperback

Afterimage is a seminal UK film magazine which was published between 1970-1987. Issue no. 11 is devoted in its entirety to the work of Michael Snow, encouraged by the presence of a complete retrospective of his films at Canada House, in London.

Contents: Introduction by Simon Field Michael Snow: a filmography Seeing is believing: Wavelength reconsidered by Nicky Hamlynlt A conversation between Michael Snow and R. Bruce Elder

Framing Snow by Michael O’Pray Snowbound: A dialogue with a dialogue by Jonathan Rosenbaum

LUX

Euro 19,50

ISBN 9780956794130 (english) 212 pp. 15.15 x 23 cm / paperback

CINEMA / PHOTOGRAPHY, CONTEMPORARY ART

CINEMA / PHOTOGRAPHY, PERFORMING ART

DURAS/GODARD DIALOGUES

Marguerite Duras, Jean-Luc Godard

Introduction, afterword and footnotes by

THE WORLD OF JIA ZHANGKE

Afterword by Walter Salles

CONVERSATIONS WITH KIAROSTAMI

Edited by Abbas Kiarostami, Jim Colvill

Foreword by Ahmad Kiarostami.

Introduction by Godfrey Cheshire

SHOTS IN THE DARK WRITINGS ON FILM BY JONATHAN BAUMBACH

Preface by Philip Lopate

Duras/GodardDialogues is the first English language collection of three conversations between Marguerite Duras and Jean-Luc Godard from the years 1979, 1980 and 1987.

“The two demonstrate a profound shared passion, a way of literally being one with a medium and speaking about it with a dazzling lyricism interspersed with dryly ironic remarks, fueled by a conviction that inspires them to traverse history. Their point of intersection is obvious. Duras, a writer, is also a filmmaker, and Godard, a filmmaker, has maintained a distinctive relationship with literature, writing and speech.”—Cyril Béghin.

In the last 20 years, Chinese cinema has experienced a dazzling development, in phase with the growth of the country. No one embodies this evolution better than director Jia Zhang-ke whose cinema is distinguished by the modernity of his writing, fueled by the reinvention of the relationship between fiction and documentary, by the inventive use of new technologies, by the creativity of the relationship between the intimate and the collective on the scale of a country of one and a half billion inhabitants. This book contains a long interview with the director about the places where he grew up, where he worked and where he shot, a historical text establishing Jia’s place in Chinese cinema and in cinema today, a critical note devoted to each of his films, both features and shorts, enriched with several points of view including interviews with his main collaborators, and text by Jia unpublished outside China.

THE FILM DESK

Euro 29,90

ISBN 9780999468364 (english)

148 pp.

15,20 x 20,30 cm / hardback

• BACK IN STOCK

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

THE FILM DESK

Euro 29,90

ISBN 9780999468371 (english)

267 pp.

15,20 x 20,30 cm / hardback

• BACK IN STOCK

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

Conversations with Kiarostami collects for the first time a far ranging series of interviews with the celebrated director Abbas Kiarostami by film critic, and Iranian cinema expert, Godfrey Cheshire. Conducted in the 1990s, these indepth conversations offer a film-byfilm account of Kiarostami’s views of his artistic development from his first short “Bread and Alley” in 1970 to the 1999 feature The Wind Will Carry Us, covering his lesser known, and seldom written about, shorts from earlier in his career, along with the masterworks that made him world famous, such as the Koker Trilogy (Where Is the Friend’s House?, And Life Goes On, Through the Olive Trees), Close-Up and Taste of Cherry. The book includes a Foreword by Ahmad Kiarostami, the director’s son, as well as an introduction from Cheshire that contextualizes the interviews and discusses his relationship with the director.

WOODVILLE PRESS

Euro 19,50

ISBN 9780999468357 (english)

188 pp.

12,70 x 19,50 cm / paperback

• BACK IN STOCK

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

“With this welcome collection, Jonathan Baumbach, known for his wry, take-no-prisoners experimental fiction, is revealed in retrospect to have been a brilliant film critic. In an era bristling with formidable commentators on the movies, Baumbach, we see now, was one of the sharpest. Writing for quarterlies such as Film Culture and Partisan Review, he could absent himself from the hype-manufacturing competition of daily/weekly reviewers, and weigh in with thoughtful, elegant prose, astute judgment and a dose of skepticism after the initial hoopla had died down… His film criticism brings us into the healing presence of a fully evolved, lively intelligence. We are grateful to have this scintillating and engaging and long-overdue collection.”—Philip Lopate.

CAT THREAD BOOKS

Euro 16,90

ISBN 9780999468340 (english) 192 pp. 11,43 x 20,30 cm / paperback

• BACK IN STOCK

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

ANOTHER GAZE #5

A FEMINIST FILM JOURNAL

Edited by Daniella Shreir, Missouri Williams

Contributions by María Palacios Cruz, Lizzie Borden, Kathryn Scanlan, Yasmina Price, Nicolas Russell, Rebecca Liu, Georgie Carr, Pooja Rangan, Jonathan Rosenbaum, Nuotama Bodomo, Phoebe Campion, Janaina Olivera, Cassie da Costa, Frank Beauvais, AS Hamrah, Awa Konaté, among others

ANOTHER GAZE #3

A FEMINIST FILM JOURNAL

ANOTHER GAZE #4

A FEMINIST FILM JOURNAL

Interviews with Betzy Bromberg, Zia Anger & Ashley Connor, Brett Story, Amandine Gay, Andrea Luka Zimmerman, Therese Henningsen

Interviews with Akosua Adoma Owusu, Astra Taylor, Ericka Beckman, Carolee Schneemann, Barbara Hammer.

Writing on the lesbian hand; the problem with ‘relatability’ and ‘unlikeability’; ‘Skam”s fan subtitles; grieving through cinema; reclaiming silence; femme, butch and in-between; underwater cinema; political militancy on-screen; Ingeborg Bachmann’s ‘Malina’; prostitution and capitalist modernity; yonic imagery; a forgotten multiracial feminist video collective; sexual violence on-screen.

Including essays about Madeline Anderson, Lorenza Mazzetti, Laure Prouvost, Ben Rivers & Anocha Suwichakornpong, Agnieszka Holland’s Spoor, Susan Sontag’s filmmaking career, Storm De Hirsch, Zia Anger, Ashley Connor, Bruce LaBruce, Pina Bausch/Chantal Akerman, Magdalena Montezuma, Rebecca Horn, Anne Charlotte Robertson, Zhu Shengze, Beatriz Santiago Muñoz, Maya DaRin, Camila Freitas, Gong Li.

Including writing about Theresa Hak Kyung Cha, Linda Manz, Sadie Benning, Sarah Maldoror, Cecilia Mangini, Agnes Martin, Peggy Ahwesh, Kira Muratova, Alina Szapocznikow, Jean Genet and more…

This publlication explores different subject including an interrogation on cinephilia and gender, surveillance, infant observation during the pandemic and the screen as psychic portal, Beirut on film, devotional labour, prisons during lockdown, the notion of solidarity, reproduction and futurity, and much more… Roundtables about Sarah Maldoror; hands and fate, work, pleasure, touch, and surveillance; early women’s travel films…

ANOTHER GAZE

Euro 16,90

ISBN 9772516387029 (english)

228 pp.

17 x 24 cm / paperback

ANOTHER GAZE

Euro 16,90

ISBN 9772516387036-04 (english)

228 pp. 17 x 24 cm / paperback

CINEMA/PHOTOGRAPHY, MAGAZINE

CINEMA/PHOTOGRAPHY, MAGAZINE

ANOTHER GAZE

Euro 16,90

ISBN 9772516387036-05 (english) 242 pp. 17 x 24 cm / paperback

CINEMA/PHOTOGRAPHY, MAGAZINE

OEI #92-93

LETTRIST CORPUS: THE COMPLETE MAGAZINES (1946-2016)

Edited by Frédéric Acquaviva

This special issue, guest edited by writer, curator and sound artist Frédéric Acquaviva, is the very first comprehensive publication on Lettrist magazines. It describes, shows and contextualizes all issues of all 119 magazines created between 1946 and 2016 in, or in connection to, Lettrism – this vibrant and dynamic French avantgarde movement whose publishing adventures and efforts have, until OEI #92–93, been far too little known.

“This collection of letters from Adolfas and Jonas Mekas shows the importance of writing as a way of memory-making. For many years Jonas Mekas would write in a diary before his diaries were replaced by constant filmic documentation of his life and surroundings. The intimate insight these letters provide are wonderful documents of their time as well as marks of the dying art of letter writing. As Jonas once told me: “The future will be determined by the present moment; this moment, this very second, will determine the next moment.” So let us make sure to remember this present moment as it was, in part, determined by the moments described by Adolfas and Jonas Mekas in their wonderful letters.” ––Hans Ulrich Obrist

OEI #80-81

THE ZERO ALTERNATIVE

Edited by Jonas (J) Magnusson, Cecilia Grönberg

Associate editors: Hugo Canoilas, Tobi Maier

OEI #90-91

SICKLE OF SYNTAX & HAMMER OF TAUTOLOGY. CONCRETE AND VISUAL POETRY IN YUGOSLAVIA, 1968–1983

Edited by Sezgin Boynik

The most recent issue of OEI magazine takes its starting point in Ernesto de Sousa’s explosive activities as filmmaker, photographer, curator, critic, writer, folk art researcher, multimedia artist etc. in the Portuguese 1960s onwards. Being active in almost everything that belongs to the domain of the arts in the broadest sense of the word, Ernesto de Sousa (1921-1988) adopted the term “aesthetic operator” to be used instead of the word “artist” – “for the simple reason that ‘artist’ designates a kind of sociological position and not a philosophical attitude towards the world” (José Miranda Justo).

OEI # 90-91: Sickle of Syntax & Hammer of Tautology offers the first English language overview of the history of concrete and visual poetry production in socialist Yugoslavia between 1968 and 1983. By focusing on mass-produced examples of concrete poetry, this publication presents these poetic experiments as organically linked to social movements, critical theories, and youth cultural revolutions. In his extensive introduction, Sezgin Boynik, the guest editor of this special issue of OEI, discusses concrete and visual poetry in socialist Yugo-slavia as an uneven and combined development, and emphasizes its confrontational and organizational aspects.

OEI MAGAZINE

Euro 45,50

ISBN 9789188829115 (english)

512 pp.

19,50 x 30 cm / paperback

ESSAY / LITERATURE, MAGAZINE

OEI MAGAZINE

Euro 45,50

ISBN 9789188829016 (english) 640 pp. 19,5 x 30 cm / paperback

ESSAY / LITERATURE, MAGAZINE

OEI MAGAZINE

Euro 29,90

ISBN 9789188829092 (english) 304 pp. 19,50 x 30 cm / paperback

ESSAY / LITERATURE, MAGAZINE

RIGHTS OF WAY THE BODY AS WITNESS IN PUBLIC SPACE

Edited by Amy Gowen

Pauline Agustoni, Elia Castino, The Dazzle Club, Christa-Maria LermHayes, Rahma Khazam, Annee Grøtte Viken, among many others

Rights of Way, the body as witness in public space takes our bodily movements as a departure point to cross into the terrains of art, culture, architecture, sociology, literature, and politics, to envision varied forms of witnessing, and apply them to our direct environments.

When many must still campaign to claim their stake in the public realm; when hate crimes and acts of institutional violence persist in the public sphere; when cities continue to grapple with the effects of mass surveillance, precarious citizenship, widespread gentrification, and divisive body politics, we seek to question, challenge, and re-envision who have the rights of way. This publication comprises a collection of essays, interviews, texts, and images from a range of artists, researchers, academics, architects, and historians.

EMPATHY REVISITED DESIGNS FOR MORE THAN ONE

Edited by Mariana Pestana, Sumitra Upham, Billie Muraben

Ekin Ozbicer, Mariana Pestana, Susan Lanzoni, Naz Sahin, Billie Muraben, among many others

This book brings together ideas and projects that seek to define a new role for design based on empathy. As a mediator of emotions and feelings, design is presented here as a practice that takes care as its main purpose.

Designers adopt sensitive, diplomatic, sometimes therapeutic functions, with the aim of connecting us with one another but also with the world around us, with other species, with soil, water and even the universe. In this book, the reader will find new ideas, utopian propositions but also practical solutions for reinterpreting and reconnecting with the world around them. Taking food as a key medium of encounter, both between people and also with the more than human world, the designers featured in this book consciously operate in a multi-scalar realm – from the invisible microbial life that lives in our gut to the vast landscapes transformed by agricultural practices.

RESEARCH FOR PEOPLE WHO (THINK THEY) WOULD RATHER CREATE

Dirk Vis

Edited by Dirk Vis and Florian Cramer

A BESTIARY OF THE ANTHROPOCENE

HYBRID PLANTS, ANIMALS, MINERALS, FUNGI, AND OTHER SPECIMENS

Edited by Nicolas Nova, DISNOVATION.ORG

What is artistic research? What is a research document? How do these relate to the making process, invention, and creativity? What exactly is expected of me? If you have ever asked yourself any of these questions, then this book is for you.

Research For People Who (Think They) Would Rather Create addresses all relevant aspects that need to be considered during a research and documentation process, such as: finding the right topic and approach; formulating your research question; working out your methods; choosing one or more suitable writing styles; and considering the possible roles of visual, virtual, auditory, embodied, and spatial materials. Research For People Who (Think They) Would Rather Create shows a multitude of examples from the field of art and design – each of which illustrates one specific aspect of developing a thesis, essay, paper, research document, or however else it may be referred to in your own setting.

Equally inspired by medieval bestiaries and observations of our damaged planet, A Bestiary of the Anthropocene is a compilation of hybrid creatures of our time. Designed as a field handbook, it aims at helping us observe, navigate, and orientate into the increasingly artificial fabric of the world.

Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, Sars-Covid-2, decapitated mountains, drone-fighting eagles, standardised bananas… each of these specimens are symptomatic of the rapidly transforming “post-natural” era we live in. Often without us even noticing them, these creatures exponentially spread and co-exist with us. A Bestiary of the Anthropocene seeks to capture this precise moment when the biosphere and technosphere merge and mesh into one new hybrid body.

ONOMATOPEE

Euro 19,50

ISBN 9789493148703 (english)

236 pp.

13 x 20 cm / paperback

ONOMATOPEE

Euro 26

ISBN 9789493148598 (english)

408 pp.

16,5 x 24 cm / paperback with jacket

ART, ESSAY / LITERATURE, POPULAR CULTURE

ART, ESSAY / LITERATURE, POPULAR CULTURE

ONOMATOPEE

Euro 16,90

ISBN 9789493148437 (english)

136 pp.

13 x 20 cm / paperback

ONOMATOPEE

Euro 29,90

ISBN 9789493148444 (english)

256 pp.

14,8 x 21 cm / paperback

ART, THEORY / HISTORY / CRITICISM

POPULAR CULTURE

HOW MANY FEMALE TYPE DESIGNERS DO YOU KNOW? I KNOW MANY AND TALKED TO SOME!

Yulia Popova

Gayaneh Bagdasaryan, Veronika Burian, Maria Doreuli, Louise Fili, Martina Flor, among others

This book aims to shine light on work of women in type.

The first part of the book offers research on the gender issue in type design field. It includes statistics, data and an overview of some works that address this issue. Further it contains some biographies of female type designers that worked in the 19th and in the beginning of 20th century. These women contributed to the industry, yet they are rarely mentioned in educational material. The second part is a series of the interviews with 14 women that are either currently working as type designers or are in any other way involved in the field of type design. These interviews intend to uncover the topic of unequal share of female and male speakers at type conference as well as the lack of women in the industry. The last part of the book is a showcase of typefaces designed by women. The purpose of this part is to show the great amount and broad variety of such typefaces.

ONOMATOPEE

Euro 26

ISBN 9789493148321 (english) 320 pp. 11 x 20 cm / hardback

DESIGN IN CONSERVATIVE TIMES IN BETWEEN MAKING GREAT THINGS AND MAKING THINGS GREAT AGAIN

Edited by Joannette van der Veer Ramon Tejada, Huda SmitshuijzenAbiFarès, among others

Design in Conservative Times tackles conservatism in and around design, challenging both designer and user to actively engage with, and reflect upon their positions within our current, politically charged landscape. The focal point of this reflection at large ranges from hands-on issues within specific practices, to the broader, more fundamental motivations that fuel them.

Within this book, Onomatopee wishes to explore the conservative currents and cadence in and around design(ed) culture. By inviting both graphic design and fashion design professionals to comment, reflect, promote, critique, provoke and/or contemplate on conservative culture in relation to their own visions, design practice and designed goods, we wish to lay bare the intricacies and dynamics of design(er) in society today.

DESIGNERLY WAYS OF KNOWING

A WORKING INVENTORY OF THINGS A DESIGNER SHOULD KNOW

Danah Abdulla

If you take away the post-its, the A3 papers and the markers, can designers think?

This is a guidebook slash notebook of things designers should think about in order for them to know. Design thinking has created divisions in the discipline: either designers are too theory driven or simply practitioners. Those feeling lost can easily turn to a language meant to inspire creative production in easy to pitch ways, where rhetoric uses design to keep power at bay, to celebrate hegemonic beliefs which are used to indoctrinate designers in bad education, incapable of imagining different futures.

DESIGN CAPITAL #1 THE CIRCUIT

Hannah Ellis

ONOMATOPEE

Euro 16,90

ISBN 9789493148178 (english) 104 pp. 12 x 90 cm / paperback

ONOMATOPEE

Euro 14,75

ISBN 9789493148802 (english) 64 pp. 11 x 17,5 cm / paperback

It starts with a question, perhaps a passing interest. Design takes over a city, with clutters of exhibitions in galleries and disused spaces working loosely in response. New biennials and festivals and weeks emerge every year. Old events happen again simply because they happened before. What is it that these events and their predictable patterns actually achieve, though?

For almost 200 years, continuing a line of thought first started by events like the Great Exhibition, ‘design events’ have become more and more popular across Europe, tangling around local, national, and international politics and economics. But can design be important or meaningful at this kind of scale? And how do these events act on people and places — as well as on the discipline itself? With the pause that the pandemic offers, is this the moment to examine who and what they exclude, taking the time to imagine what they could be instead?

ONOMATOPEE

Euro 13

ISBN 9789493148628 (english) 64 pp. 11,5 x 19 cm / paperback

DESIGN, THEORY / HISTORY / CRITICISM DESIGN, THEORY / HISTORY / CRITICISM DESIGN, THEORY / HISTORY / CRITICISM DESIGN, ESSAY / LITERATURE

GIORGIO MORANDI WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by Karen Wilkin

Interviews with Peppino Mangravite, Edouard Roditi

Giorgio Morandi’s lifelong pursuit of his poetic vision in still-life and landscape paintings as well as engravings and etchings has given him a deeply revered position in the history of modern art. This volume presents the work of this private and enigmatic twentieth century Bolognese artist. Influenced by the work of Giotto, as well as Cézanne, the metaphysical painters, and the cubists, Morandi’s work defies any label. His still-lifes and landscapes are serene groupings of muted objects, yet Morandi provokes a tension between them which speaks of spacial relationships, negative space, and nuances of light and color. His paintings seem to exist in a world outside of time, luminous and full of mysterious life.

ENOUGH IS DEFINITELY ENOUGH Andrew Bracey

DANIEL STEEGMANN

MANGRANÉ: ABSTRACT SPECIFIC | SPECIFIC ABSTRACT

Daniel Steegmann Mangrané

Edited by Benjamin Meyer-Krahmer

Walter Benjamin, Jonathan Bragdon, Dora García, Nils Hoff, Charles Sanders Peirce and Philippe Van Snick

DANIEL STEEGMANN MANGRANÉ: LICHTZWANG

Daniel Steegmann Mangrané

Design by Studio Manuel Raeder

POLÍGRAFA

Euro 35

ISBN 9788434314986 (english)

ISBN 9788434314979 (español) 160 pp., 130 ill. 21,5 x 28 cm / hardback with jacket

Painted in 1656 by Diego Velázquez, Las Meninas is one of the most revered and innovative artworks in history. Widely discussed, debated and critiqued, it has inspired artists, writers and filmmakers for centuries. Just when you thought there was nothing more left to say about the painting, artist, curator and lecturer Andrew Bracey asked sixty-two contemporary artists to interpret the artwork. Well, almost. The painting itself never leaves the world-famous Museo del Prado in Madrid, so he distributed a postcard of Las Meninas to respond to in place of Velázquez’s original.

Abstract Specific | Specific Abstract is a project initiated by Benjamin Meyer-Krahmer and Daniel Steegmann Mangrané as a way to continue a fruitful conversation.

The first six posters of this ongoing project present contributions by Walter Benjamin, Jonathan Bragdon, Dora García, Nils Hoff, Charles Sanders Peirce and Philippe Van Snick and are published on the occasion of the Werkleitz Jubiläums-Festival 2013 “Utopien Vermeiden”.

The Lichtzwang series consists of more than 300 watercolors, all on 15 × 21 cm sheets of graph paper. Most works in the series are made up of groups of several watercolors wherein each successive work is a variation of the previous, showing a transformation. The process of realization is, however, guided by simple rules that bind while allowing improvisation and the introduction of a certain randomness in the process. These watercolors have the generic title Lichtzwang (lightduress or lightconstraint) which in turn is the title of a book of poems by Paul Celan. This publication comprises a selection of 256 watercolours made between 1998 and 2012 and was published on the occasion of the presentation of the work at the 2012 São Paulo Biennial.

BEAM EDITIONS

Euro 26

ISBN 9781916275997 (english) 120 pp. 17 x 24 cm / paperback

BOM DIA BOA TARDE BOA NOITE

Euro 19,50 ISBN 9783943514223 (english)

6 folded posters 148 mm × 210 mm (folded), 594 mm × 841 mm (opened) 14,8 x 21 cm / paperback

BOM DIA BOA TARDE BOA NOITE

Euro 29,90

ISBN 9783943514087 (english)

512 pp., 256 ill. 17,2 x 24,5 cm / paperback

ARTIST’S BOOK, ESSAY / LITERATURE

ARTIST’S BOOK, CONTEMPORARY ART

SHAPING DESIRED FUTURES

Edited by Aria Spinelli

Texts by Alexandra Danilova, Paul Dujardin, Oriol Fontdevila, Boris Groys, Krzysztof Gutfranski, Suzannah Henty, Vlad Morariu, Michal Novotný, Nina Power, Jan Sowa, Aria Spinelli, Katalin Timár, Wato Tsereteli, among others

How can art and culture contribute to creating new imaginaries of the future within the current political and social discourse marked by misinformation, radicalization, populism, and a general crisis of representative democracy?

Shaping Desired Futures draws the map of a changing Europe that can help contextualize today’s burning questions and trace still unknown narratives shared by Eastern and Central Europe. Through a series of interviews, essays, and artistic contributions, it proposes new means through which art can model alternative visions and help shaping different desirable futures.

SOGGETTO NOMADE PAOLA AGOSTI, LETIZIA BATTAGLIA, LISETTA CARMI, ELISABETTA CATALANO, MARIALBA RUSSO

Afterword by Rosi Braidotti

Introduction by Cristiana Perrella and Elena Magini

Soggetto nomade (Nomadic Subject) gathers, for the first time in one volume, shots taken by five Italian photographers between the mid 60s to the 80s. The photographs are giving glimpses on the way female subjectivity was lived, represented and interpreted back in the days, in a time of great social change in Italy. Years of transition from political radicalism to hedonism, the lead years were also years of great participation and civil conquests, mostly due to the feminist struggle.

TAXONOMY OF THE BARRICADE IMAGE ACTS OF POLITICAL AUTHORITY IN MAY 1968

Wolfgang Scheppe

An iconographic taxonomy—researched, conceived, and ideated by Wolfgang Scheppe, also author of the book’s final essay—that traces the state and police visual control through almost 500 images from the May 1968 police archives in Paris. The pictorial order of a regime of surveillance applied during the last wide-ranging insurgence in Europe’s history surfaces from the analysis of this unique visual archive. Following the events happening at the Sorbonne in May 1968, alongside general strikes and nationwide factory occupations, France’s state of emergency becomes apparent through a specific iconography of visual control.

WHAT IS GOING TO HAPPEN IS NOT THE FUTURE, BUT WHAT WE ARE GOING TO DO VV.AA.

Edited by Chus Martínez, Elise Lammer, Rosa Lleó

This publication presents three essays with case studies sparking reflection on such ideas: Chus Martínez uses the recent ARCOMadrid as an example of what art fairs have become and what philosophical tools such event can provide. Elise Lammer reflects on the concept of human evolution, questioning the role of curiosity and empathy in the safekeeping of atomic waste. Finally, Rosa Lleó discusses experimental education, care, and overlapping temporalities with Santiago Alba Rico, philosopher and scriptwriter of a now cult 1980s Spanish TV program for children. Alongside the three texts are included images of works by nineteen artists featured in The Future, the exhibition at the origin of this project, as well as a excerpt from La bola de cristal, the TV show whose true intention was to teach satirical Marxism to children.

NERO EDITIONS

Euro 19,50

ISBN 9788880560548 (english)

126 pp. 17 x 24 cm / paperback

POPULAR CULTURE, THEORY / HISTORY / CRITICISM

NERO EDITIONS

Euro 29

ISBN 9788880560760 (italian / english) 160 pp. 22 x 26,5 cm / paperback

CINEMA / PHOTOGRAPHY, CONTEMPORARY ART

NERO EDITIONS

Euro 39

ISBN 9788880561149 (english) 500 pp. 14 x 19,5 cm / hardback

POPULAR CULTURE, THEORY / HISTORY / CRITICISM

NERO EDITIONS

Euro 19,50

ISBN 9788880560470 (english) 116 pp. 12 x 19 cm / paperback

ESSAY / LITERATURE, POPULAR CULTURE

EMERGENCE MAGAZINE #1

Edited by Emmanuel Vaughan-Lee, Seana Quinn, Bethany Ritz

David Abram, Bayo Akomolafe, Hala Alyan, Fred Bahnson, Aylie Baker, Diane Barker, Edward Burtynsky, Jefrey Jerome Cohen, Cold Mountain, Camille T. Dungy, Andreas Gefeller, Bear Guerra, among others

Launched in Spring 2018, Emergence Magazine is an award-winning quarterly online publication with an annual print edition exploring the threads connecting ecology, culture, and spirituality. Its contributors include Sundance-winning and Emmy-nominated filmmakers, Pulitzer Prize finalist, Ted Prize winners, and a Poet Laureate. Emergence Magazine’s inaugural print edition is a collection of essays, poems, adapted multimedia stories, and photo essays from our first four online issues. Tactile and intimate, the edition spans 296 color-filled pages and eight different textures of paper-inviting you to slow down and enjoy these stories over time.

EMERGENCE MAGAZINE #2

Edited by Emmanuel Vaughan-Lee, Seanna Quinn, Bethany Ritz

Contributions by Fred Bahnson, Diane Barker, Alex Boersma, Sheila Pree Bright, Aletheia Casey, Stephen Crotts, Bathsheba Demuth, Camille T. Dungy, Paul Elie, among others

EMERGENCE MAGAZINE #3

LIVING WITH THE UNKNOW

Anna Badkhen, Juan Bernabeu, Volker Bertelmann, Sheila Pree Bright, Sydney Cain, Camille T. Dungy, Azadeh Elmizadeh, Anisa George, Rebecca Giggs, Amitav Ghosh, among others

VOLCANOES OF THE CAPITALOCENE

CITIES AND LANDSCAPES OF THE SECOND INDUSTRIAL REVOLUTION

Alan Smart

EmergenceMagazine is an online publication with an annual print edition.

It has always been a radical act to share stories during dark times. They are regenerative spaces of creation and renewal. As we experience the desecration of our lands and waters, the extinguishing of species, and a loss of sacred connection to the earth, we look to emerging stories. In them we find the timeless connections between ecology, culture, and spirituality.

What does living in an unfolding apocalyptic reality look like? The stories in Emergence Magazine, Volume 3: Living with the Unknown explore this question through four themes –Initiation, Ashes, Roots, and Futures– moving from the raw unknowing of transformation to a place of rooted possibility.

The Emergence Magazine’s editorial crew commissioned new work from writers, artists, photographers, and poets, inviting them to respond to these themes. Within these pages you’ll experience fallen leaves, emerging cicadas, changing Artic landscapes, reflections on motherhood and beauty, the kinship among trees, inward migrations, and imagined post-apocalyptic realities.

During the rapid industrialization of the Soviet Union’s first five-year plan, the city of Magnitogorsk was built on a sparsely inhabited site in the Western Siberian steppe marked by a geological anomaly: a mountain of almost pure iron ore. In the rhetoric of Soviet planners and the European modernist architects who had come east to help build a new world, Magnitogorsk was to manifest the ideal of “Socialist City” in being organized completely by production such that the linearity of the assembly line, and the processes of steel making would extend into the kitchens and bedrooms of the workers and drive the creation of a new culture.

EMERGENCE MAGAZINE

Euro 29,90

ISBN 74470714897 (english)

296 pp.

21,5 x 28,5 cm / paperback

EMERGENCE MAGAZINE

Euro 29,90

ISBN 725274714896 (english) 400 pp. 21,5 x 28,5 cm / paperback

MAGAZINE, POPULAR CULTURE MAGAZINE, POPULAR CULTURE

EMERGENCE MAGAZINE

Euro 35

ISBN 72527471489 (english) 286 pp. 21,5 x 28,5 cm / paperback

OTHER FORMS

Euro 10 ISBN 9788434314924 (english) 24 pp. 21,5 x 28 cm / paperback

MAGAZINE, POPULAR CULTURE

POPULAR CULTURE, THEORY / HISTORY / CRITICISM

IDENTITY IS THE CRISIS COUNTER-SIGNALS 4

Contents by Jack Henrie Fisher, Nathan Brown, Ulrike Jordan, Gerd Conradt, Lisa Vinebaum, Samo Tomši, Bea Walker, Verónica Casado Hernández, Nat Pyper, Werker Collective, among others

MAKING ROOM: CULTURAL PRODUCTION IN OCCUPIED SPACES

Edited by Alan Moore, Alan Smart

Contributions by Marc Herbst, ETC Dee, Art &amp, Context, Vanessa Diehl

The fourth issue of Counter-Signals assembles texts and images to query the claims and break the chains of “visual identity” in capitalism. What is an identity and what can we do about it?

Making Room: Cultural Production in Occupied Spaces is an anthology of texts on art, media and aesthetic practice in the context of squatting, occupation and urban space activism. It includes pieces by activist researchers working between the academy and the movements they write about, as well as journalistic first-person narratives by squatters, original photography, and interviews with artists, theorists and activists involved in struggles over urban space and creative production in the city.

RISKING THE SELF PHILOSOPHY, TAI CHI AND PSYCHEDELICS

Edited by Diego Agulló

Illustrations in collaboration with David Alonso Bravo, Kiana Rezvani

A philosopher’s path towards embodiment through Tai Chi and psychedelics.

This book proposes different forms of embodiment that are not necessarily leading to production of subjectivity or territorialized identities but rather putting the “self” at risk allowing us to be emancipated from the mandatory illusion of self-realization. This can be facilitated by a daily commitment with a set of body altering practices that disjoint us from the ordinary accustomed experience of reality and provide us access to “other” layers of the real. These practices grant access to the primary control centers of the body that regulate frequencies of energy and consciousness in a deeper way and enable the body to unfold in different dimensional spaces of experience: rendering sensible the multi-layered energetic body.

BETRAYING AMBITION

Diego Agulló

Edited by Alice Heyward

OTHER FORMS

Euro 25

ISBN 9780998170831 (english)

352 pp. 16,5 x 23,5 cm / paperback

OTHER FORMS

Euro 20

ISBN 9780979137792 (english) 352 pp. 14,8 x 21 cm / paperback

POPULAR CULTURE, THEORY / HISTORY / CRITICISM

POPULAR CULTURE, THEORY / HISTORY / CRITICISM

CIRCADIAN BOOKS

Euro 15

ISBN 9783947516094 (english) 190 pp. 12 x 17 cm / paperback

The premise of this book is that we are made to believe in ambition because ambition is something good. There is a mantra that tells us “be ambitious”, but, who dares to dissent from it? What if ambition would have been politicized and ideologized? The reason for writing this book is not to clarify what ambition actually means, but to unpack the ethical implications behind its different meanings.

CIRCADIAN BOOKS

Euro 10

ISBN 9780956956927 (english) 82 pp. 10.5 × 14.8 cm / paperback

ESSAY / LITERATURE, PERFORMING ARTS

ESSAY / LITERATURE, PERFORMING ARTS

BREATHING OUT OF SCHOOL

Edited by Koyo Kouoh (Ed.)

Contributions by Amina Lawal Agoro, Dulcie Abrahams Altass, Yemisi Aribisala, Eva Barois De Caevel, Mamadou Diallo, Carine Doumit, Ayesha Hameed, Ava Hess, Sandrine Honliasso, among others

ON ART HISTORY IN AFRICA

Edited by Koyo Kouoh, UgochukwuSmooth C. Nzewi, Eva Barois De Caevel, Mika Hayashi Ebbesen

Contributions by Eva Barois De Caevel, Yaëlle Biro, Hamady Bocoum, Susan Elizabeth Gagliardi, Elizabeth W. Giorgis, among others

THE HALIFAX CONFERENCE

Edited by Craig Leonard, Jeff Khonsary Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co., Richard Serra, Richard Smith, Robert Smithson, Michael Snow, Lawrence Weiner

I SEE / YOU MEAN

Afterword by Susana Torres

Edited

MOTTO BOOKS / RAW MATERIAL

Euro 29,90

ISBN 9782940672042 (english / français)

338 pp.

17 x 24 cm / paperback

RAW Académie was developed in Dakar to create a space of experimental teaching and collaboration, of deconstruction and exposure, of knowledge and nourishment. Koyo Kouoh, founder of RAW Material Company, wished for curatorial inquiry and critical writing to join artistic thinking at this site of international encounters. The commitment to create a community that did not previously exist has led to an ever expanding RAW Académie family of Pan-African and global orientation. This thriving and stimulating meeting ground of pedagogy and art has cultivated the emergence of many provocations, reflections and new possibilities, some of which are shared in Breathing Out of School—a volume of diverse texts that slowly constructs an invitation to ruminate upon what it means to share the table of curiosity and creativity with others, as well as think about what feeds our own earnest dreams. CONTEMPORARY ART,

This publication gathers communications and discussions from the symposium, as well as essays and dialogues that happened afterwards.

It offers a precise overview of the art history being written today in Africa, of its critique, but also of the art history to come.

African art history continues to be dominated by Western scholars who set the tone for the field. Their cultural frames of reference, which they cast as universal, exert influence on the interpretation of African art, social conditions, and cultural milieu. The knowledge produced in most institutions and academic or independent publishers outside of Africa communicates the extant system in place within those localities. In other words, the audience for such forms of knowledge production is not (necessarily) in Africa. A contradiction is born of this state of affairs; most contemporary Africans do not necessarily recognize themselves in what they are reading, yet they tend to hold this material as truth.

MOTTO BOOKS / RAW MATERIAL

Euro 29,90

ISBN 9782940672097 (english / français) 338 pp. 17 x 24 cm / paperback

• BACK IN STOCK

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

Infamously, the conference was held in the college’s boardroom, while students and other interested parties watched the proceedings on a video monitor in a separate space. The result was a conversation that devolved—technologically and ideologically—into a quasi-tragicomic farce, punctuated by remarkable moments of rupture initiated by activist resistance to the Conference from the outside and dissenting voices from within.

Attendees at the Conference included Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co. (Iain and Ingrid Baxter), Richard Serra, Richard Smith, Robert Smithson, Michael Snow, and Lawrence Weiner.

I See / You Mean is an experimental novel about mirrors, maps, relationships, the ocean, elusive success, and possible happiness. Through a collage of verbal photographs, overheard dialogue, sexual encounters, found material, and self identi¬fication devices (astrology, the I Ching, palmistry, Tarot), it charts from past to future the changing currents between two women and two men¬: a writer, a model/stockbroker/maybe dictator, a photographer, and an actor. A lot happens between the lines. Art critic Lucy Lippard wrote this novel in 1970 and became a feminist in the process: “I started writing and realized I was ashamed to be a woman. Then I had to find out why. Then I got very angry. The fragmented visual form came out of contemporary art and the conflicting emotions of 1960s political confrontation; they suggested a new way to put things back together—an open-ended, female way that didn’t pretend conclusions.”

NEW DOCUMENTS

Euro 17,95 ISBN 9781927354322 (english) 176 pp. 13,50 x 21 cm / paperback

NEW DOCUMENTS

Euro 26

ISBN 9781953441034 (english) 224 pp. 13.75 × 21.5 cm / paperback

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

CURATING RESEARCH

SPECIALISM

POLITICS OF STUDY

DISTRIBUTED

Consisting of case studies and contextual analyses by curators, artists, critics and academics, including Hyunjoo Byeon, Carson Chan and Joanna Warsza, Chris Fite-Wassilak, Olga Fernandez Lopez, Kate Fowle, Maja and Reuben Fowkes, Liam Gillick, Georgina Jackson, Sidsel Nelund, Simon Sheikh, Henk Slager, tranzit.hu, Jelena Vestic, Marion von Osten and Vivian Ziherl, and edited by curators Paul O’Neill and Mick Wilson, the book is an indispensible resource for all those interested in the current state of art and in the intersection between research and curating that underlies exhibition-making today.

It is widely assumed that everyone is ‘interdisciplinary’ nowadays, that we all work at the intersections of conventional disciplines. But if being flexible, multi-skilled and polymathic are the prerequisites of survival in today’s world, why do educators and art marketeers still find it imperative to maintain conditions of production that advocate specialist outcomes? The aim of this new anthology in the Occasional Table series is to critically reflect upon the role of specialism in art and society and to understand better how the claim of those who seek to transcend the parameters of specialisation contrasts to that of others who maintain that deep levels of achievement can only be attained within highly focused methods and forms.

Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education on the basis of neoliberal principles. In this context, there is an urgent need to conceive of alternative frameworks and methodologies of study – whether this is within, outside or at the margins of academic institutions. This book examines what is currently at stake in education through a series of conversations with artists, theorists, activists and educators who are all actively involved in developing new models of study. Ranging from self-organised learning to critical teaching methodologies, the conversations gathered here offer a resource for those interested in the renewed politicisation of education and alternative modes of pedagogy and inquiry.

This new volume in the critically acclaimed Occasional Table series of books published by Open Editions focuses attention on the act of distribution as a subject for serious creative consideration and one of great social and economic importance. Contributors from a variety of backgrounds paint a big picture that embraces the actions of the individual alongside the workings of global markets. From the attention-seeking impulse of the poseur, to the democratisation of art and knowledge in the form of books, pop music, digital networks, self-organised libraries, and the question of what can be known, and by whom, the urge to disseminate is explored here as an elemental phenomenon of our time.

OPEN EDITION

Euro 24

ISBN 9780949004031 (english)

266 pp.

15,50 x 21,50 cm / paperback

OPEN EDITION

Euro 24

ISBN 9780949004017 (english) 164 pp. 16 x 22 cm / paperback

THEORY / HISTORY / CRITICISM

THEORY / HISTORY / CRITICISM

OPEN EDITION

Euro 23

ISBN 9780949004123 (english) 128 pp. 15,60 x 21,20 cm / paperback

OPEN EDITION

Euro 23

ISBN 9780949004093 (english) 264 pp. 16 x 21,50 cm / paperback

THEORY / HISTORY / CRITICISM, EDUCATION

THEORY / HISTORY / CRITICISM, EDUCATION

HAFI 002_HARUN FAROCKI: WHAT OUGHT TO BE DONE DOCUMENT, COMMENTARY, MATERIAL

Harun Farocki

Farocki envisioned an institution to “organize a coalition of working people, not from an abstract understanding but from the contact points of their work.” The purpose of this institution, devoted to documentary practices, was twofold. It was “intended to collect, i.e. secure what is there,” but also “to produce, i.e. initiate what is not yet there.” In doing so, it was meant to facilitate social and collaborative processes, comprehensive and interdisciplinary studies without time pressure. This publication includes Farocki’s text, a commentary by Tom Holert, Doreen Mende and Volker Pantenburg, as well as a letter written in 1975/76 by documentary filmmaker Peter Nestler in response to Farocki’s circular.

HAFI 004_GERHARD BENEDIKT FRIEDL: AN APPROACH BY HELMUT FÄRBER

Gerhard Benedikt Friedl

In “An Approach by Helmut Färber,” an unpublished text written in 2007, documentary filmmaker Gerhard Friedl (Knittelfeld. A Town without a History, Wolff von Amerongen. Did He Commit Bankruptcy Offences?) describes his experience of Färber’s courses at film school – a method of scrupulous, close analysis at the editing table that also played a crucial role in Harun Farocki’s teaching. Farocki got to know Färber in the 1970s and remained deeply indebted to his thoughts and methods throughout his career. HaFI 004, translated by Ted Fendt, is published at the occasion of Helmut Färber’s 80th birthday and at a moment when Gerhard Friedl, who died in 2009, would have turned 50.

HAFI 005_HARUN FAROCKI: BEFORE YOUR EYESVIETNAM COMMENTARY, DOCUMENT, MATERIAL

Edited by Tom Holert

HAFI 007_FILMKRITIK INDEX 1975-1984

Franz Josef Knape

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940524501 (english / german) 44 pp. 14,50 x 21 cm / paperback

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940524631 (english / german) 32 pp. 12 x 18 cm / paperback

A hybrid attempt at coming to terms with a specific instance of amnesia amongst the West German left in the late 1970s/early 1980s, Harun Farocki’s 1982 feature film BEFORE YOUR EYES – VIETNAM combines ideas about the distant, image-guided participation in the war in Vietnam with speculations on Vietnam as a laboratory of advanced modes of capitalist production, whilst reflecting intensely on the dyad of love and work. This publication assembles selected material produced in 1982 to promote the film and make it accessible discursively. It includes the facsimile of a promotional leaflet that provided both factual information and directions for reading, a selection of unseen photos from the set and from a tiny piece of film (excavated from the archives of the Harun Farocki Institut) documenting a performative trailer held on an improvised stage by Farocki and actor Ronny Tanner during the Berlin Film Festival in 1982.

HARUN FAROCKI INSTITUT

Euro 10 ISBN 9782940524679 (english / german) 48 pp. 21 x 29,70 cm / paperback

From a statement made in 1982: “Then there is the fact that many of the authors/editors make films themselves. Just like one is a communist only during one’s university years, it applies that one only writes about film as long as one is not yet able to make films. (How can one not realize that someone only writes because he is unable to do something else.) This is a premise we try to contradict.” HaFI 007 reprints the yearly indexes from 1975 to 1983, supplemented by the the index for 1984 which was still missing. It was compiled by Franz Josef Knape. It also includes the program “42 films, selected and presented by Filmkritik,” screened at Kino Arsenal (West-Berlin) in October 1982. The indexes are in German, the other texts in German and English.

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940524754 (english / german) 72 pp. 17 x 24 cm / paperback

HAFI 008_HARUN FAROCKI: ON ICI ET AILLEURS

Harun Farocki

HAFI 009_INGEMO ENGSTRÖM / GERHARD THEURING: ESCAPE ROUTE TO MARSEILLES

Ingemo Engström, Gerhard Theuring

HAFI 010_WERNER DÜTSCH WDR, AS YOU SEE, LOLA MONTEZ

Werner Dütsch, Harun Farocki

HAFI 011_FRIEDA GRAFE SOUVENIRS, ORIGINS, FOUND FICTION

Frieda Grafe, Harun Farocki

“In 1970, the war in Vietnam had nearly been forgotten. The Palestinians were making themselves known. […] Perhaps Godard wanted to make a new base with his film […] when he began a film in 1970 that was supposed to be called Until Victory. The footage lay around for a few years.” Oscillating between surprising associations and following a formal pattern reminiscent of a semantic game of dominos, Farocki speaks about Jean-Luc Godard’s and Anne-Marie Miéville’s Ici et ailleurs (1974). How does politics interact with the logic of images and sounds, he asks, and what does technology contribute? “Godard wants to teach how to see; in industry and military labs, machines are currently learning to do so. Pattern recognition: out of a trillion satellite photos of the Soviet Union, a device reads any pattern that looks like a missile silo and shows these to the on-duty personnel.”

HARUN FAROCKI INSTITUT

Euro 5

ISBN 9782940524815 (english / german)

18 pp.

12,50 x 19 cm / paperback

Produced by the WDR, it premiered in Mannheim and had success at international festivals. Accompanying the film, Theuring and Engström conceived an issue of the journal Filmkritik that extends the movie, comments upon it, provides an insight into the research and production process. On the occasion of its theatrical release in Great Britain, Framework: The Journal of Cinema and Media published the comprehensive essay by Engström and Theuring in English translation. HaFI 009 republishes the essay from Filmkritik and its English translation in facsimile. In addition to the essay by Theuring / Engström, the booklet contains two texts by Paul Willemen and Steve Neale, who contextualized the film in the UK for Framework, as well as a commentary by the Harun Farocki Institut.

In the 25 years between Industry and Photography (1979) and Nothing Ventured (2004), Dütsch has collaborated with Farocki on 15 films. HaFI 010 features three texts: an autobiographical essay by Dütsch on his work at the WDR film unit; a concise, as yet unpublished essay on Farocki’s film As You See (1986) and a comprehensive review that Farocki wrote after the publication of the book Lola Montez. Eine Filmgeschichte written by Dütsch and Martina Müller. The booklet also contains a selected bibliography of Dütsch’s writings and an extensive list of the films and film series he supervised at WDR.

A small selection of texts written by the outstanding film critic and translator Frieda Grafe, complemented by the speech that Harun Farocki gave when Grafe and Enno Patalas were given the “01 award” in 2000.

Grafe’s three texts published in this booklet provide a glimpse into her cosmos of film thinking, which has always emerged in close contact to its subject. “Souvenirs, in Celebration of Cinema” was written at the occasion of the 100th anniversary of cinema. The review of Ingemo Engström’s film KampfumeinKind (1975), in which Hartmut Bitomsky and Harun Farocki, two of the new members of the Filmkritik staff, appear as actors, is one of her regular texts for the Süddeutsche Zeitung. Grafe’s reflections on the essay film entitled “Found Fiction: Better Documentaries” was presented at the symposium Essay Films at the Stadtkino in Vienna in May 1991.

HARUN FAROCKI INSTITUT

Euro 10 ISBN 9782940524884 (english / german) 64 pp. 21 x 30 cm / paperback

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940524921 (english / german)

60 pp. + 6 (inserts) 14,50 x 21 cm / paperback

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940672066 (english / german)

60 pp. 14,50 x 21 cm / paperback

HAFI 012_BEN ALPER & STANLEY WOLUKAU WANAMBWA

HIDING IN PLAIN SIGHT

Ben Alper, Stanley Wolukau-Wanambwa

HAFI 013_HARUN FAROCKI: ON THE HISTORY OF LABOR DOCUMENT, MATERIAL, COMMENTARY

Ben Alper is an artist and publisher based in North Carolina. He is 1/3 of Sleeper, a publishing studio working with photography and text, and the co-founder of A New Nothing, an online project space that facilitates visual conversations between artists. His work has been exhibited and published both nationally and internationally. Ben has also authored or co-authored six publications in the past six years. Stanley Wolukau-Wanambwa is a photographer and writer who has contributed essays to various magazines, monographs and anthologies, and exhibited his work internationally. He is the Graduate Program Director of the photography MFA at the Rhode Island School of Design.

The booklet contains the project draft that Farocki wrote to apply for funding in the spring of 1986, a letter to Radio Free Berlin (SFB) editors Jürgen Tomm and Bernd Schauer, a list of research locations, a short report to “Filmbüro NRW” (Film office North Rhine-Westphalia), a newspaper article by Farocki on the “Technology of Vision”, and a research bibliography that Farocki drew on during this period. A commentary by Volker Pantenburg outlines how “On the History of Labor” evolved into “Images / History”, then Images-War (1987) and finally Images of the World. Stills from Images of the World and from unused footage make palpable how the focus of the project shifted and how, in the process, the 1944 aerial photographs of Auschwitz-Birkenau taken by the Allies increasingly attracted Farocki’s attention.

HAFI 014_HARUN FAROCKI: HARD SELLING REFRAMED BY ELSKE ROSENFELD

Edited by Elske Rosenfeld

Editorial introduction note by Doreen Mende

HaFI 014 publishes a typescript and archival materials related to the television film Hard Selling (1991) by Harun Farocki. For this unfinished project, Farocki documented an Adidas sales training in East Berlin in 1990. In the period after July 1991 he accompanied a West German Adidas salesman on his trade tour through Mecklenburg-Vorpommern. Thus, Farocki explored the operational details of introducing the logic of free market in a country formerly trained in planned economy. Although the broadcast of Hard Selling was announced in the program booklet of the DFF for 13 November 1991, it did not take place. The TV-station was dissolved six weeks later. The artist Elske Rosenfeld follows the film stills, fragments of conversations and announcement texts of Farocki’s Hard Selling. She mobilizes the figure of the “window” as a frame to transpose the languages and gazes at shop windows, screens and trainers into a poetic-analytical editing.

HAFI 015_MATTHIAS RAJMANN: BACK AND FORTH RESEARCHING IN COMPARISION

Matthias Rajmann, Harun Farocki

Harun Farocki’s films, TV programs, and installations have always been the result of collective labor. This is particularly true for the excessive amount of research and logistics behind many of Farocki’s works. Between 2001 (The Creators of the Shopping Worlds) and 2014 (Parallel), Matthias Rajmann was conducting the substantial research process, sometimes in addition to being the sound man and executive producer.

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940672073 (english / german)

60 pp. 21,50 x 28 cm / paperback

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940672080 (english / german) 64 pp. 18 x 23,30 cm / paperback

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940672196 (english / german) 60 pp. 20 x 26 cm / paperback

HARUN FAROCKI INSTITUT

Euro 10 ISBN 9782940672370 (english / german) 64 pp. 14,50 x 21 cm / paperback

HAFI 016_HARUN FAROCKI / HANNS ZISCHLER

HEINER MÜLLER: THE BATTLE / TRACTOR, BASEL 1976

In 1976, Harun Farocki and Hanns Zischler directed Heiner Müller’s plays The Battle and Tractor for Theater Basel. For Farocki, this production remained his only directorial work for theater. With Heiner Müller, however, he remained in intellectual exchange. The two collaborated on the adaptation of Müller’s text The Hamletmachine for radio in 1978; for the May 1981 issue of the magazine Filmkritik, they conducted a conversation.

HARUN FAROCKI INSTITUT

Euro 10

ISBN 9782940672387 (english / german) 64 pp. 18 x 23,30 cm / paperback

CINEMA/PHOTOGRAPHY

EARTHWORKS

Edited by Pedro Donoso

Essays by Jens Andermann, Pedro Donoso, Valentina Montero, Bárbara Saavedra, Juan Carlos Skewes, Catalina Valdés

Design by José Délano

The challenge posed by art in its encounter with natural landscape has evolved astonishingly in recent times. Our awareness of a persistent crisis that spreads like a thick stain between spaces and species is accompanied by a dark vision of the territories ravaged by the human productive machine that the capitalist system has made grow.

Through the works of 36 artists and collectives, Earthworks takes up the exploration begun in the exhibition of the same name that raised a series of territorial experiences conveniently recorded and transferred to the National Museum of Fine Arts (Santiago). In this volume, explorations and drifts to remote and nearby locations are diversified. Like the journey of a naturalist in the digital age, the recovery of these marks and images allow us to guess a series of signs spread over deserts, mountains, forests and rivers, perhaps like a writing that conjures up, for a single moment, the abuses of our own predation. The book collects the projects of artists such as Julen Birke, Marcela Correa, Hamish Fulton, Alfredo Jaar, Cecilia Vicuña or Raúl Zurita; and collectives as Ciudad Abierta and Colectivo Impermanentes, among others.

POLÍGRAFA

Euro 35

ISBN 9788434314078 (english / español) 296 pp. 25 x 23,50 cm / paperback

CONTEMPORARY ART

VOLUME IX: 2005-2011

The ninth and final volume of the catalogue raisonné of Antoni Tàpies includes the works created from 2005 to 2011.

This period marks the end of an extensive artistic career that began in 1940, and was characterised by a constant desire to experiment with materials and forms, undiminished by the passage of time. The works of these final years feature some of Tàpies’ main subjects, such as the self-portrait, the body, death and desire, but with gestures that are now less inhibited, freer. The brushstroke has achieved greater expressivity, immediacy and communicative power, while maintaining the instinct that drove him early on in his career to seek new forms with which to capture reality and represent it in all its rawness, without filters or veils.

POLÍGRAFA

Euro 280

ISBN 9788412277197

(english / español / català / français) 468 pp., 940 ill. 30 x 31,50 cm / clothbound in slipcase

CONTEMPORARY ART, COMPLETE WORKS

Like that of other great artists of this century, the oeuvre of Antoni Tàpies (19232012) has been the object over recent years of an exhaustive study that has established the definitive catalogue of his complete works. This series is composed of nine volumes, coordinated by Anna Agustí and featuring an extensive addenda with new artworks chronologicaly corresponding to previous volumes and recently discovered.

TÀPIES

THE COMPLETE WORKS

Coordinated by Anna Agustí

Design by Edicions de l’Eixample

VOLUME VIII: 1998-2004

Foreword by Nuria Enguita Mayo POLÍGRAFA

Euro 280 ISBN 9788488786838 (english / español / català / français) 528 pp., 940 ill. 30 x 31,50 cm / clothbound

VOLUME VII: 1991-1997

Foreword by Jean Frémon

POLÍGRAFA

Euro 280

ISBN 9788488786647 (english / español / català / français) 600 pp., 884 ill. 30 x 31,50 cm / clothbound

VOLUME VI: 1986-1990

Foreword by Barbara Catoir POLÍGRAFA

Euro 280

ISBN 9788488786517 (english / español / català / français) 576 pp., 1.014 ill. 30 x 31,50 cm / clothbound

VOLUME

V: 1982-1985

Foreword by Serge Guilbaut POLÍGRAFA

Euro 280 ISBN 9788488786418 (english / español / català / français) 544 pp., 1.072 ill. 30 x 31,50 cm / clothbound

VOLUME IV: 1976-1981

Foreword by Jacques Dupin

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Euro 180

ISBN 9788434308015 (english)

ISBN 9788434307827 (español) 484 pp., 1.144 ill. 30 x 31,50 cm / clothbound

VOLUME III: 1969-1975

Foreword by Manuel Borja-Villel

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Euro 180

ISBN 9788434306790 (english) ISBN 9788434307094 (español) 576 pp., 1.283 ill. 30 x 31,50 cm / clothbound

VOLUME II: 1961-1968

Foreword by Andreas Franzke POLÍGRAFA

Euro 180

ISBN 9788434306158 (english) ISBN 9788434306103 (español) 512 pp., 1.027 ill. 30 x 31,50 cm / clothbound

VOLUME I: 1943-1960

Foreword by Georges Raillard POLÍGRAFA

Euro 180

ISBN 9788434305533 (english) ISBN 9788434305567 (español) 544 pp., 915 ill. 30 x 31,50 cm / clothbound

CONTEMPORARY ART, COMPLETE WORKS

CHARLOTTE PERRIAND OBJECTS AND FURNITURE DESIGN

Charlotte Perriand was born in Paris in 1903. In 1927, when she was only 24 years old, she showed a “Bar under the roof” made out of steel and aluminum at the Salon d’Automne, prompting Le Corbusier to hire her as a furniture designer.

Some of the prototypes she produced for the Salon d’Automne held two years later — Equipement intérieur de l’habitation— a project signed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, provoked a chain reaction that has not yet come to an end. In 1940, Perriand was invited to Japan to be the official advisor on industrial design for the Ministry of Trade and Industry. She recommended that the Japanese turn their efforts to creating products for export to the West. Unfortunately, her stay was cut short by the outbreak of World War II. Unable to travel back home due to the naval blockades, she stayed in Vietnam for four years until the war ended. There she learned about weaving, woodwork, rattan, and other natural products. After this experience, she turned to the radical idea of using more rustic materials such as bamboo and cane to create more affordable, mass-produced furniture.

accordance

technical possibilities.

—Charlote

POLÍGRAFA

Euro 19,90

ISBN 9788434314948 (english)

ISBN 9788434311794 (español) 128 pp., 180 ill. 16,50 x 21 cm / hardback

Changes in the form of furniture ought not to correspond simply to a desire for originality, but rather to a desire to perfect what already exists and is most advanced, always in

with the

It is not a matter of giving our epoch a new chair, but of providing the best chair.

Perriand

CHARLES AND RAY EAMES OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Mathias Remmele Design by Mot

Best know for their contributions to architecture, furniture design, industrial design, film and photography. Charles and Ray Eames remain among the most renowned American designers of the twentieth century.

In 1946, Evans Products began producing the Eames molded plywood furniture. Their iconic molded plywood chair was called the chair of the century by the architectural critic Esther McCoy.

In 1949, Charles and Ray designed and built their own home in Pacific palisades, their design and imaginative use of materials making this house a mecca for architects and designers internationally.

After the war, the Eameses continued to create new furniture designs, such as the Fiberglass Chairs 1959, the famous Lounge Chair and Ottoman 1956, the Time Life stool 1960, the 3473 sofa 1964 and the seating for Dulles and O’Hare airports.

EILEEN GRAY OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze, Nuria Jorge

Introduction by Carmen Espegel Design by Mot

Neglected for most of her career, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early twentieth century and the most influential woman in those fields. Her work inspired both modernism and Art Deco.

Eileen Gray was to “stand alone” throughout her career, first as a lacquer artist, then a furniture designer, and finally as an architect. At a time when other leading designers were almost all male and mostly members of one movement or another —whether a loose grouping like De Stijl in the Netherlands— she remained staunchly independent.

Her design style was as distinctive as her way of working, and Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers, such as Le Corbusier, Charlotte Perriand and Mies van der Rohe.

MIES VAN DER ROHE OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Jean-Louis Cohen Design by Mot

German architect Ludwig Mies van der Rohe is, without doubt, one of the pioneering masters of modern architecture. The modern city, with its towers of glass and steel, can be at least in part attributed to the influence of architect Mies van der Rohe. Equally significant, if smaller in scale, is Mies’ daring design of furniture, pieces that exhibit an unerring sense of proportion as well as minimalist forms and exquisitely refined details. After an apprenticeship with furniture designer Bruno Paul in Berlin, he joined the office of architect Peter Behrens.

In the mid-1920’s, he began to design furniture, pieces that he conceived and created for particular interiors. His furniture is known for fine craft smanship, a mix of traditional luxurious fabrics combined with modern chrome frames, and a distinct separation of the supporting structure and the supported surfaces.

JEAN PROUVÉ OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Mathias Remmele Design by Mot

Jean Prouvé opened his own smithy in Nancy 1923, and shortly thereafter produced his first furniture made from thin sheet steel. Right away, Prouvé’s sparse, geometric aesthetic appealed to avant-garde architects such Robert Mallet-Stevens and Le Corbusier.

Le Corbusier actually commissioned ironwork from Prouvé, and in 1929, invited him to join the new Union des Artistes Modernes, a group of artists and designers championing the Modern Movement.

His reputation may have further suffered from his own appetite for collaboration, which could make his exact role in architectural projects difficult to identify. Happily, this state of affairs changed in the 1990s when Prouvé emerged again, as his sensibility chimed again with the activities of contemporary like Jasper Morrison and Konstantin Grcic.

POLÍGRAFA

Euro 19,90

ISBN 9788434314955 (english)

ISBN 9788434311565 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

• BACK IN STOCK

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Euro 19,90

ISBN 9788434314962 (english) ISBN 9788434312661 (español) 128 pp., 180 ill.

16,50 x 21 cm / hardback

• BACK IN STOCK

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Euro 19,90

ISBN 9788434311824 (english) ISBN 9788434311817 (español) 128 pp., 180 ill. 16,50 x 21 cm / hardback

• BACK IN STOCK

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Euro 19,90 ISBN 9788434311442 (english) ISBN 9788434311558 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

ALVAR AALTO OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Markku Lahti Design by Mot

Alvar Aalto (1898-1976) is the most prestigious Finnish architect of the last century, and the father of Nordic Modernism. He once said: “God created paper for the purpose of drawing architecture on it. Everything else is at least for me an abuse of paper.”

Aalto’s Modernism entailed the use of natural materials, warm colors, and undulating lines, and he is considered an important early exponent of Organic Design as a result. Of his design work outside of architecture, Aalto’s vases, lamps, glassware and laminated bent-plywood furniture (pioneered and produced through the design company he co-founded, Artek are equally esteemed. Iconic pieces include the Savoy Vase, the Paimio Chair and the Beehive Lamp. This monograph on Aalto’s highly collectible furniture designs expands our understanding of the diverse abilities of this influential architect/designer.

EERO SAARINEN OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze, Nuria Jorge

Introduction by Antonio Román Design by Mot

Born in Finland, Eero Saarinen (1910-1961) emigrated at the age of thirteen to the United States of America in 1923. He grew up in Bloomfi eld Hills, Michigan, where he took courses in sculpture and furniture design, established a close relationship with fellow students Charles and Ray Eames, and also became good friends with Florence Knoll. Criticized in his own time for having no identifiable style, Saarinen developed a remarkable range of work, which depended on colour, form and materials. Saarinen showed a marked dependence on innovative structures and sculptural forms, but not at the cost of pragmatic considerations. He moved back and forth freely between the International Style and Expressionism, utilizing a vocabulary of curves and cantilevered forms, some of which have remained in production and became twentieth-century furniture icons.

ARNE JACOBSEN OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze, Nuria Jorge

Introduction by Félix Solaguren-Beascoa Design by Mot

Arne Jacobsen is one of the few architects really well-known for both his radical furniture designs and architecture career; SAS Royal Hotel and the National Bank are two of his most important buildings as an architect, while such items of furniture as The Egg chair, Series 7 chair,The Ant and The Swan chair have long since become icons of Danish furniture design. One of the new features of Arne Jacobsen’s furniture design were his organic lines and sculptural elements, all of which are abundantly visible in such pieces of furniture as The Swan chair and The Egg chair. Not one straight line disturbs the soft curves of these creations and this departure from straight, geometrical lines is one of the cornerstones of Arne Jacobsen’s furniture. In this sense, while the significance of Arne Jacobsen’s buildings was limited, his furniture and other design work have become national and international heritage.

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Euro 19,90

ISBN 9788434311435 (english)

ISBN 9788434311541 (español)

128 pp., 180 ill. 16,50 x 21 cm / hardback

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Euro 19,90

ISBN 9788434312647 (english)

ISBN 9788434312524 (español)

128 pp., 180 ill. 16,50 x 21 cm / hardback

MODERN ARCHITECTURE, DESIGN MODERN ARCHITECTURE, DESIGN

POLÍGRAFA

Euro 19,90

ISBN 9788434311848 (english)

ISBN 9788434311831 (español)

128 pp., 180 ill. 16,50 x 21 cm / hardback

MODERN ARCHITECTURE, DESIGN

BACKLIST

CARUSO ST JOHN ALMOST EVERYTHING

Essays and text by Jonathan Glancey, William Mann, John Brocklehurst, Michael Hardt, Antonio Negri Design by Spin

Caruso St John are convinced that today’s architects should be able to choose from the endless array of cultural possibilities. So is this book. Its aim is not merely to document the buildings and projects that Caruso St John have undertaken in Britain and Continental Europe since the early 1990s. Rather, philosophy, Caruso St. John are skeptical that abstraction and simplification are sufficient to make an architecture.

This book is based on the idea that one single theory, one narrative alone cannot grasp the complexity of contemporary architecture. Their projects always try to attend to the people who will use them and this book is intended to be a tool to see the built environment more clearly. It looks carefully at the details of everyday life; it deals with the fragility of built spaces and their transformation under the pressure of economic change; and it raises questions about our place in history.

THE FEELING OF THINGS WRITINGS ON ARCHITECTURE

WIEL ARETS

Edited by Xavier

Photographs

STUDIO ARTHUR CASAS WORKS 2008 - 2015

Philip Jodidio, Philip Stevens et alt

POLÍGRAFA

Euro 60

ISBN 9788434311695 (español)

392 pp., 230 ill. 17 x 23 cm / hardback with jacket

Principal of the London based architecture office Caruso St John, together with Peter St John, Adam Caruso has develop an intense activity as writer, focusing his thoughts on the architectural practice and the updated of some figures of the so called other tradition of the Modern Movement.

Through ‘Sigurd Lewerentz and a material basis for form’ 1997, ‘The Tyranny of the New’ 1998, ‘The Feeling of Things’ 1999, ‘The emotional City’ 2000, or ‘Towards an Ontology of Construction’ 2002, we can discover another way to see the radical approach to the modern and contemporary architecture.

This publication is conceived as a major source to understand Wiel Arets’ architecture through the presentation of his principal writings, a selection of built work, projects, and other materials connected to his research and teaching. These materials are complemented with some of the most significant critical writings from the past ten years, plus a new text resulting from an exchange of writings between Arets and Xavier Costa. Special care is dedicated to the quality of photography and reproductions of architectural documents, as well as to the graphic treatment of the publication.

Sao Paulo-born Arthur Casas (1961) is an exception, an architect equally at ease in the areas of residential architecture, commercial spaces, real estate development and design. “I experienced the best period of Brazilian architecture, when anything was possible,” he explains, “including designing a whole city— reorganizing the way of life in urban areas. I brought from my childhood this freedom, and a commitment to modernist principles.”

With offices in Sao Paulo and New York, Casas does owe some of his variety to his native Brazil, but has shown his capacity to create surprise in his designs. At almost 400 pages, this hardback monograph is a tribute to one of the most significant living Latin American architects.

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Euro 19,50

ISBN 9788434311862 (english)

ISBN 9788434311855 (español) 96 pp., 12 ill. 15 x 21 cm / hardback

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Euro 39

ISBN 9788434309159 (english)

ISBN 9788434309142 (español) 328 pp., 210 ill. 23,50 x 29 cm / clothbound

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Euro 60

ISBN 9788434313538 (english) 368 pp., 330 ill. 23 x 28,50 cm / hardback

BERNARD TSCHUMI ARCHITECTS: ACROPOLIS MUSEUM ATHENS

Edited and interview by Francisco Rei

Introduction by Dimitrios Pandermalis Photo-Essay by Peter Mauss Design by Mot

Located in Athens’s historic area of Makryianni, the New Acropolis Museum stands less than 1,000 feet southeast of the Parthenon, at the entrance of a network of pedestrian walkways that link the key archaeological sites and monuments of the Acropolis.

This location was carefully selected to enable a dialogue between the Museum’s exhibition spaces and the Acropolis buildings. Tschumi won the commission in 2001 as the result of a design competition.

“The design was chosen for its simple, clear and beautiful solution that is in accord with the beauty and classical simplicity of the Museum’s unique exhibits and that ensures a museological and architectural experience that is relevant today and for the foreseeable future” stated Professor Dimitrios Pandermalis, President of the Organization for the Construction of the New Acropolis Museum and author of presentation of this volume.

JOSEP LLUÍS SERT: FUNDACIÓ JOAN MIRÓ BARCELONA

Edited and interview by Francisco Rei

Introduction by Bruno Zevi

Photo-Essay by Joan Morejón Design by Mot

The Joan Miró Foundation was the first public institution set up in Barcelona to focus entirely on contemporary art. Joan Miró and Josep Lluís Sert –its designer–, a founder member of GATCPAC,had first met in 1932 and became close friends working both for the Spanish (Republican) Pavilion at the Paris World Fair in 1937.

After the first big retrospective of the work of Joan Miró in Barcelona (1968), the artist had decided to set up a building to make his work accessible to the public on a permanent basis. Sert was commissioned,and created an open-plan structure where the interior space communicated with the exterior,producing a perfect balance between architecture and landscape.

DILLER, SCOFIDIO + RENFRO: INSTITUTE OF CONTEMPORARY ART (ICA) BOSTON

Edited and interview by Francisco Rei

Introduction by Jill Medvedow

Photo-Essay by Iwan Baan Design by Mot

The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home.

“The ICA’s decision to hire Diller + Scofidio reflected our belief in the firm’s vision that architecture can shape as well as reflect contemporary experience,” stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community.

SANAA: NEW MUSEUM NEW YORK

Edited and interview by Francisco Rei

Introduction by Lisa Phillips

Photo-Essay by Iwan Baan Design by Mot

The New Museum, designed by Tokyo-based architects Kazuyo Sejima and Ryue Nishizawa / SANAA (2010 Pritzker Prize), is the first art museum ever constructed from the ground up in downtown Manhattan. Sejima and Nishizawa, who received the commission in 2002, have described the building as their response to the history and powerful personalities of both the New Museum and its storied site. “We were a bit shocked, but we were also impressed that a contemporary art museum wanted to be there”, they have said.

As visitors approach the Bowery, they encounter the building as a dramatic stack of seven rectangular boxes. This distinctive form derives directly from the architects’ defining solution to fundamental challenges of the site: A dense and ambitious program, including the need for open, flexible gallery spaces of different heights and atmospheres.

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Euro 19,50

ISBN 9788434312340 (english)

ISBN 9788434312357 ( Ελληνικά ) 96 pp., 64 ill.

14 x 21 cm / paperback with flaps

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Euro 19,50

ISBN 9788434312364 (english)

ISBN 9788434312371 (español) 96 pp., 64 ill. 14 x 21 cm / paperback with flaps

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Euro 19,50

ISBN 9788434312807 (english) 80 pp., 62 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312449 (english) 80 pp., 64 ill.

14 x 21 cm / paperback with flaps

DANIEL LIBESKIND: JEWISH MUSEUM BERLIN BERLIN

Edited and interview by Francisco Rei

Introduction by Cilly Kugelmann

RICHARD MEIER: MUSEU D’ART CONTEMPORANI DE BARCELONA (MACBA) BARCELONA

Edited and interview by Francisco Rei

ÁLVARO SIZA: MUSEU DE ARTE CONTEMPORÂNEA DE SERRALVES PORTO

Edited and interview by Francisco Rei

Designed in the second half of the 90s, the Jewish Museum in Berlin opened in September 2011. The modern architectural elements of the Libeskind building comprise the zinc façade, the Garden of Exile, which attempts “to completely disorient the visitor and represents a shipwreck of history”, the three Axes of the German-Jewish experience, and the Voids, which refer to “that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes”.

In the words of the architect: “The official name of the project is ‘Jewish Museum’ but I have named it ‘Between the Lines’ because for me it is about two lines of thinking, organization, and relationship. One is a straight line, but broken into many fragments, the other is a tortuous line, but continuing indefinitely.” In some way, Libeskind imagines the continuation of both lines throughout the city of Berlin and beyond.

Introduction by Isabel Bachs

Photo-Essay by Aleix Bagué Design by Mot

Located in the rundown district of the Raval, the Museum of Contemporary Art of Barcelona creates a dialogue between the quarter’s historic urban fabric and contemporary art. The labyrinthine nature of the preexisting streets in the district is reflected in the building’s organization, most notably in the main entrance. A pedestrian passageway runs parallel from the museum’s back garden to a newly created square in front of the museum, known as Plaça dels Àngels, and links to a pedestrian network running throughout the old city. And the gentle curve of this thoroughfare underscores the centrifugal movement of the cylindrical lobby and describes a fifth facade, connecting the geometries of the museum to an urban context characterized by skewed intersections and the domes of ancient churches.

Introduction by João Fernandes

Photo-Essay by Duccio Malagamba Design by Mot

Portuguese architect Álvaro Siza (born 1933) is one of the most influential architects of the past half-century. His most famous work is perhaps the Serralves Museum in his hometown of Porto, his second museum building, following the Galician Center for Contemporary Art, erected in 1997.

Low built and horizontal in axis, its white stucco walls are perforated with occasional openings that yield unexpected views of a surrounding garden. As with most of Siza’s buildings, the furniture and fittings were also designed by the architect, including lighting fixtures, handrails, doorknobs and all signage. Building materials include hardwood floors and painted walls in plaster with marble skirting in the exhibition halls and marble floors in the foyers.

POLÍGRAFA

Euro 19,50

ISBN 9788434312920 (english)

ISBN 9788434312937 (deutsch) 80 pp., 64 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312555 (english)

ISBN 9788434312562 (español) 80 pp., 62 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312838 (english)

ISBN 9788434312845 (português) 80 pp., 64 ill.

14 x 21 cm / paperback with flaps

Photo-Essay by Jan Bitter Design by Mot CONTEMPORARY ARCHITECTURE CONTEMPORARY ARCHITECTURE CONTEMPORARY ARCHITECTURE

JOSEP LLUÍS MATEO ON BUILDING, MATTER AND FORM

Introduction by Philip Ursprung Photo-Essay by Adrià Goula

In words of the architect: “Building is a long journey through the present continuous. The past exists as an echo, as a phantasmal form that is no longer discussed, and sometimes even its origin is forgotten. Building means taking root in the mud, squelching through it on a journey without distant horizons.”

Here, the buildings are presented, captured by Adrià Goula, as visual forms, as compositions of planes and surfaces that form volumes and also as a dialectic of the light and shade that define spaces.

This book collects precise information on the main recent projects by Mateo, from the Offices in Boulogne-Billancourt (France) and the PGGM Headquarters in Zeist (Netherlands), to the Banc Sabadell Headquarters Renovation and the Catalonian Film Theatre in Barcelona.

Chair at the ETH Zürich, Josep Lluís Mateo is an international acclaimed Spanish architect with current projects worldwide.

POLÍGRAFA

Euro 45

ISBN 9788434313118 (español)

184 pp., 128 ill. 24 x 16,50 cm /clothbound with glued imaged

JOSEP LLUÍS MATEO WORKS, PROJECTS, WRITINGS

UN PASEO POR LA BARCELONA MODERNISTA

Lluís Permanyer

GAUDÍ OF BARCELONA

Lluís Permanyer

This book is a faithful reflection of the modus operandi and spirit that pervade the professional life of Josep Lluís Mateo, unquestionably one of the Spanish architects’ offices that has had the greatest impact on the international scene.

Josep Lluís Mateo has a studio in Barcelona and teaches at the ETH in Zurich, where he is Professor of Architecture and Design. His projects in Paris, The Hague and Amsterdam have been joined by others newly begun in Haarlem, Basel, Mexico FD and Castelo Branco, all of which are analyzed in depth in this book, which also includes new photographic reportages by Christian Richters, a photographic essay by the artist Sergio Belinchón on Mateo’s International Convention Centre in Barcelona— one of his most authoritative projects of recent years—an extensive study by José Luis Pardo and an interview by Philip Ursprung.

Art nouveau architecture was not only the product of the convictions of innumerable architects, it also received the unconditional support of property owners. A series of favorable social conditions, but above all this meeting of passions, led to the emergence of Barcelona’s Eixample, a unique urban project.

In the pages of this book we discover an array of astonishing works by following an itinerary designed to be both instructive and pleasurable. A stimulating promenade, with none of the characteristics of a simple catalog, on which the reader will be able to discover, admire and savor the best of Modernisme

“Color in architecture must be intense, logical, and fertile,” wrote Catalan architect and designer Antoni Gaudí in his diary in the late 1870s. Known for his sensuous, curving, almost surreal Art Nouveau buildings, Gaudí (1852-1926) is today one of the best-known architects in the world.

Gaudí’s organic structures —undulating tiled roofs, pinnacles and towers that rise like plants or tentacles, chimneys that take on phantasmal shapes and colors— are all illustrated here, accompanied by plans and drawings that provide a clear picture of Gaudí’s structural innovations.

For those already familiar with the architect’s work, the magnificent photographs taken by Melba Levick, full of details, will prove a revelation; for those just discovering Gaudí, this book is the next best thing to experiencing the buildings themselves.

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Euro 39

ISBN 9788434309845 (español)

304 pp., 338 ill. 23,50 x 29 cm / hardback

POLÍGRAFA

Euro 36

ISBN 9788434308787 (español) ISBN 9788434308770 (català) 160 pp., 216 ill. 15 x 29,50 cm / clothbound

MODERN ARCHITECTURE

POLÍGRAFA

Euro 36

ISBN 9788434315013 (english)

ISBN 9788434315020 (español) 208 pp., 142 ill. 24,50 x 29 cm / hardback

MODERN ARCHITECTURE

COAC ARCHIVES. ARCHITECTURAL DRAWINGS

CHILLIDA OPEN-AIR SCULPTURES

Edited by Giovanni Carandente

Writings by Eduardo Chillida

Photographs by David Finn

Remarks on works by Dena Merriam Design by makingbooks

Drawing is the first construction of architecture. When drawing, the architect is already building their architecture.

Composed of more than two million documents –– more than half of which are drawings –– the COAC Historical Archive has one of the main collections devoted to what we could call “architectural essays”, which is why in many cases the drawing has an attempt but also an interpretation of the already built architecture.

The selection of the 152 drawings that are reproduced here has been carried out according to the very different scales of architectural practice –– from interior design to urban planning–– and to the extensive historical period that it covers, from 1834 to the present.

A selection that is accompanied by comments of many different disciplines and perspectives: from architecture and photography, to literature and art. An essential book for libraries and also for drawing and architecture’s lovers.

The open-air sculptures of Eduardo Chillida, present in numerous cities in the world, figure among the most intense and telling creations of contemporary monumental-scale sculpture.

In most cases, these works involve architectural, urban or landscape aspects, and the problem that the artist must face is the organization of the works in the space, whether in relation to the external environment in which the work is placed —as in Wind Combs, in struggle with the aggressive Cantabrian Sea; in the idyllic peace of the Gure Aitaren Etxea (House of our Fathers), in Guernica; or in the EulogytotheHorizon, in Gijón—, or to interior space, closed and sometimes hermetic, which for the artist has a value that is both stimulating and creative.

This volume also includes a wide selection of the Basque artist’s writings that bring us closer to his desire to “define the hollow three-dimensional through the full three-dimensional, establishing at the same time a kind of dialogue between them... The dialogue between the forms, whatever they may be, are much more important than the forms themselves.”

POLÍGRAFA

POLÍGRAFA

Euro 45

ISBN 9788434313859 (english) ISBN 9788434313842 (español) 304 pp., 326 ill. 24 x 29,5 cm / hardback

CONTEMPORARY ART

MEDARDO ROSSO PIONEER OF MODERN SCULPTURE

Text by Umberto Boccioni, Dirk Braeckman, Johan de Smet Design by

PAUL MCCARTHY WS - CSSC (WHITE SNOW AND COACH STAGE STAGE COACH)

Edited by Paul McCarthy

Essays by Paul McCarthy, Eduardo Lago, Donatien Grau

The italian artist Medardo Rosso (1858–1928) is hailed as the pioneer of modern sculpture. At the crossroads of two centuries, Rosso stands as the forefather of Futurism and as influencer of the libertarian art movements of the 1960s. His achievement has been recognized —in spite of an historiographical blindness that persisted for decades— by the artists of his time. Degas, Boccioni, Brancusi, Giacometti, Fontana, Anselmo, Thomas Schütte and Juan Muñoz have all acknowledged the lasting significance of his legacy.

Rosso was not a sculptor in the traditional sense. Eschewing wood and stone, he worked with soft materials such as plaster and wax which lent themselves to the rendering of ephemeral effects and subtle forms. He produced multiple versions of his works, constantly varying the forms and materials. In Rosso’s eyes, sculpture and the viewing of sculpture were inextricably linked, and photography became the ultimate movement from the spectator’s point of view. It enabled him to reach his ultimate goal: to render form insubstantial. In doing so, he recognized photography as an artistic discipline.

Paul McCarthy (Salt Lake City, 1945) is one of the most provocative and influential living voices in contemporary art. This long-size book —between a monograph and an artist book— was conceived by the artist itself, and collects McCarthy’s paintings that represent the latest iteration of two major ongoing projects within his multidisciplinary practice: White Snow and CoachStageStageCoach.

In both series, archetypal American narratives are pitched against human drives and desires, and examined with McCarthy’s characteristic wit and subversion. White Snow , usually a paragon of feminine virtue, is depicted as a garishly made-up, despoiled protagonist. CoachStageStageCoach is McCarthy’s second long-term project, based on the film of the same name, a 1939 American Western by John Ford.

POLÍGRAFA

Euro 55

ISBN 9788434313767 (english)

380 pp., 382 ill.

16,50 x 24 cm / paperback with flaps

MODERN ART

POLÍGRAFA

AMEREIDA

THE INVENTION OF A SEA

Edited

GORDON MATTA-CLARK EXPERIENCE BECOMES

THE OBJECT

Edited by Pedro Donoso

Essays by Caroline Goodden, Gerry Hovagimyan, Flor Bex, Gwendolyn Owens Design by José Délano

JUAN USLÉ

THE BLIND ENTRANCE

Barry Schwabsky

Design by makingbooks

Amereida is one of the most interesting phenomena of the artistic vanguards of Latin America. The journey started in Tierra del Fuego in 1965 by Latin American and European artists, poets, architects and intellectuals, became an artistic event of the first magnitude, performing poetic acts, plastic interventions and other actions, to open the possibility of a properly American inhabit. The construction of Ciudad Abierta and the exploration of new ways of living are now in the hands of the descendants of that heroic generation.

The book brings together photographs, drawings, text and dialogues and is the first effort to publish a visual testimony of the journey. The recovery, in 2015, of the photographic archive of the philosopher François Fédier, allows us to access an unprecedented treasure on one of the foundational experiences of the recent history of Latin American art.

Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs.

His work and words, while sophisticated enough to make him an “artist’s artist,” and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. This book collects five essays and ten individual interviews to different friends and family members of Gordon Matta-Clark serve to outline a biographical profile and an analysis of the historical period in which the artist developed his short and successful career.

When we see certain paintings by Uslé, always in intense, bright and burning colours, we should be reminded of encounters with one of those states that take us out of our everyday way of perceiving, one of those events that teach us that everything we perceive can be captured in an entirely different way, given that even a small modification of the perceptual apparatus can cause it to vary. Some of Uslé’s paintings, the most complex, bring vision to mind through a kaleidoscope. It is useful to recall that these types of experiences, which we are unaccustomed to, are neither easy nor comfortable, and yet are just a step, though a crucial step, away from being painful. In their excess they put pressure on our aesthetic expectations. This work would be the pictorial equivalent of Rimbaud’s famous quote “dérèglement de tous les sens”.

POLÍGRAFA

Euro 35

ISBN 9788434313750 (english / español) 224 pp., 120 ill. 18,50 x 26 cm / hardback

CONTEMPORARY ART

POLÍGRAFA

Euro 35

ISBN 9788434313552 (english / español) 228 pp., 140 ill. 17 x 24 cm / hardback with silkscreen

CONTEMPORARY ART

POLÍGRAFA

Euro 55

ISBN 9788434313309 (english)

ISBN 9788434313392 (español) 288 pp., 170 ill. 21,50 x 28 cm / printed cloth binding

CONTEMPORARY ART

MARCEL BROODTHAERS

COLLECTED WRITINGS

MICHAEL SNOW-SEQUENCES A HISTORY OF HIS ART

This fully illustrated collection of Broodthaers’ writings presents his early poetry in a comprehensive selection of statements and critical essays— some unpublished while others were originally published in newspapers and art magazines and are here collected for the very first time.

Marcel Broodthaers (Brussels, 1924-1976), a poet before becoming an artist in 1964, was a pioneer of intermedia and site-specific installation art but above all an in-depth theorist who ranged widely over the visual arts in his writings. Often overlooked, his artworks include genuine research into the nature of language, giving a conceptual continuity to all his practice. The essay that serve as the book’s introduction written by Gloria Moure (editor of this volume) examines the artist’s approach in relation to the linguistic turn in art practices of the 1960s, and its legacy in contemporary art.

Michael Snow is, without doubt, one of foremost living artist, and a central figure in North American art in the latter half of the Twentieth Century. Since the reception of the “Independent Film Award” (1968) from the journal Film Culture, his work was placing in the ranks of such major figures of avant-garde cinema as Stan Brakhage and Gregory Markopoulos as well as in the company of two other artists-turned-filmmakers: the photographer Robert Frank and the painter Andy Warhol. The image of Michael Snow that emerges from this complete mongraph is of a contemporary Renaissance man. Mixing reflexive humor with a nuanced grasp of the many faces of contemporary art, Snow’s text acknowledges the difficulties an artist faces in approaching different disciplines when there is ‘a tendency towards purity in all these media as separate endeavours’.

GARY HILL. AN ART OF LIMINA WORKS AND WRITINGS

JANNIS KOUNELLIS WORKS, WRITINGS 1958-2000

POLÍGRAFA

Euro 60

ISBN 9788434312876 (english)

512 pp., 317 ill. 21 x 25 cm / hardback •

POLÍGRAFA

Euro 60

ISBN 9788434313521 (english)

376 pp., 374 ill.

21 x 25,50 cm / hardback

George

Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill’s work in video is about, and is, a new form of writing.

In this book, George Quasha and Charles Stein, who met Gary Hill on mid-1970s analyze the whole career of the artist paying especial attention to the single-channel video work, where he explored the intertextuality of image, synthesized imagery and post-minimal political statements.

Jannis Kounellis has always cherished a fond memory of “those Greek mothers who, rather than bringing up their children to stay by their sides, prepared them to leave home.” But of course these adventures come to an end sooner or later with the long-awaited return to Ithaca. Often when Kounellis is asked about the idea of the voyage as an aesthetic reference throughout his work, he replies categorically —perhaps because he is well aware that this abstraction was the leitmotif used to exhaustion during the irreverent and dilettantish eighties as a justification for all kinds of frivolity— that “every journey is in some way an initiation: it is an idea of expansive, amorous, collective consciousness”, and then goes on to destroy the obviousness of the physical displacement.

POLÍGRAFA

Euro 60

ISBN 9788434310421 (english)

640 pp., 316 ill. 21 x 26 cm / hardback

POLÍGRAFA

Euro 53

ISBN 9788434309227 (english)

ISBN 9788434309210 (español) 448 pp., 385 ill. 21,50 x 26 cm / clothbound

SIGMAR POLKE PAINTINGS, PHOTOGRAPHS AND FILMS

Gloria Moure

Design by makingbooks

ROBERT WILSON

DAN GRAHAM WORKS AND COLLECTED WRITINGS

Edited by Gloria Moure

Text by Alexander Alberro, Eric de Bruyn

Design by makingbooks

This is the updated and revised version of the Polke book published in 2005 by Ediciones Polígrafa. This publication was designed and conceived in collaboration with the artist and includes part of his personal documentation. It is also the only publication that includes a critical review of his production of Films. Also there is a very interesting crosscutting issue in the book: the relation of the artist with the Goya painting, Lasviejas o Eltiempo. The new cover shows Polke photographing this painting in The Beaux Arts Museum in Lille (France). Starting from the profane material of everyday culture, Polke interprets images of reality rather than reality itself, satirizes tendencies in contemporary painting, questions the role of the artist as author, breaks down the trivial visual worlds of media photography, and always, but always, takes off on the most magnificent fights of imagination.

Robert Wilson is undoubtedly one of the stage directors who have devoted greater effort to integrating elements stemming from a range of creative fields. Special importance is conceded to the use of light and movement in his oeuvre, not only as compositional elements but also as symbolical features.

In this publication Miguel Morey and Carmen Pardo approach the entirety of his oeuvre through an extensive essay structured around five suggestive selections: The Deaf Man’s Gaze, The Automaton’s Freedom, What Marlene Dietrich Knew, The Prisms of Silence and The Theatre in Infinite Space.

Since the mind-1960s, Dan Graham (Urbana, Illinois 1942) has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. He is a highly influential figure in the field of contemporary art, both as a practitioner of conceptual art and a well-versed art critic and theorist.

Graham’s work questions the relationship between people and architecture and the psychological effects it has on us. His work highlights the awkwardness that occurs when intimate moments or details are rudimentarily broadcast in an impersonal manner, as he continues to investigate the voyeuristic act of seeing oneself reflected, whilst at the same time watching others. This monograph analyzes his main works and collects some of seminal writings by the artist.

VITO ACCONCI WRITINGS, WORKS, PROYECTS

Gloria Moure

Design by makingbooks

The work of Vito Acconci has acquired especial prominence during the last decade. Poet, sculptor and performer, the videos and films that document his activities during the sixties and seventies have become points of reference for the new generations.

This monograph by Gloria Moure examines his most important works —from his first performances to his most recent projects for public spaces— and includes a wide selection of his writings.

POLÍGRAFA

Euro 60

ISBN 9788434313378 (english)

ISBN 9788434309883 (español)

328 pp., 180 ill.

21,50 x 26 cm / hardback

POLÍGRAFA

Euro 53

ISBN 9788434309876 (english)

ISBN 9788434309869 (español) 256 pp., 160 ill. 21,50 x 26 cm / hardback

POLÍGRAFA

Euro 60

ISBN 9788434312012 (english)

360 pp., 215 ill. 21 x 26 cm / hardback with jacket

POLÍGRAFA

Euro 53

ISBN 9788434308947 (english)

ISBN 9788434308893 (español)

432 pp., 318 ill.

21,50 x 26 cm / hardback

CRISTINA IGLESIAS

TONY OURSLER

Edited by Elizabeth Janus, Gloria Moure

Text by Raymond Bellour, Tony Conrad, Constance De Jong

Interviews with Dan Graham, Mike Kelly

Cristina Iglesias (1956, San Sebastián) belongs to a generation of artists who have transformed the concept of sculpture since the 1980s. Working towards the melding of her artistic work with architecture, Cristina Iglesias has long been attracted to spaces within spaces. The sheer scale of her sculptures invites viewers to walk around and occasionally through her pieces. On a more microscopic level, Iglesias has remained fascinated by details, and by data that deliberately distracts or skews the perception of abstract forms. Rich surfaces, such as cast impressions of local and exotic flora, become progressively all-consuming as the viewer approaches them. This publication is the first monograph on the artist, and includes a consideration of work done in collaboration with architects Abalos & Herreros and Paul Robbrech.

During the course of the past fourty years, video art has blossomed well beyond the expectations of its early practitioners and theorists. Born as a critique of television and a medium at odds with traditional pictorial forms, at its inception video was filled with an utopian promise that lead artists to believe in a true democratization of art. Today it has reached a pinnacle of technical sophistication and aesthetic importance that was only dreamed of in the 1960s when the accessibility of the Portapak camera seemed to allow limitless creative possibilities. Tony Oursler stands as a major figure within the evolution of the medium.

With a keen understanding of its technical intricacies, as well as its limitations as a time-based form, Oursler began to paint in moving images a broad picture of how visual technologies influence —even modify— our social and psychological selves.

BEHIND THE FACTS INTERFUNKTIONEN 1968-1975

Edited

ANTHONY MCCALL SOLID LIGHT, PERFORMANCE AND PUBLIC WORKS

POLÍGRAFA

Euro 53

ISBN 9788434310070 (english)

ISBN 9788434309944 (español) 274 pp., 186 ill. 21 x 26 cm / clothbound

CONTEMPORARY ART

POLÍGRAFA

Euro 53

ISBN 9788434309203 (english)

ISBN 9788434309197 (español) 360 pp., 280 ill. 21,50 x 26 cm / clothbound

CONTEMPORARY ART

Essays

Design by makingbooks

The art magazine Interfunktionen, published in Cologne from 1968 to 1975, drew together much of Central European artistic activity of the sixties and seventies. A prestigious review directly linked to the most prominent figures in the Düsseldorf Kunstacademie such as Joseph Beuys, Jorg Immendorf and Sigmar Polke, it also boasted the involvement of the most spirited and reflexive artists of the times: from Vito Acconci and Marcel Broodthaers to Bruce Nauman and Dieter Roth. Interfunktionen, as its name indicates, was an interdisciplinary publication, open to all artistic genres and with no restrictions as to media. This book has been produced in collaboration with Fritz Heubach, the first editor of the review, and depicts the experience of those years by means of original documents (some of them hitherto unpublished), artworks and artists’ writings.

Until the installation of his 1973 solid-light piece, LineDescribingaCone in Chrissie Iles’s Whitney exhibition

IntoTheLight in 2001, Anthony McCall (England, 1946) remained one of those artists whose work circulated almost entirely in the form of two or three very well-known documentary photographs: his art was immediately recognizable, canonical even, but rarely experienced firsthand. This carefully designed and produced monograph on the Anglo-American artist seeks to lay bare the imaginary that underlies his work, from LandscapeforFire (1972) to the presentation of his latest piece ComingAbout (2016). Throughout the images and the artist words, the book vindicates McCall’s independence of spirit and aims to make the richness and complexity of his work perfectly apparent. In addition, the book collects, for first time, all the public projects the artist developed on the last decade.

POLÍGRAFA

Euro 49

ISBN 9788434310179 (english) 544 pp., 248 ill. 17 x 23 cm / clothbound

POLÍGRAFA

Euro 35

ISBN 9788434313606 (english / español / català) 168 pp., 109 ill.

17 x 24 cm / printed hardback

ART THEORY / HISTORY / CRITICISM

CONTEMPORARY

CONTEMPORARY ART

ALEX VAN GELDER & LOUIS BOURGEOIS

ARMED FORCES

Photo-Essay by Alex van Gelder on Louise Bourgeois

JOAN FONTCUBERTA: DELETRIX

Edited by Manuel Guerrero Brullet

Text by Carme Arenas, Manuel Guerrero Brullet, Chenjerai Hove, Herta Müller, Emmanuel Pierrat, John Ralston Saul, Salman Rushdie

JAUME PLENSA

FERNANDO PRATS GRAN SUR

Text

Louise Bourgeois was an immensely influential sculptor and one of the iconic figures of twentieth and early twenty-first century art.

In the last year of her life, she invited the artist Alex van Gelder to stay at her New York town house and take photographs of her. More than purely a portrait project, she considered the collaboration to be an extension of her work, allowing her person to be viewed as a segment of her art. This beautiful clothbound book presents twenty of Van Gelder’s portraits of Bourgeois’s hands, each on a double-page spread and accompanied by comments by the artist. Despite their stark simplicity, Van Gelder’s images are suffused with warmth. They reflect his closeness to Bourgeois and the trust she placed in him when working together on this final project, brought to fruition here in this intimate and precious book.

During the last six years, the photographer Joan Fontcuberta (Barcelona, 1955) has visited libraries and archives throughout Europe and North America and gathered together images of censured text from different epochs and authors –Desiderius Erasmus, Fernando de Rojas, Francisco de Quevedo, among others.

Based on this series of images, Joan Fontcuberta presents Deletrix, an artistic project (an exhibition and an artist book) on censorship with the direct involvement of PEN Catalán. Deletrix includes a series of images by the photographer together with texts in which writers of international renown reflect on censorship. This project, driven by PEN Catalán aspires to become a literary and artistic benchmark volume on censorship.

This book puts together a wide selection of his sculptures, writings and collaborative works. Besides an intense activity in the field of sculpture, which started at the beginning of the 80s, during the last two decades Jaume Plensa has showed a strong inclination towards theorization, which is reflected in the progressive conceptualization of his work.

Fernando Prats’ Gran Sur project was inspired by Ernest Shackleton’s newspaper advert soliciting recruits for his fateful Antarctic expedition: “Men wanted for hazardous journey, low wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful, honor and recognition in case of success”. Through a compendium of photographs and archival materials, Prats’ installation, recorded in this volume, draws out the implications of the blackly humorous advert to resonate with larger experiences of migration and dangerous travel.

In 2011 Fernando Prats (Santiago de Chile, 1967) represents Chile in the Venice Biennale.

POLÍGRAFA

Euro 35

ISBN 9788434312531 (english)

48 pp., 22 ill. 22,50 x 29 cm / clothbound

PHOTOGRAPHY, ARTIST’S BOOK

POLÍGRAFA

Euro 25

ISBN 9788434313255 (english / català) 96 pp., 44 ill. 23 x 28 cm / clothbound with glued image

PHOTOGRAPHY, ARTIST’S BOOK

POLÍGRAFA

Euro 49

ISBN 9788434309418 (english) ISBN 9788434309401 (español) 304 pp., 182 ill. 22 x 29 cm / hardback

CONTEMPORARY ART

POLÍGRAFA

Euro 35

ISBN 9788434312906 (english) ISBN 9788434312890 (español) 288 pp., 214 ill. 17 x 24 cm / hardback

CONTEMPORARY ART

ON THE ROAD

THE ESPAI POBLENOU FOUNDATION

SITE SPECIFIC PROJECTS 1989-1995

Foreword

Francis of Assisi, constitutes the starting point for the research into contemporary art included in this publication. A central figure of European culture, he challenged the world he lived in.

On the one hand, he represents a radical criticism of the dominant forces of his time and, on the other, an energetic response to the demands of the situation. His clashes with the hierarchy of his day render him an inevitable benchmark in many of the subsequent socio-cultural movements.

The book’s structure is intrinsically bound to the ideas that drove the attitude of St. Francis of Assisi, which remain enormously relevant even today: human dignity in the face of poverty, the increased value of sensitive knowledge as opposed to the supremacy of a purely instrumental reason, landscape as part of the human quality (appreciating reality as a link in which nothing can be external).

POLÍGRAFA

Euro 39

ISBN 9788434313323 (english)

ISBN 9788434313385 (español)

232 pp., 180 ill. 26 x 21 cm / hardback

Introduction by Rudi Fuchs

From October 1989 until September 1995, fourteen site specific projects found their home in the city of Barcelona.

Created by Christian Boltanski, John Cage, Jan Dibbets, Rodney Graham, Rebecca Horn, Jannis Kounellis, Richard Long, Mario Merz, Bruce Nauman, Sigmar Polke, Aureli Ruiz & José Maldonado, Ulrich Rückriem, and Lawrence Weiner, the works provided a significant overview of important installation work of the second half of the 20th century. This book documents the intense experience of the project, which was organized by the Espai Poblenou Foundation.

MEMORIA Y AMNESIA SOBRE LA HISTORIA RECIENTE DEL ARTE EN CHILE 1976-2000

LA BRUTALIDAD DE LOS HECHOS ENTREVISTAS CON FRANCIS BACON

Memoriayamnesia.Sobrelahistoria reciente del arte en Chile 1976-2006 is a complete and in-depth study of Chilean art at the turn of the century and, mainly, of the period that began with the military coup of 1973. The book addresses how some of the main works, strategies and devices of Chilean art struggle against oblivion in the midst of the political and social oppression of the military dictatorship, and what was the development of that struggle in the artists of the democratic transition of the following years.

The tour starts from the cultural violence that followed the coup d’état, to close with a reflection on the possibilities of art at the present time. From the germinal exhibition Delachilenapintura,history (1976) by Eugenio Dittborn in Galería Época, to the generation of artists who were born in the decade featured by Escena de avanzada (Advanced Scene).

This book of extraordinarily revealing interviews with Francis Bacon by the distinguished art critic David Sylvester , conducted over a period of twenty-five years (1962-1987), has now been substantially expanded and updated respect the first Spanish edition, published by Ediciones Polígrafa on 1977.

Graham Greene wrote: “An exciting document which can rank with the journals of Delacroix and the letters of Gauguin. With a brilliant use of language, Bacon talks about his aims as a painter, his obsessive effort to record and re-create the human form, his practice of making variations on old maters paintings and on photographs, his dependence on chance, or his views about the way in which his work has been interpreted, are only some of the subjects investigated in depth during these encounters.”

POLÍGRAFA

Euro 39

ISBN 9788434309951 (english)

ISBN 9788434310087 (español) 216 pp., 128 ill. 17 x 23 cm / hardback

POLÍGRAFA

Euro 35

ISBN 9788434313682 (español) 336 pp., 173 ill. 16,50 x 23,50 cm / hardback

POLÍGRAFA

Euro 24,50

ISBN 9788434312111 (español)

176 pp., 108 ill.

17 x 24 cm / hardback with jacket

EL CUERPO INCALCUABLE WILLIAM FORSYTHE, GERALD SIEGMUND Y LOS DIFERENCIALES DE LA DANZA

Edited by Roberto Fratini, Magda Polo Design by Roger Adam Colección Cuerpo de Letra (7)

COMPONER EL PLURAL ESCENA, CUERPO, PRÁCTICA

With an artistic trajectory that moves to unfathomable depths between dance, visual arts, theoretical reflection and pedagogy, William Forsythe is not only one of the most significant choreographers of recent decades, but also the most genuine representative of a multi-faceted model of humanism, of a confluence between arts and knowledge, which is the true structural challenge of the 21st century.

The most instructive part of this map of modes of creation is that it refers, almost entirely, to an essential understanding and to a radical expansion of the notion of choreography: an unconditional love for dance as utopian writing and as a terminal act of presence in the world. This book gathers for the first time three essays dedicated to William Forsythe by Gerald Siegmund, and an anthology of interviews, conversations, lectures and poetic allegations of Forsythe himself.

Componerelplural is the sixth title of “Cuerpo de Letra” collection, a series of studies focused on dance and contemporary thinking.

This book contains essays, social and artistic experiments that invite us to train ourselves in the plural and think on ourselves as political bodies: from the intimate encounter to multitudinous proposals, from the protest to the party, from assemblies practices to a policy of inhabiting, that exploring issues such as dynamics, rhythms, statements, demonstrations, and other ways to become ourself.

But the book itself is also a kind of laboratory for diversity, in which each of the essays of political theory, theory of performing arts and reflections of the artists find their own space, shaping a plurality of perspectives on a crucial problem: how to think the current political transformations from the idea of a collective body.

EJERCICIOS DE OCUPACIÓN AFECTOS, VIDA Y TRABAJO

Edited by Ixiar Rozas, Quim Pujol Design by Roger Adam Colección Cuerpo de Letra (5)

A CONTRACUENTO LA DANZA Y LAS DERIVAS DEL NARRAR

Roberto Fratini

Design by Roger Adam

Colección Cuerpo de Letra (4)

Ejerciciosdeocupación is the fifth title of “Cuerpo de Letra” collection, a series of studies focused on dance and contemporary thinking. In addition to recovering two texts by authors who have been key in the development of discourse on affects during the last decades (Brian Massumi and Eve Kosofsky Sedgwick), the book collects a series of new texts specifically written for this volume from the theory and the artistic practice. These texts are intended to relaunch the debate about affections in the present moment. Recover consciousness on how our bodies are occupied and are able to deal with others, allows us to think about ways of making and living that do not reproduce the tautological assimilation between reality and capitalism. Since language is also affective, Ejerciciosdeocupación sometimes take a poetic tone. This is a set of rhythmic, anomalous and vibrational texts.

Faced with the critical discourse that appears to have reduced narration to an element removed from the spirit of dance, A Contracuento attempts to rehabilitate the story, presents the whys and the wherefores of an infinite history of intersections, convergences and complications between the malice’s of narration and the malice’s of dance.

This heterogeneous book speaks about clouds, water lilies, shipwrecks, panoramas, fabrics, warps and wefts, without losing sight for an instant of the most varied expressions in dance today and the plurality of authors that shape their poetry like that of an “extreme” story. What it offers is not simply a revolutionary read on the brotherhood of body and story, but rather a general theory that attempts, dynamiting some common areas of criticism, to rehabilitate the choreographic vocation of modern dance.

POLÍGRAFA

Euro 23

ISBN

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 23

ISBN 9788434313637 (español) 340 pp. 14,50 x 21 cm / paperback

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 23

ISBN 9788434313545 (español) 302 pp. 14,50 x 21 cm / paperback

POLÍGRAFA

Euro 23

ISBN 9788461565528 (español)

488 pp.

14,50 x 21 cm / paperback

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

PERFORMING ARTS, THEORY / HISTORY / CRITICISM

FIL-SOFIA

EL CONCEPTE DEL FIL EN LA DONA-ARTISTA (THE CONCEPT OF THREAD IN THE WOMAN-ARTISTS)

Mirella Bentivoglio

Contributions by Francesca Cataldi, Maria Ferrero Gussago, Elisabeta Gut, Dona Henes, Maria Lai, Valeria Melandri, Gisella Meo, Aurèlia Muñoz, Renata Prunas, Lisa Rehsteiner, Angels Ribe, Greta Schöld, Franca Sonnino, Elena Tondi, Clotilde Vitrotto

Mirella Bentivoglio brings together, around the concept of thread (the grid, the fabric), the contribution of fifteen artists from southern Europe who in the 1970s were demanding the visibility of female artistic practice. From very diverse disciplines, which include performance, film, assemblage, sculpture or drawing, the thread in its multiple configurations becomes the leit motive of a reflection that still lasts.

METRÒNOM

Euro 15

ISBN 9788434314313 (english / català)

36 pp. 21 x 29,5 cm / paperback

CONTEMPORARY ART

METRÒNOM #2

Cristina Moreno, Anna Torrents (coord.)

Writing team: Francesc Abad, Carles Hac i Moor, Josep M. Joan i Rosa, Pere Noguera, Steva Terrades

Vicenc Altaió, Teresa Blanch, Angel Bados, Eugeni Bonet, C.V.A., Itziar Elejalde, Carles Hac i Mor, Pello Irazu, Juan Muñoz, Onliyu, J. De Oteiza, Eduardo Polonio, Benet Rossel, Annemieke van de Pas

In addition to the reflections of Oteiza and Juan Muñoz on the fabrication of the myth and on the sculptural metaphor, respectively, this second issue of Metrònom includes extensive essays on the work of Robert Filliou and the photographer Helmut Newton, both by Annemieke van de Pas; and a retrospective vision by Eugeni Bonet on the work of José Antonio Sistiaga and Iván Zulueta.

METRÒNOM

Euro 25

ISBN 9788434314344 (english / català) 39 pp. 29 x 41 cm / paperback

CONTEMPORARY ART

Cristina Moreno, Anna Torrents (coord.)

Writing team: Francesc Abad, Carles Hac i Moor, Josep M. Joan i Rosa, Pere Noguera, Steva Terrades Eugeni Bonet, Norberto Chaves, Manuel Duran, Pedro Ggarhel, Jorge García Garay, Lydia Rosenzuit, Carles Hac Mor, Manchon, Antoni Mercader, Biel Mesquida, Gloria Moure, Joan Rabascall, Verónica Ruz, América Sánchez, Rosa serra, Steva Terrades, rafael Tous, Tres, Jordi Valverde

After five months of activities, Metrònoom published this third number of the magazine, in which is included a poetic offprint by América Sánchez, respecting the language in which it was written.

This publication brings together all the activities that took place at metrònom since the publication of last issue, Num. 2: starting from a series of films, “Anemic cinema” (films by various film makers of the moment) which also includes musical groups such as the Residents of Tuxeedomoon; an exhibition of “sacred” objects and “relics” by Jordi Valverde (entitled “VESTIGIARUM SACRARUM EXHIBITIO”), in combination with eight large works by Francesca Llopis: “BARCELONA TRASBALSADA, TRIPTICS”; the Argentinian architects resident in Barcelona, García Garay-Rosenzuit have exposed their “OBJECTES HEROICS”, furniture designed with great pompeian influence; Iñaki Castillo exhibited “L’HOME I LA MA DEL BORN”, a series of large photographs of the graffiti that appears in la Ribera neighbourhood.

METRÒNOM #4

Cristina Moreno, Anna Torrents (coord.)

Francesc Abad, Carles Hac i Mor, Josep M. Joan Rosa, Pere Noguera, Steva Terrades, Llorenc Barber, Eugeni Bonet, Daniel Boone, Dan Cameron, Dominique Casteran, Eduard Delgado, Josep Maria Minguet, David Morgann, Annemieke Van de Ppas, Lluis Permanyer

This was the last number of Metrònom art contemporani of the season 1984-85, in which as is usual, it gather documentally the activities carried out in Metrònom during the months of May and june of the year.

May had been given over to performances and to the theatre, coinciding with the Congrés Internacional del Teatre a Catalunya. Four shows took place during the month of May: Jordi Rocosa presented “K.K”, Albert Vidal with his act “KINESIS” inagurated the exhibition of the Catalan photographer Leopold Samsó entitled “ALBERT VIDAL VIST PER LEOPOLD SAMSO” and, subsequently had presented the installation “COSMOGONIA DE L’HOME URBBA”, Toni Cots represented “EL ROMANCERO DE EDIPO”, a show in Castillian directed by Eugenio Barba, and Michel Matou closed the month dedicated to the theatre with his show “ORFEO”.

The last exhibition of the season was on the French group named Présence Panchounette, who presented and exhibition of objects “UN PEU DE TOUT/UNA MICA DE TOT” (A LITTLE OF EVERYTHING)

METRÒNOM

Euro 25

ISBN 9788434314368 (english / català)

30 pp. 29 x 41,50 cm / paperback

CONTEMPORARY ART

METRÒNOM #5

Cristina Moreno, Anna Torrents (coord.)

Damià Alou, Javier Arnaldo, Eugènia Balcells, Danièle Boone, Joann Bufill, Eva Camps, Jordi colomer, Jacques Donguy, Gallardo, Carles Hac i Mor, Lluís Juncosa, Martí, Antoni Mercader, Montesol, Annalívia Negre, Márius Palmés, Francesc petit, Roger, Aureli Roig, Jordi Saladrigas, Anna Torrents, Ignasi Ubac i Mòlist

Antoni Mercader’s report / thoughts on Messages to the Public initiative in Times Square (NYC) opens this issue, dedicated to the field of performance in the 1980s, with an extensive analysis by Jacques Donguy and the action carried out in Metrànom by Peter van Riper, in parallel to the exhibition From the Center by Eugènia Balcells, which is presented by Carles Hac Mor.

METRÒNOM #6

Cristina Moreno (coord.)

Design by Steva Terrades

Text by Francesc Abad, Robert Atkins, Barraca, Diana Block, Daniéle Boone, Maria Lluïsa Borrás, Juan Bufilll, Eva Camps, Manel Clot, Michèle Cone, Joaquim Dols Rusiñol, Jaume Fàbrega, Carles Hac i Mor, among others

This issue pays tribute to the figure of Joseph Beuys and Michèle Cone dedicates an extensive essay to public art, both in natural and urban spaces. Antoni Mercader reflects on Live Video Computer - Art Performance and Enrique Vila-Matas on the Duchampian´s single machine (machine celibataire) concept and its precursors and epigones.

METRÒNOM 2ND: SACRIFICI

Edited by Antoni Serra

Text by Jordi Benito, Pep Camps, Lourdes Cirlot, Manuel Delgado, M.A. Encuentra, Jordi Gussinyer, Carles Hac Mor, Mont Marsà, Mann Meni, Biel Mesquida, Miquel Morey, J.E. Monterde, RINOS, J.L. Rodríguez, Carles Ruiz, Pere Salabert, Leopold Samsó, Steva Terrades, Jaume Xifra

These publications sought to fill important and paradoxical gaps in the analysis and documentation of those artists who most directly contributed to the renovation of the artistic fact; a renovation with a long trajectory in Catalonia.

Sacrifici (Sacrifice) introduces a series of topics apparently tangential to the artistic discourse; so that the artistic discourse, from its specificity, enters into contact, dialogue, even confrontation with other discourses, which may be not so distant, such as the philosophical, scientific, or anthropological, without any of them pretending to be an explanation, transcription or illustration of the others. The most immediate objective of this project of the Centre de Documentació d’Art Actual was to make possible the appearance of a place where these tangential discourses could meet and intertwine.

METRÒNOM

Euro 25

ISBN 9788434314382 (english / català) 43 pp. 29 x 41 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314405 (english / català) 104 pp. 29 x 41 cm / paperback

METRÒNOM 2ND #1

Text by Núria Andreu, Pere Anguera, xano Armenter, Didier Arnaudet, Francesc Arumí, Tomás Bel, Brigitte Bouillot, Genís Cano, Enric Cassases, Jacques Damase, Quim Davi, Silvie & Cherif Defraoui, Carles Fargas, Lucas Fraile, Carles Ferrer, Gloria Moure, P.N.A., Arnau Pons, among others

In this second stage, Metrònom strengthened the complicity that it had always maintained with comics and literary creation and devoted extensive reports to Barcelona Graffiti (PNA-Rinos-Trepax), to the performative installation of Albert Vidal and to the poetry of Enric Cassases and Rafael Vallbona. The central part is dedicated to David Mach’s overwhelming site-specific project Adding Fuel to the Fire.

METRÒNOM 2ND #2

Edited by Antoni Serra

Text by J.V. Aliaga, David Balcellls, Feipe Borrallo, Koen van Brabant, Jochen Coldewey, Sílvia Duran, Miguel Gallardo, Chantal Grande, Carles Hac i Mor, Juanito Mediavilla, Héctor Milla, Pere Noguera, Glòria Picazo, Ma. Elena Roqué, Dora Salazar, Carlos Santos, among others

The central pages are dedicated to referential projects by two artists closely linked to Metrònom: Pere Noguera and Richard Wentworth, and to Estampes apòcrifes, the first of multiple incursions into auteur photography.

Likewise, there is a tour through experimental Japanese and German film-video.

PERE NOGUERA

Edited by Vicenç Altaió, Antoni Serra Text by Juan Vicente Aliaga, Lena Balaguer, Hubert Besacier, Sybille de Boccard, Glòria Bosch, Jean de Breyne, Teresa Camps, Josep Canals, Juli Capella, José Carlos Castaño, Manel Clot, Jaume Figa, Annie Gentils, Daniel Giralt-Miracle, Elio Grazioli, among others

This monograph collects the most important works made by Noguera in the 70s and 80s, as well as the most successful contributions of art critics who have followed his consistent career.

In the trail of Alberto Burri and in parallel to artists with practices close to arte povera, Noguera began his career in the 1970s popularizing what we know as the “muddy”, which consists of covering objects and surfaces with liquid-clay. In that same decade, he was a pioneer by incorporating photocopies into his work and by disseminating the idea of the archive as a ready-made from found photographs and films. He has carried out work on the conceptual processes of photography and electrography while practicing the installation and the performance art.

NOGUERA INSTALLATIONS AND PERFORMANCES 1980-83

METRÒNOM

Euro 35

ISBN 9788434314429 (english / español / català / français) 66 pp. 29 x 40,50 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314436 (english / català) 58 pp. 29 x 41 cm / paperback

METRÒNOM

Euro 25

ISBN 9788434314412 (english / català) 131 pp. 29 x 41 cm / paperback

First published monograph of Pere Noguera (La Bisbal d’Empordà, Girona, 1941), one of the first artists who openly raised the ecological crisis at the turn of the century.

In the trail of Alberto Burri and in parallel to artists with practices close to arte povera, Noguera began his career in the 1970s popularizing what we know as the “”muddy””, which consists of covering objects and surfaces with liquid-clay. In that same decade, he was a pioneer by incorporating photocopies into his work and by disseminating the idea of the archive as a ready-made from found photographs and films. He has carried out work on the conceptual processes of photography and electrography while practicing the installation and the performance art.

METRÒNOM

Euro 30 ISBN 9788434314320 (english / original languages) 50 pp. 21 x 29,50 cm / paperback

METRÒNOM A LES CIUTATS BARCELONA - DIJON

Text by Vicenç Altaió, Carles Hac Mor, Eduardo Mendoza, Eric Colliard, Xavier Douroux et alt

Design by Jordi Colomer, Josep Bagà

“70/80” UNA COL·LECCIÓ D’ART ALTERNATIU

Foreword

Text

FRANCESC TORRES: BELCHITE/SOUTH BRONX A TRANS-CULTURAL AND TRANS-HISTORICAL LANDSCAPE

Essays by Helaine Posner, Francesc Torres, Mar Villaespesa, Marilyn A. Zeitlin

FRANCESC ABAD: MATERIAL HUMÀ

Francesc Abad

Text by Gloria Moure

In 1986, Metrònom began its international experience with an exhibition exchange with Le Consortium de Dijon. The initiative aims to give international visibility to Catalan conceptual art and showing, for the first time in Barcelona, the work of artists linked to the French city. This book / catalog brings together, for the first time, works by Jordi Benito, Jordi Colomer, Lluís Nicolau, Pere Noguera, Carlos Pazos, Marie Bourget, Alice, Gloria Friedmann, Bertrand Lavier, Come Mosta-Heirt, Michel Verjux and Jacques Vieille.

In her interesting and foreboding introductory essay “When art becomes a document”, Pilar Parcerisas highlights the paradigm shift that brought about the generalization of the conceptual practice of art and its repercussions on new collecting: “Collecting the ephemera. Collecting ideas, concepts, attitudes or behaviors, experiences, point of action in time and their result […] In short, collecting the spirit of a moment through their artistic concerns ”. Rafael Tous shows here the beginning of his approach to Catalan conceptual art and the bases of a collection project that we may describe as exemplary.

This publication collects large-scale projects by Francesc Abad, Eugénia Balcells, Jordi Benito, Jordi Cerdà, C.V.A., Leopoldo Emperador, Benet Ferrer, Alicia Fingerhut, Teresa Gancedo, Ferran Garcia-Sevilla, Eulàlia Grau, among others.

In the mid-1970s, the work of Francesc Torres acquired a narrative dimension linked to the investigation of the formats of action (where the artist’s own word was an essential element). In this book, Torres constructs a multilayered metaphor that transcends culture, time and place. Ruins of the abandoned Spanish town of Belchite and archival footage of the Spanish Civil War are juxtaposed with the ruined buildings and icons of the contemporary urban landscape of the South Bronx.

The first idea of this Francesc Abad’s project was to reconstruct the process of knowledge, of culture. Confidence -since the Renaissancein man and in the development of humanity has been reopened in recent times due to historical events and a daily reality that has washed away the optimistic perspective of man’s future, and has installed him in an iron mechanism of crazed production and alienating work. The economic system that believed in progress has become real and has given way to a dance of death around the value of money and the dead end of consumption. Man has lost that incisive and at the same time dreamy look towards the new fields of knowledge. As the artist said: “Man must strive in this work of reflection and make decisions about his own future”.

METRÒNOM

Euro 15

ISBN 9788434314399 (català / français) 34 pp. 41 x 29 cm / paperback

METRÒNOM

Euro 30

ISBN 9788434314337 (english / català) 54 pp. 29,50 x 21 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314443 (english / español) 135 pp. 23,50 x 28 cm / paperback

METRÒNOM

Euro 45

ISBN 9788434314627 (english / català) 84 pp. 21 x 29,50 cm / paperback

FRANCESC ABAD EUROPA ARQUEOLOGIA DE RESCAT (EUROPE RESCUE ARCHEOLOGY)

Antoni Serra (coord.)

Text by Miguel Morey, Antoni Serra, Paul Virilio, Jorge Wagensberg

The work of Francesc Abad assumes, as a fundamental will, an introspection into the roots of culture. His concern for the genesis of human behavior and for anthropology thus points to the field of the “archeology of knowledge”. This monograph takes as a reference the work Europa, arqueología de rescat, a project developed from archaeological finds, in an area near Terrassa, which belong to a still unknown period of prehistory, in which pansexual rituals ––as generators of a first worldview–– provide key information on access to new materials, the measurement of time and the genesis of writing.

JORDI BENITO LES PORTES DE LINARES (THE DOORS OF LINARES)

Antoni Serra (coord.)

Text by Manel Clot, Carles Hac Mor

CARLOS PAZOS NO HAY REPLAY (THERE’S NO REPLAY)

Antoni Serra (coord.)

Text by Jorge Luis Marzo

Since his first works, carried out in the early seventies, Jordi Benito’s work has progressively taken on more complexity, both with regard to the conception of each piece and with regard to strictly formal issues. Les portes de Linares stands out for the strength of its spatial conception, for the meticulous choice of materials, the metaphorical condition of the elements represented ––stones, animals, pianos–– and the unequivocal use of a permanently activated stage space.

Carlos Pazos is, without a doubt, one of the greatest Pop Art artist in Europe. His work, with self-referential nuances that consciously embroider narcissism, is full of dream images that appeal to the personal and collective subconscious. In No hay replay, not only the images of his magnificent installation at Metrònom are collected, but also the multiple paradoxes and linguistic turns that the artist has deployed throughout his career around a motto: there is no return behind.

THE INVENTION OF THE PRESENT REPRESENTATIONS OF EVERYDAY LIFE IN CHINESE CONTEMPORARY PHOTOGRAPHY

Menene Gras Balaguer (coord.)

The representations of everyday life that are addressed in this publication reveal the great material and social changes in contemporary China since the 1990s, as a result of the expansion of the ideology of consumption and mass culture. The photographs of Liu Zheng, Yan Huang, An Hong, Wang Qingson, Yang Fudong and Zhang Huan reflect the transformation experienced in Chinese society and in contemporary art, where experimentation and critical transgression are becoming more and more evident.

METRÒNOM

Euro 30

ISBN 9788434314450

(english / español / català) 53 pp. 24 x 30 cm / paperback

METRÒNOM

Euro 30

ISBN 9788434314467 (english / español / català) 66 pp. 23,50 x 30 cm / paperback

METRÒNOM

Euro 30

ISBN 9788434314474 (english / español / català) 65 pp. 23,50 x 30 cm / paperback

METRÒNOM

Euro 50

ISBN 9788434314641 (english / español) 248 pp. 26,50 x 29 cm / hardback with jacket

METRÒNOM YEARBOOKS

In the last 12 years of its trajectory (19952006), Metrònom's publishing activity was reduced but the intense activity of its program has been recorded through yearbooks that have remained in history. Since 1999, each yearbook has included 1-3 DVDs with the record of sound pieces, exhibitions and performances.

METRÒNOM 1995-1996

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 30

ISBN 9788434314481 (english / español / català) 129 pp. 23 x 30 cm / paperback

CONTEMPORARY ART

METRÒNOM

1997-1998

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 30 ISBN 9788434314498 (english / español / català) 202 pp. 23 x 30 cm / paperback

CONTEMPORARY ART

METRÒNOM 1999-2000

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 35

ISBN 9788434314504 (english / español / català) 238 pp. (+ 3 CD’s) 17,50 x 21,50 cm / hardback

CONTEMPORARY ART

METRÒNOM

2000-2001

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 35 ISBN 9788434314511 (english / español / català) 124 pp. (+ 1 CD + 1 DVD) 17,50 x 21,50 cm / hardback

CONTEMPORARY ART

METRÒNOM 2001-2002

Anna Guarro (coord.)

METRÒNOM

Euro 25

ISBN 9788434314528 (english / español / català) 60 pp. (+ 2 DVD)

14 x 25 cm / hardback

CONTEMPORARY ART

METRÒNOM

2002-2003

Cristina Díaz, Manuel Segade (coord.)

METRÒNOM

Euro 25 ISBN 9788434314535 (english / español / català) 60 pp. (+ 2 DVD)

14 x 25 cm / hardback

CONTEMPORARY ART

METRÒNOM 2003-2004

Anna Guarro (coord.)

METRÒNOM

Euro 25 ISBN 9788434314542 (english / español / català) 60 pp. (+ 2 DVD) 14 x 25 cm / hardback

CONTEMPORARY ART

METRÒNOM

2004-2005

Cristina Díaz, Manuel Segade (coord.)

METRÒNOM

Euro 25

ISBN 9788434314559 (english / español / català) 52 pp. (+ 1 DVD)

14 x 25 cm / hardback

CONTEMPORARY ART

METRÒNOM 2005-2006

Gerardo Peral, Ana Rodríguez, Manuel Segade (coord.)

METRÒNOM

Euro 25

ISBN 9788434314566 (english / español / català) 44 pp. (+ 1 DVD) 14 x 25 cm / hardback

CONTEMPORARY ART

METRÒNOM: PACK 4 VOLUMES (FROM 2002 TO 2006)

METRÒNOM

Euro 90

ISBN 9788434314573 (english / español / català) 232 pp. (+ 6 DVD) 14 x 25 cm / hardback + box

CONTEMPORARY ART

THE AUTORSHIP, AUTHENTICATION AND FALSIFICATION OF ARTWORKS

Lluís Peñuelas

Determining the authorship and originality of artistic works is a key element essential for full enjoying the art and for the correct functioning of the market and many cultural centers. It is one of the tasks falling upon institutions and different categories of people from artists’ foundations to museums, public administrations, academics, gallery owners and art collectors.

This book, derived from an international seminar organized by the Gala-Salvador Dalí Foundation diffuses the knowledge, experience and opinions of some of the most prestigious experts on these subjects. Furthermore, it provides some new angles, proposals and linguistic elements that can help to understand the difficulties presented by the topic and to improve its legal regulation. Lluís Peñuelas has been the General Secretary of the Gala-Salvador Dalí Foundation from 1990 to date.

THE GALLERY WORLD IN BARCELONA

THE SYSTEM, THE ART, THE CITY

The Gallery World in Barcelona is a study in three parts. The first two serve as an introduction and offer a reflection on significant episodes that constitute the background and points of reference for our contemporary framework.

The first chapter, “Discovering Art 1877-1936”, reviews the origins and formation of the gallery institution in Catalonia, taking the Salón Parés (1877-1925) as its starting point.

The second chapter, “Defending Art 1939-1970”, analyses the period stretching from the post-war era to the end of the seventies, a cycle that would see the consolidation of both art platforms and a public for contemporary art.

And finally, the last and longest chapter, Spreading Art 1970-2012, is dedicated to recent times, a moment of particular vitality in which the art market of our city has just come together.

ALBERTO GIACOMETTI A RETROSPECTIVE

Véronique Wiesinger

ALBERTO GIACOMETTI WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by Ángel González

Interviews with Pierre Schneider, André Parinaud

The Swiss-born sculptor Alberto Giacometti (1901–1966) is best known for his bronzes depicting ghostly and attenuated figures, which made him a key figure of twentieth-century sculpture. In contrast with the scholars who focus their analysis on the crisis of the Second World War, Ms. Wiesinger believes “the real break is one of a philosophical, and not historical, nature: it is permanent and integral to the work. There is a deep unity in Giacometti’s approach to art, one that Michael Brenson underscored when he devoted his 1974 doctoral thesis to Giacometti’s pre-war works, which he first identified as the key to understanding the rest of the artist’s production.”

In these eight short illustrated essays, supported by biographical information, the book surveys the whole of Giacometti’s career, from his relationship with his father to the importance of time and space in his work.

As this book explains Giacometti spent his life, exorcising this existential and formal void through a return to the human figure.

The question that dominated his work was how to restore in art the sense of the presence of the being in space. Giacometti sought tirelessly to establish his contingent volume, which became increasingly slender and threadlike, and to seize its finiteness in a reality, however banal it might be. He began to develop heads and nudes modeled in the void, in that experience of nothingness that opposed his quest for the absolute, a metaphor of the human condition.

POLÍGRAFA

Euro 24,50

ISBN 9788434313620 (english)

144 pp.

16,50 x 23,50 cm / paperback with flaps

ART, THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 24,50

ISBN 9788434313279 (english / español)

348 pp., 209 ill.

16,50 x 23,50 cm / paperback

ART, THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 39

ISBN 9788434312975 (english)

ISBN 9788434312982 (español) 320 pp., 254 ill. 17 x 24 cm / paperback

MODERN ART

POLÍGRAFA

Euro 35

ISBN 9788434309500 (english) 160 pp., 140 ill. 21,50 x 28 cm / hardback with jacket

MODERN ART

ROBERT RAUSCHENBERG WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Sam Hunter

Interviews with Richard Kostelanetz, Alain Sayag

Throughout his illustrious career, Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world. Rauschenberg’s seminal works from his Combines (urban trash on painted surfaces) to his silk screens.

The author also discusses some of the artist’s more recent projects, including ROCI, Rauschenberg’s own exhibition organization that showcases diverse artists from all over the world. Through beautiful photography and authoritative text, here is a well-rounded overview of one of the world’s most pivotal artists.

ANTONI TÀPIES WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Youssef Ishaghpour

Interview with Manuel Borja-Villel

Footmarks and handprints, sand, wood, earth, rope, words and letters: Tàpies, repertoire is infinite. Miró encouraged him to use forms and materials of every kind, all the more so in an environment devoid of meaning —Spain in the post-war years— in which official reality bore no relation to the situation as it really was.

Imperceptibly, true reality asserted its pre-eminence and the expressiveness of increasingly organic materials, endowing his painting with greater materiality than signification.

WILLEM DE KOONING WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by Sally Yard

Interviews with Harold Rosenberg, James T. Valliere

MARCEL DUCHAMP WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Gloria Moure

Interviews with James J. Sweeney, Pierre Cabanne

A leasing figure in the emergence of abstract expressionist painting in New York, Willem de Kooning arrived in the United States in 1926 as a twenty two years old stowaway from Holland. During the Depression years, he was a dedicated visitor to the museums and galleries of Manhattan, and did a brief stint as a WPA painter, which was curtailed because he was not a citizen. With resolute determination, De Kooning ventured beyond the radical departures of cubism toward the visceral physicality of the abstractions that comprised his first one person exhibition, in 1948. Five years later, an exhibition of women painted in aggressive gestures stunned contemporaries not only for the vehemence of the artist’s attack but also for the evident reversal of direction. Yet across six decades, the alternation and intertwining of abstraction and figuration remained fundamental to De Kooning’s work.

A central figure in twentieth century art, the influence of Marcel Duchamp 1887-1968 was crucial to the development of Surrealism, Dada and Conceptual Art. Brother of the artist Raymond Duchamp Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908.

In 1912, he painted the definitive version of Nude Descending a Staircase, it was exhibited at the “Salon de la Section de Or” and then, provoking heated debate, at the “Armory Show” in New York in 1913.

By now, Duchamp had exchanged traditional painting and drawing for different forms of experimentation, such as mechanical drawing, studies and annotations that will be included in his greatest work, The Bride

Stripped Bare by Her Bachelors, Even 1915-1923 also known as The Large Glass. In 1914, Duchamp exhibited his first ready-made objects.

POLÍGRAFA

Euro 35

ISBN 9788434311220 (español)

160 pp., 150 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434311251 (español)

160 pp., 130 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434311381 (english)

ISBN 9788434311374 (español) 160 pp., 130 ill. 21,50 x 28 cm / hardback with jacket

MODERN ART

POLÍGRAFA

Euro 35

ISBN 9788434311985 (english)

ISBN 9788434311992 (español) 160 pp., 123 ill.

21,50 x 28 cm / hardback with jacket

MODERN ART

YVES KLEIN WORKS, WRITINGS

JACKSON POLLOCK WORKS, WRITINGS, INTERVIEWS

Interviews with William Wright, Selden

Son of Fred Klein and Marie Raymond, both painters, Yves Klein took the European art scene by storm in a brief career that lasted just eight years, from 1954 to 1962.

“For color! Against the line and drawing!” is the motto he adopted as member of the Order of the Archers of Saint Sebastian, a true statement on the way he understood the art practice.

Working in Paris during the apogee of geometric abstraction and Art Informel, in an intellectual scene dominated by existentialism, Klein was a precursor of many movements of the postwar avant-garde, including minimal art, conceptual art, and performance art.

In 1957 he inaugurated his defining series of monochromes and, in the final years of his career, his body paintings recorded the body’s physical energy using his patented pigment known as International Klein Blue (IKB).

Jackson Pollock (1912–1956) was a major figure in the abstract expressionist movement and the most influential American painter of the twentieth century. Although he died at the age of 44, he left an unsurpassed body of work.

Throughout his life, Pollock wrote very little about his own art or that of others. Nevertheless, in the few writings we do have, and in a few unpublished, undated notes —all of which are gathered together in this volume— the themes are remarkably similar.

After acknowledging his initial debt to the Native American sand painters, who gave him the idea for putting the canvas on the floor and working it “in the round”, Pollock routinely referred to his interest in the unconscious as the source of modern art, as it enabled the direct expression of an “inner world,” of individual feeling and experience of the modern age.

DAVID SMITH WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Sarah Hamill

Interview with Frank O’hara

Profoundly influenced by the welded sculptures of Julio González and of Picasso, David Smith devoted himself entirely to metal sculptures, constructing compositions from steel and scrap material. Almost single-handedly, Smith changed the nature of sculpture in America, giving it a passion, a seriousness and an identity it did not previously possess. With his vision, courage and his exquisite aesthetic gifts, he paved the way for Donald Judd, Richard Serra and many other American sculptors, who elaborated upon his formal and conceptual innovations and accepted his challenge to work and act in ways that would assure that sculpture and sculptors in America would be treated with respect. Before Smith, sculpture was a marginal activity; after him, it was an essential part of the American imagination.

BALTHUS WORKS, INTERVIEWS

Edited by Francisco Rei

Essay by Mieke Bal

Interview with Costanzo Costantini

Mieke Bal analysis is focused in the eerie sense of very real and very unreal that the paintings emanate. She considers this the heart of Balthus work. It invites viewers in and repels them at the same time. We get access to a world all his own, but are not told what is there to see. Thus, the works labor against assumptions of representation and appropriation. The means of this labor figuration is indispensable for the effect. Although figurativity is supposedly the royal road to realism, in Balthus’s case it is not at all. Reducing Balthus’s work to the paintings of nude adolescent girls is, moreover, ignoring his many works that are not in the least focused on this theme. Color, space, genres or history are some of the key concepts that the author put in the center of Balthus work.

POLÍGRAFA

Euro 35

ISBN 9788434312098 (español)

160 pp., 110 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434312593 (español)

160 pp., 120 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434312616 (español)

160 pp., 120 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434311657 (english)

160 pp., 140 ill.

21,50 x 28 cm / hardback with jacket

ZAO WOU-KI WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by José Frèches

Interviews with Michel Ragon, Pierre Schneider

Installed in France since the forty’s of the last century, Zao Wou-Ki has joined, like no other artist, the knowledge of Chinese painting and calligraphy with the individualist and subjective experience of the western abstract art.

Impressed by Paul Klee’s paintings and impelled by Henry Michaux and Andre Malraux, two of the most active French intellectuals of the second post war, Zao Wou-Ki has kept deepening in his particular introspective journey for over five decades. All his work seems to restore an immense inner landscape, no exempt of dissonances and shadows. This book collects, for the first time, the clues of his creative approach through his writings and interviews and a significant selection of his works from his early works to date.

MEDARDO ROSSO

Edited by Gloria Moure

Text by Francisco Calvo Serraller, Luciano Caramel, Umberto Boccioni, Giovanni Anselmo, Tony Cragg, Luciano Fabro, Juan Muñoz, Thomas Schütte

CUBISM AND WAR

THE CRYSTAL IN THE FLAME

Christopher Green Essay by Neil Cox Design by La Paragráfica Co-published with Museu Picasso Barcelona

With his figures, Italian sculptor Medardo Rosso succeeded in contributing decisively to the development of modern sculpture. The artist’s points of focus were the moment when the sculpture was perceived and the fusion of the figure with its surroundings.

In Paris, where Rosso spent the greater part of his life, he found understanding friends in Edgar Degas and the collector Henri Rouart, while friendship with Rodin miscarried because of the rivalry between the two sculptors. Just at the turn of the century the Futurists would soon hold him up as a model.

This publication collects an important body of his sculptures and, for the first time, his complete series in photographic work.

This book explores the work of artists who attempted to keep alive the possibilities opened up for the arts of painting and sculpture by what was called Cubism in Paris between 1911 and 1914.

This little community of artists refused to accept that recording the war or producing propaganda was their duty. They kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw even foreigners in France into “total war”.

The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat. Pablo Picasso, then called the inventor of Cubism, remained a leading figure, alongside his fellow Spaniards Juan Gris and María Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, and the Lithuanian sculptor Jacques Lipchitz.

FRANCIS BACON

Michel Leiris

Design by makingbooks

POLÍGRAFA

Euro 35

ISBN 9788434311633 (english)

ISBN 9788434311626 (español)

160 pp., 130 ill.

21,50 x 28 cm / hardback with jacket

MODERN ART

POLÍGRAFA

Euro 39

ISBN 9788434308251 (español) 326 pp., 232 ill. 21,50 x 26 cm / clothbound

MODERN ART

POLÍGRAFA

Euro 45

ISBN 9788434313651 (english)

ISBN 9788434313644 (español) 192 pp., 179 ill. 23,50 x 29 cm / clothbound

Francis Bacon’s works has a strength and vitality that has led to his position as one of the greatest twentieth century artist.

The violent intensity with which his paintings give expression to the existential angst of his fellow human beings is virtually without parallel in the history of the art. Bacon’s work (1909-1992) undoubtedly includes some of the most extraordinary and powerful paintings in modern art, reflecting the isolation and terror of the human condition, conveyed by the distortion of features and the nude body.

This volume comprises his series of portraits and self-portraits, the weirdly beautiful yet terrifying variations of Velázquez’s PopeInnocentX, the painfully moving Crucifixion, the enigmatic figure studies and twelve gatefolds of the triptychs. The 240 paintings were selected by the artist himself and he was closely involved with every aspect of their reproduction of this monograph.

POLÍGRAFA

Euro 39

ISBN 9788434311909 (english)

ISBN 9788434311893 (español) 236 pp., 240 ill. 22 x 28 cm / hardback

ART THEORY / HISTORY / CRITICISM

MODERN

MODERN ART

A key figure in 20th-century art, Joan Miró has left us a definitive oeuvre which continues to reach an increasingly wide public. This book is a partial recompilation of the analyses contained in the author’s first far-reaching study on Joan Miró, which appeared in 1961, now considerably reworked and enriched. It takes into account not only the painter’s output during the last two decades of his life and studies by art historians and exhibition organizers published over the last thirty years, but also a great number of documents discovered after Miró’s death —projects, sketchpads, texts, correspondence— to which Jacques Dupin has had access thanks to his privileged relationship with the artist’s family. This is, then, a completely revised and updated edition of the 1993 edition published to mark the hundredth anniversary of Joan Miró’s birth.

JOAN MIRÓ

Rosa María Malet

Updated edition

FUNDACIÓ JOAN MIRÓ GUIDEBOOK

Foreword by Rosa Maria Malet

Introduction by Teresa Montaner

Text on artworks by Jordi J. Clavero

Design by Edicions de l’Eixample

Considered one of the great artists of the 20th century, Miró has bequeathed us a definitive body of work whose influence has continued to grow over the years. This book not only details his pictorial output but also looks at the artist’s incursion into areas as diverse as graphic work, ceramics, sculpture, tapestry and theatre.

The foundation’s collection of works by Joan Miró includes paintings, drawings, sculptures, ceramics, textiles and an extensive print archive. In addition, it also features an exceptional collection of the artist’s preliminary sketches, notes, scale models, sketchbooks and correspondence. This extensive, diverse collection, representative of all the periods in Miró’s career and all the techniques he used, stems from the artist’s gift to the new centre. This spirit of ongoing research and renewal is behind our current presentation of the collection in the foundation’s exhibition spaces and reflected in this guide. The works, now grouped by subject matter, are placed according to Joan Miró and Josep Lluís Sert’s original exhibition plan.

JOAQUÍN SOROLLA

Blanca Pons-Sorolla

POLÍGRAFA

Euro 75

ISBN 9788434310445 (español)

480 pp., 493 ill.

24,50 x 34 cm / hardback

MODERN ART

POLÍGRAFA

Euro 24,50

ISBN 9788434310230 (english)

ISBN 9788434310223 (español) 128 pp., 141 ill.

21,50 x 30,50 cm / hardback

MODERN ART

POLÍGRAFA

Euro 11,95

ISBN 9788416411276 (english)

ISBN 9788416411269 (español)

ISBN 9788416411252 (català)

ISBN 9788416411283 (français)

ISBN 9788416411306 (italiano)

ISBN 9788416411290 (deutsch)

ISBN 9788416411313 (日本語)

ISBN 9788416411474 ( 中文 )

176 pp., 135 ill.

14 x 21 cm / paperback with flaps

MODERN ART

A painter of vast pieces in his early days —in the main works intended for salons and national exhibitions— Joaquín Sorolla (Valencia, 1863-1923) very soon developed a style of open-air painting of his own which, though not connected stylistically with the Barbizon School, nevertheless pursued the same postulates, as a result of which he came to be known as a Spanish Impressionist painter. He began to devote himself entirely to this practice in 1900, painting landscapes, views of cities, studies of nature, seascapes and garden scenes in which he demonstrated his tremendous skill in capturing the effects of light. JoaquínSorolla is unquestionably an essential book and the most complete work of reference on this artist from Valencia. It includes an insightful and in-depth essay by Blanca Pons-Sorolla, some 300 reproductions of his most important pieces, and an illustrated chronology.

POLÍGRAFA

Euro 65

ISBN 9788434312258 (english)

ISBN 9788434310834 (español)

352 pp., 284 ill. 25 x 30,50 cm / hardback with jacket

MODERN ART

SOROLLA

PICASSO

PICASSO TOTAL

Marie-Laure Bernadac, Brigitte Léal, Christine Piot

PICASSO: THE MONOGRAPH 1881-1973

Celebrated as a painter of light and hailed as a “modern of the moderns” by famed collector Duncan Phillips, Joaquín Sorolla (1863-1923) was one of the most successful artists of his time.

Formed in his native Valencia, Madrid and Rome, Sorolla soon achieved the recognition of artists with related languages such as John Singer Sargent (1856-1925) or Anders Zorn (1860-1920), although international success would be achieved after his acclaimed exhibitions in London (1908), New York (1909) and Chicago (1911).

“Modern Masters” is a complete series of monographs on key artists for the study of art since the late nineteenth century.

Pablo Picasso (1881-1973) was one of the most innovative, experimental, prolific, influential and controversial painters of the 20th century.

His legendary life and career spanned almost a century, of which we can say that he was the absolute protagonist. From the well-known blue and pink periods, to the rupture that the cubism supposed, Picasso realizes, in less than a decade, what other artists do not achieve throughout his career.

In addition to a brief introduction, an analysis of the stylistic characteristics of the artist is carried out throughout his career, which is completed with the individualized commentary of each of the more than 60 works that are reproduced.

“Modern Masters” is a complete series of monographs on key artists for the study of art since the late nineteenth century.

In this book three recognised authorities on the life and work of Picasso conduct a profound study of the artistic career and personal itinerary of one of the great geniuses of the 20th century.

The book consists of twelve chapters divided into three periods: in the first, 1881-1916, Brigitte Léal describes and analyses Picasso’s life and oeuvre from his initial experiences and formative years to his move to Paris in 1901, where he would start his Cubist experiments.

In the second period, 1917-1952, Christine Piot continues the narrative of events and analysis to the artist’s output, as well as describing those events which most influenced his constant evolution. Finally, the third period, between 1953 and 1973, is described along the same lines as the previous two by Marie-Laure Bernadac.

Pablo Picasso was one of the most innovative, experimental, prolific, influential and controversial painters of the twentieth century.

This updated and re-designed version of the big-size book published on the year 2000, this small-size Picasso:TheMonograph1881-1973 offers more than 1.200 new-scanned reproductions spanning the artist’s entire career.

The three authors are all experts: Léal and Bernadac —both former curators of the Musée Picasso in Paris— are, at this time and respectively, curators of the Centre Pompidou and the Louvre Museum, and Piot coauthored the catalogue raisonné of Picasso’s sculpture. They clearly explain visual sources, duly acknowledge leading art historians’ interpretations, and choose good quotes from contemporaries.

POLÍGRAFA

Euro 7,95

ISBN 9788434313835 (english)

ISBN 9788434313828 (español)

72 pp., 60 ill. 19 x 26 cm / paperback

MODERN ART

POLÍGRAFA

Euro 7,95

ISBN 9788434313811 (english)

ISBN 9788434313804 (español) 72 pp., 60 ill. 19 x 26 cm / paperback

MODERN ART

POLÍGRAFA

Euro 100

ISBN 9788434309302 (español)

544 pp., 1.235 ill. 30,50 x 31,50 cm / clothbound with slipcase

MODERN ART

POLÍGRAFA

Euro 39

ISBN 9788434310919 (english)

ISBN 9788434310339 (español)

ISBN 9788434313033 (français) 552 pp., 1.235 ill. 19 x 21,60 cm / paperback

MODERN ART

PICASSO THE COMPLETE WORKS

Pablo Picasso (1881-1973) is without doubt the most prolific and influential artist of the recently ended twentieth century. The various steps that critics and historians have managed to identify in his long career have been more helpful with regard to the classification of his works than in their analysis and interpretation.

Abandoning the traditional use of subject matter to achieve variety and meaning, Picasso gradually reduced his options to a handful of standardized motifs but used a vast array of different styles as the principal means of communicating ideas and feelings. In short, style is meaning in Picasso’s art; his notoriously mercurial nature found expression in stylistic variety and experimentation.

PICASSO 1927-1939: DEL MINOTAURO AL GUERNICA PICASSO 1917-1926: DE LOS BALLETS AL DRAMA PICASSO CUBISMO 1907-1917 PICASSO VIVO 1881-1907

POLÍGRAFA

Euro 150

ISBN 9788434312739 (english)

ISBN 9788434312715 (español) ISBN 9788434312722 (català) 512 pp., 1.252 ill. 30,50 x 31,50 cm / clothbound + slipcase

POLÍGRAFA

Euro 150

ISBN 9788434309074 (español) ISBN 9788434309067 (català) 528 pp., 1.800 ill. 30,50 x 31,50 cm / clothbound

POLÍGRAFA

Euro 150

ISBN 9788434306226 (español) ISBN 9788434306165 (català) 532 pp., 1.584 ill. 30,50 x 31,50 cm / clothbound

POLÍGRAFA

Euro 150

ISBN 9788434303195 (español) 560 pp., 1.850 ill. 30,50 x 31,50 cm / clothbound

MODERN ART, COMPLETE WORKS

JULIO GONZÁLEZ

THE COMPLETE

WORKS: PAINTINGS, SCULPTURES AND DRAWINGS

Tomàs Llorens

The Spanish sculptor Julio González (1876-1942) pioneered welded iron constructions and gave the medium an unprecedented expressiveness and range. Born in Barcelona, he learned his craft from his father, a goldsmith and sculptor. He moved in 1900 to Paris, where his contact with the most innovative and powerful modern art led, as one would expect, to a vitalization of his own artistic conceptions. He arrived at a style of his own through his attempts to incorporate space and time into his work, and in so doing he changed the meaning of iron, endowing it with new constructive and expressive values. His work made a definitive impact on the development of contemporary sculpture. Though his output was small, his influence on such master sculptors as David Smith —a distant pupil— is testimony to the eloquence of his art.

MODERN ART, COMPLETE WORKS

VOLUME III (1920-1929)

POLÍGRAFA

Euro 280

ISBN 9788434312241 (english / español) 768 pp., 710 ill. 30 x 30 cm / cloth with french-fold jacket and individual board

VOLUME II (1912-1921)

POLÍGRAFA

Euro 280

ISBN 9788448242015 (english / español / català) 790 pp., 700 ill. 30 x 30 cm / cloth with french-fold jacket and individual board

VOLUME I (1900-1912)

POLÍGRAFA

Euro 280 ISBN 9788448246716 (english / español / català) 708 pp., 700 ill. 30 x 30 cm / cloth with french-fold jacket and individual board

When asked who he considered an importance, Picasso only mentioned Goya (1746-1828). But, his extremely influence has arrived to a lot of modern and contemporary painters, such as Manet, the Expressionist movement on early twentieth-century and, most recently, Francis Bacon, and Sigmar Polke.

As painter of the Spanish Court, he created series of tapestry cartoons, wall-paintings, and individuals and group portraits, but, after his serious illness in late 1792, he starts an important body of noncommissioned works that introduces new elements which greatly enhance their expressive potential.

This book, wrote by José Gudiol, one of the most renowned specialist in Spanish paintings, is focuses on Goya’s profoundly disturbing imagery and demonstrates that his modernity derives from his lifelong investigation of what lies behind the world of appearances and convention.

Doménicos Theotokópoulos, better known as El Greco (1541-1621), gained his training as an artist in Crete, Venice and Rome, the three centers of art that he passed through. Yet even though he learned from the great Italian artists of the 16th century, his arrogance was such that he went so far so to say that Michelangelo was a good man but he did not know how to paint, remarking that the Last Judgment could be painted over and that he could be commissioned to re-do it with honesty and decency and no less quality in the painting. His contemporaries found him a difficult personality.

In 1577, he moved to Spain and made his home in Toledo. In this lavishly illustrated volume, Professor Santiago Alcolea Gil describes the most notable aspects of the life and work of this artist, one of the true masters in European pictorial art.

RIBERA

VELÁZQUEZ

POLÍGRAFA

Euro 24,50

ISBN 9788434311749 (english)

ISBN 9788434311732 (español) 128 pp., 133 ill. 21,50 x 28 cm / hardback with jacket

OLD MASTERS

POLÍGRAFA

Euro 24,50

ISBN 9788434309661 (english)

ISBN 9788434309425 (español) 128 pp., 117 ill. 21,50 x 28 cm / hardback with jacket

OLD MASTERS

A leading figure in the baroque Spanish tradition —alongside El Greco, Velázquez and Zurbarán— José Ribera’s style was the most markedly tenebrist; he was also one of the first artists to be both a painter and printmaker. In his earlier style, sometimes drawing on Caravaggio and sometimes on Guido Reni’s various techniques, his study of Spanish and Venetian masters can be traced. Along with his massive and predominant shadows, one of his strongest points throughout his career was the use he made of color.

In the early 1630s his style moved away from strong contrasts of dark and light to the use of more diffused and golden lighting. Javier Portús, chief curator of the Spanish Baroque art department at the Museo del Prado, takes a fresh look at Ribera’s career, focusing his research on the early years, less studied by art historians till date.

Velázquez career can be considered as a lifelong investigation of the relationship between painting and nature, in which brushwork takes a leading role. As he developed it, he achieved an unprecedented physical and psychological naturalism with progressively more pronounced and more elegant brushstrokes, achieving miraculous illusion effects with an astounding, abbreviated technique based on the implication rather than the elaboration of detail.

The synthesis of the life and work Velázquez that the Professor Santiago Alcolea i Gil writes in this book offer the reader a wide overview of the work of one of the world’s most outstanding creative artists of all time.

POLÍGRAFA

Euro 24,50

ISBN 9788434312708 (english)

ISBN 9788434312692 (español) 128 pp., 104 ill. 21,50 x 28 cm / hardback with jacket

OLD MASTERS

POLÍGRAFA

Euro 24,50

ISBN 9788434311367 (english)

ISBN 9788434311350 (español) 128 pp., 122 ill.

21,50 x 28 cm / hardback with jacket

OLD MASTERS

ZURBARÁN

CATALUÑA ROMÁNICA ARTE, CULTURA E HISTORIA

JAN VERMEER

VERMEER OBRA COMPLETA

Along with Velázquez and El Greco, Francisco de Zurbarán (1598-1664) is undoubtedly one of the most famous Spanish painters of the seventeenth century. Zurbarán, who for the Romantics represented the Spanish monastic asceticism, would become topical in the 20th century thanks, in part, to Cubism, which contributed to the rediscovery of the great plastic qualities of his work. Indeed, if the simplicity of his artistic preparation reflects a melancholic and scarcely refined temperament, and if his painting even contains a rustic accent, in his work there is nevertheless a predominance of plastic values that responds to the concern of giving a form concrete to the construction of the spirit.

Professor Santiago Alcolea offers us a general perspective of Zurbarán’s artistic career, structured in four periods marked by relevant events that caused significant changes in style.

Conventional studies of the Catalan Romanesque do not do justice to the true nature of this art. To remedy this, Diether Rudloff offers us not only an artistic appreciation of these works but also an absolutely new study of the values and the essence of the Romanesque in Catalonia. His vision tends towards a modern cognitive Goetheanism, nuanced by the ideas of Rudolf Steiner, who sees the various historical stages of the human consciousness as an expression of the metamorphosis of a constant spiritual awareness. Notable among the various types of work considered by the author are the monasteries, with their magnificent cloisters Sant Fruitós, Elna, Girona Cathedral, Ripoll, L’Estany and Santes Creus, as well as sculptures, codices and murals, such as those in Sant Climent de Taüll and Santa Maria d’Esterri d’Àneu, many of which are today found in museums in Barcelona and Vic.

Rediscovered at the end of the 19th century, Vermeer’s art has intrigued and astounded ever since. Vermeer was unlike his Dutch contemporaries and other painters in his own century and indeed stands out in the whole of the history of painting as unique. The perfection of his work, which everyone recognises and acknowledges, is itself an enigma: how, why, in what conditions, and with whom around him did Vermeer paint these silent scenes whose magic holds us in thrall?

Very few paintings, less than forty, can be attributed with certainty to Vermeer, but each one is a perfectly achieved study of light, colour and space. For all his profound originality, Vermeer is very much a part of the Dutch tradition, combining realism and sobriety with a skillful rendering of perspective and optical effects.

Rediscovered at the end of the 19th century, Vermeer’s art has intrigued and astounded ever since. Vermeer was unlike his Dutch contemporaries and other painters in his own century and indeed stands out in the whole of the history of painting as unique. The perfection of his work, which everyone recognises and acknowledges, is itself an enigma: how, why, in what conditions, and with whom around him did Vermeer paint these silent scenes whose magic holds us in thrall?

In answer to these questions, this book presents us with the three different viewpoints of: Gilles Aillaud, a painter and writer whose conciseness of language gives his words the allure of a limpid essay on limpidity; John Michael Montias, who unties the most important items in his biography; and Albert Blankert, who gives us an essential analysis from the perspective of the history of art.

POLÍGRAFA

Euro 24,50

ISBN 9788434311725 (english)

ISBN 9788434311718 (español) 128 pp., 124 ill. 21,50 x 28 cm / hardback with jacket

OLD MASTERS

POLÍGRAFA

Euro 49

ISBN 9788434311589 (español)

ISBN 9788434311572 (català) 256 pp., 132 ill. 24 x 30 cm / hardback with jacket

OLD MASTERS

THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 15,50

ISBN 9788434309333 (español)

64 pp., 50 ill. 24,60 x 31,20 cm / hardback

POLÍGRAFA

Euro 59

ISBN 9788434311213 (español)

240 pp., 138 ill.

26 x 31,50 cm / hardback with jacket

In the first years of its activity, which took place on 9-11 Berlinés Street, Metrònom registered its site-specific projects in small publications produced with the direct involvement of the artists. In just eight pages images of the installations, a short critical text and / or a writing by the artist are collected. Given its discontinuity, 12 publications by Jiri Kolar, Josefina Miralles, Mirella Bentivoglio, Txomin Badiola, Robin Crozier, Tom Carr, Sara Gibert, Marcel Pey, Modern Architecture (with projects by Navarro Baldeweg, Martín Begué and Emilio Tuñón, among others), Alex Flemming, Cherif & Silvie Defraoui and CVA (a group formed by Juan Luis Moraza and María Luisa Fernández).

METRÒNOM

Working as a Mediterranean kunthalle, Metrònom carried out its activity in two locations: Berlinés 9-11 and Fussina 9, being, for a long time, the only space in Barcelona devoted to contemporary art. This envelope brings together 12 small volumes dedicated to his early years.

METRÒNOM

STEVA TERRADES: DE LA TINTA A LA XINA (FROM INK TO CHINA)

Steva Terrades

METRÒNOM: RELLIGAT/ ASSEMBLING

Fernando and Vicente Roscubas, Benet Rossell, Carme Sanglas, Sapigues i Entenguis Productions, Assumpta Solsona, Andreu Terraes, Steva Terrades, F. Torres Monso, Usquam, Francesc Abad, Vicenç Altaió, Xoan Anleo, among others

DARRER MARINER (LAST SAILOR)

Andreu Terrades

METRÒNOM: TRAMESA POSTAL / MAIL ART EXHIBITION

AA. VV.

Foreword

Tabloid-size notebook with drawings in black lines published on the occasion of the Neon de Suro Group exhibition at the Centro Lavoro Arte in Milan, in March 1981.

Neon de Suro is the name of a free distribution magazine-brochure, published between 1975 and 1982 by a group of conceptual artists led by Steva and Andreu Terrades, Sara Gibert and Bartomeu Cabot. Among his collaborators were some of the artists who have had a wide international impact in recent decades: Miquel Barceló, Eugènia Balcells, Barbara Rosenthal, Bob Wades, Mariscal, Toni Catany, Muntadas and Julien Blaine, among others.

This publication was intended to appear sporadically, to share the information that artists and collaborators sent to Metrònom. Metrònom was in charge of its binding and shipment to critics, museums, galleries and interested persons.

Catalog of the visual poems of Andreu Terrades. “In the room of my house in Andratx there were sailor’s trunks full of magazines, documents, letters and papers from when my godfather Esteve went to Cuba, as the skipper of a ship carrying cement. I didn’t know much people from Andratx, so when I went swimming in the secluded places: Cala Llamp, Cala d’Egos, Es Caló del Monjo... I took some papers inside the sign and read them and imagined the story of a character similar to my godfather who returned to the village after many years of being in Cuba. The character did the same as me: recalling aspects related to time, hours, days, events, memories, friends, loves, hobbies, and so on. Everything that is part of the link to a place, yours, which, despite the distance, you can never replace and to which you return for good. “Last Sailor” is imaginary, but all of us who seek meaning in life through places that take us back to the same place of departure are involved”. —Andreu Terrades

Catalogue of the exhibition held at Metrònom in fall 1980, with contributions by Carl Andre, JM Calleja, Ulises Carrión, Christo, León Ferrari, Antoni Miralda, Fina Miralles, Joan Rabascall, Andreu and Steva Terrades, Edgardo-Antonio Vigo, Horacio Zabala, among others.

“The motivations of the correspondence artists are many. They have notably included a desire to trascend the often rigid boundaries of the art world activity and a desire to open art world support systems to new talent. By developing strong new methods to expand those boundaries, and to bring some forms of support to artists whose work might otherwise go unseen, correspondence art has made itself an integral part of the art world” —Ken Friedman

METRÒNOM

Euro 35

ISBN 9788434314597 (català)

16 pp. 31,50 x 44 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

METRÒNOM

Euro 60

ISBN 9788434314634 (english / català) 108 pp. 20,50 x 29 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

METRÒNOM

Euro 45

ISBN 9788434314580 (català) 60 pp. 21 x 29,50 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

METRÒNOM

Euro 60

ISBN 9788434314610 (english / català) 136 pp.

21,50 x 30 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

METRÒNOM: LLIBRES D’ARTISTA (ARTIST’S BOOKS)

AA. VV.

Foreword by Rafael Tous

Text by Ulises Carrión, Hubert Kretschmer, José Luis Mata, Huy Schraenen

This catalogue documents the artist books submitted by more than 700 artists from around the world. The collection includes works by Artur Barrio, Ulises Carrión, Lourdes Castro, Eugenio Dittborn, Peter Downsbrough, Jenny Holzer, Peter Hutchinson, Antoni Muntadas, Dennis Oppenheim, Marta Rosler, Tim Ulrichs, Lawrence Weiner and Krzysztof Wodiczko, among others.

This rare exhibition catalogue was published in conjunction with what is generally considered the first artist’s book exhibition in Spain (within the contemporary realm of artist books). Features some 2000 works by more than 700 artists, and includes images of the exhibition space, art works, and artist contact information. With this, Metrònom/ Centre de Documentació d’Art Actual carried out its purpose of informing all interested persons: artists, critics, registry offices, libraries, museums, etc. about the matter.

SARA GIBERT: ATZAR INTIM (INTIMATE RANDOM)

METRÒNOM

Euro 45

ISBN 9788434314276 (english / català)

200 pp. 21 x 30 cm / paperback

Sara Gibert’s work can be linked to one of the main branches of body art, that of artists who are interested in the kinetic activity of the human being and who reflect on the social potential of the human body. In this subtle artist’s book, Sara Gibert introduces random on the cover with the imprint of six faces of a dice. But, as we know, random is closely linked to play and this, in turn, to artistic practice, which in Sara Gibert has always had a bodily (intimate) dimension. By way of anthropometries, the impression of her body here adopts the shape of the clover, the diamond, the spades and other forms linked to random.

ITALO MAZZA: ADDA

Italo Mazza

METRÒNOM

Euro 35 ISBN 9788434314290 (català) 16 pp. 22 x 35 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

CONTEMPORARY ART, ARTIST’S BOOKS

In this artist’s book, Italo Mazza returns to the original landscape of Trezzo sull’Adda modifying, as our memory does, the features of the landscape that we experience as our own.

“If the words, when they are something more than words, recall emotions to be persued, the most varied and complicated one, thus the image recall in the minds other images, that multiplying in the fantastic, are not rebrought to their origin, neither for significance nor for relation.

To loose oneself in a succession of ghosts is always less delusive that to appropriate that reality, that each one of us modifies within itself in order to survive. The essential thing is to preserve the portion of heaven which is our due.” —Italo Mazza

METRÒNOM

Euro 35

ISBN 9788434314306 (italiano) 32 pp. 23,50 x 29,50 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

FRANCESC TORRES: WHAT DOES HISTORY KNOW OF NAIL-BITING?, 2017

During the Spanish Civil War a contingent of 3,500 Americans —known as the Abraham Lincoln Brigade—joined the International Brigades. Half of them didn’t return. Harry Randall was one of them and he did return. He was a photographer and cameraman in the brigade, and he is the prime mover of the editorial project presented here as an artist’s book. The basis material was 45 minutes of 16mm film shot over a period of two years (1937-1938), that very few people have seen to date. As a matter of fact, this book reflects on the visual sedimentation of history beyond the concrete historical event; it is a comment on the material fragmentation, literal and metaphoric, that silently sleeps under the politically conditioned and socially negotiated official narrative of History.

title of this project is taken from the novel Darkness at Noon by Arthur Koestler and sums up the implacable indifference of History, in the Hegelian sense of the term, to the human being in his or her naked individuality. History is a priori amoral, a living organism devoid of consciousness.

The

GUILLERMO FAIVOVICH, NICOLÁS GOLDBERG: LA CAZA DEL SNARK, 2014

Limited edition of 380 numbered copies

FERNANDO BRYCE: AMÉRICAS, 2009

Limited edition of 500 copies, numbered and signed by the artist

Taking the title of Lewis Carroll’s epic poem TheHuntingoftheSnark considered a disconcerting, mysterious and meaningless work, the artists Guillermo Faivovich and Nicolás Goldberg shape this collector’s book.

4000 years ago a number of meteorites hit Campo del Cielo, a region located in the northeast of Argentina. “Since their fall on the distant planes of the Gran Chaco —claim its creators—, these iron masses have been the centre of a strange fascination, the search for answers and the site of constant pilgrimages [...] as well as the object of study and amazement of a long list of expeditionaries, scientists and enthusiasts.”

The story of Campo del Cielo constitutes an enormous puzzle. Faivovich and Goldberg investigate and revisit this tale with voluminous documentation in an attempt to challenge the passage of time.

At the end of the nineties, Fernando Bryce (Lima 1965) gave up painting and devoted himself entirely to drawing. He produced a work based on what he calls the mimetic method of analysis, i.e., an ink copy of a series of photographs, newspaper cuttings, advertisements, promotional publicity or popular propaganda, among other documents, taken from archives and libraries.

At first his intention was to do an exercise on the history of power and the images of his own country, Perú, but his documentary archaeological research soon extended to decisive moments and historical figures of the 20th century. This book collect, in a facsimile way, the Américas series included South of the Border. Now at the MOMA collection in a numbered edition of five hundred copies.

POLÍGRAFA

Euro 35

ISBN 9788434313453 (español)

64 pp., 118 ill.

21,50 x 28,40 cm / hardback contains foldout map and card with printed text

ARTIST’S BOOKS, LIMITED EDITIONS

POLÍGRAFA

Euro 45

ISBN 9788434312005 (english)

128 pp., 118 ill. 21 x 30 cm / paperback

ARTIST’S BOOKS, LIMITED EDITIONS

ANTONI TÀPIES / JOAN BROSSA: U NO ÉS NINGÚ, 1979

Limited edition of 500 copies, numbered and signed by the authors

DAVID HOCKNEY: LA ISLA DE MARTHA’S VINEYARD Y OTROS LUGARES, 1985

Limited edition, 400 numbered copies

This book is a veritable bibliographical landmark, due in equal measure to its intrinsic value and its special significance.

Antoni Tàpies produced the suite of drawings between 1950-1951, the culminating moment of his oneiric period, when the hallmark of Surrealism and the consolidation of his own personality were crystallizing in works that reached extraordinary heights.

Joan Brossa’s prose poems, written at the same time as Tàpies was working on his drawings, comprise a parallel vision of the world expressed in literature, and contain a profound lyricism and originality that in themselves justify the prominent position that this poet holds in Catalan literature.

The text contained in this book —brewed from long conversations with Nikos Stangos— mainly shows David Hockney ideas on the function and significance of this sketch book as container and accommodation of the painting essence.

“My first sketch book is dated in the years while I was studying in the Bradford School of Art. [...] After that, I had a box manufactured by Asprey, where I stored paper and colour pencils. They were unbound papers and, of course, there were drawings among them. [...] In August, 1982, I was in Martha’s Vineyard island and I used them as well. The sketch book I’m presenting now is chronologically situated between the Polaroid photos and the photo collages that I began in September, 1982. When I started up with the photo collages, I left my drawing and, when I left my photo collages, I went back to drawing again’’.

POLÍGRAFA

Euro 1.600

ISBN

ARTIST’S BOOKS, LIMITED EDITIONS

POLÍGRAFA

Euro 360

ISBN 9788434304505 (español)

Case containing a facsimile sketch book and a booklet

Sketch book: 150 pp. / 23 x 32 cm Booklet: 32 pp. / 23 x 32 cm

ARTIST’S BOOKS, LIMITED EDITIONS