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Alaa Abd el-Fattah is arguably the most high-profile political prisoner in Egypt, if not the Arab world, rising to international prominence during the revolution of 2011. A fiercely independent thinker who fuses politics and technology in powerful prose, an activist whose ideas represent a global generation which has only known struggle against a failing system, a public intellectual with the rare courage to offer personal, painful honesty, Alaa’s written voice came to symbolize much of what was fresh, inspiring and revolutionary about the uprisings that have defined the last decade. Collected here for the first time in English are a selection of his essays, social media posts and interviews from 2011 until the present. He has spent the majority of those years in prison, where many of these pieces were written. Together, they present not only a unique account from the frontline of a decade of global upheaval, but a catalogue of ideas about other futures those upheavals could yet reveal. From theories on technology and history to profound reflections on the meaning of prison, You Have Not Yet Been Defeated is a book about the importance of ideas, whatever their cost.

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The artist book in fugue, which was produced for the exhibition of the same name at the Kunstverein Hannover, is the first comprehensive publication on the artist Isabel Nuño de Buen. The book develops a parallel narrative to the exhibition by presenting the works through a subjective cataloguing system that corresponds to the central elements of her practice: intuition, improvisation and process-based thinking between drawing, sculpture and installation. Exhibition views are combined with a re-imagination of the works within the space of the book, bringing together photographic reproductions with drawing and colour. The stitch binding technique of the book was specially developed and is partly handmade by the artist. The publication provides a profound insight into the artist’s multi-layered oeuvre, which oscillates between sculpture, installation, and drawing and focuses on a fascinating subjective world of forms and thoughts.

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This publication assembles three phases of Termite Economies, a major series of artworks produced between 2018 – 2020 by the Australian artist Nicholas Mangan. In Termite Economies (Phase 1) Mangan researched an anecdote that termite abilities might one day lead humans to gold deposits. Phase 2 explored termite eusociality, pheromonal communication, building behavior, biomimicry, superorganism and swarm intelligence. Phase 3 deployed termite collectivism as a speculative model for rerouting human neural pathways. Within each phase, Mangan developed specific methods to explore these phenomena formally, spatially, and through moving images. Termite Economies grappled with the potentiality of collective social behavior and complexities of systematic exploitation of non-human intelligence. The book presents each phase in the order of the exhibition series. It includes process and research photographs, diagrams, installation and detailed imagery. It includes an essay by Artist Mariana Silva, a fictional text by writer ST.Lore, a conversation between Mangan and cultural theorist Ana Teixeira Pinto, and a republished essay by Dr. Guy Theraulaz Research Director Member of Team CAB: Collective Animal Behavior Center for Research on Animal Cognition, CNRS.

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With a book, an installation in our window space and an outdoor performance series, Claudia Hill presents the travel diary of a handwoven poncho. In her project that spans ten years, the artist challenged the participants to ask the question: What is the most essential element of what you do, and how can it be shared in a significant way? Hill shows this to be an urgent question, locating the value of art in its relational and transformative contingencies. The poncho was passed between artists in different geographic locations during this ten-year period. Every artist, or occasionally someone on their behalf, handed it off to the next participant, and Hill would prompt them: “Do something with this, and then send me something.” The results of these projects will be published in a book with 30 different contributions, released alongside the exhibit. In the book, as well as through the video project on view at Efremidis, Hill evokes a collective consciousness emerging from this garment. Weaving the poncho was the starting point of the piece, and this gesture ultimately became one of care and togetherness. As poet CAConrad exclaims, “I feel the beautiful residual haunting of those who wore it before me!”

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This book is published on the occasion of the exhibition Lee Bul: Beginning organized and presented by Seoul Museum of Art, March 2 - May 16, 2021

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Let’s say a blank page is not actually blank. In fact, let’s say it is anything but blank. Devoid of colour, yet infinitely colourful; full of possibilities for multicoloured pens and literally covered by multitudinous life forms. It turns out that even the emptiest page is technically more than full – it’s alive. Do microbes respond to colour on paper? Can spontaneous doodles give rise to new species? Based on Antonie van Leeuwenhoek’s term for microorganisms, this age-fluid book considers a world where the smallest is suddenly in control of the largest. Its illustrations function as an exploration into morphological occurrences, rejecting the goal-oriented, the figurative and the categorical. Following a traditional format, these pages attempt to open up a creative bypass. To draw is to embrace mutational forms, and to colour in these pages is to understand that many possible forms may emerge as a bear or a bacterium. We are what we draw. Time then to let those animalcules express the possible colours of kingdoms to come.

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As transnational extractivism, neo-fascist politics, and economies of abandonment and disposability expand around the world, can we facilitate situated practices of storytelling and worldmaking that enliven futures propelled by the forces of indignation, desire, and relationality? Despite Dispossession: An Activity Book extends an invitation to restore and reinvent bonds of reciprocity with the land, humans, and non-humans, while envisioning transformative and shared horizons. This collaborative endeavor takes as its point of departure the contested realities and public struggles of the dispossessed. Bringing together seven site-sensitive engagements, the contributors develop their artistic works, as well as speculative tools and activities, to conjure worlds to come in the ruins of dispossession. The result is a combination of subtle theoretical reflection, pluriversal modes of inquiry, and unruly epistemic intervention. Drawing its inspiration from decolonizing methodologies, Black aesthetics, and epistemologies of the South, the project gathers these influences for a novel experiment that demonstrates how arts-based researchers confront dispossession through itinerant practices of resistance.

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Adrian Williams. The Curve focuses on the sunset, the moment between day and night structuring our days into a before and an after. Our baring witness to the sunset relies on the specific constellation of time and place, events bound to the trajectory of the sun. The book is composed of three reflections on this space of transition as the sun slips beyond our line of sight. The horizon, the line between earth and sky becomes a surface for projection, for form in the absence of it, and although the sun sets every day, its movement familiar and predictable, it is nevertheless spectacular. The Curve is based on a performance of the same name by the U.S. artist Adrian Williams, realized in 2019 with six musicians at Preußenstadion home of the third-division soccer team SC Preußen Münster. At sunset, the stadium became the setting for an acoustic intervention of light and sound. The book extends the performance beyond its original venue with Münster’s Preußenstadion as its starting point. The three authors introduce encounters at dusk from different perspectives and tell stories linked to the course of the sun. Merle Radtke shares memories of sunsets seen and the art historical relationships to the natural spectacle we award them. From a rooftop in Washington, D.C., Matthathias Schwartz reenacts The Curve, listening to recordings from the stadium in Münster, at another place and time. Adrian Williams writes through the piece of the piece, voicing a possibility for the work’s intent. These three texts are wound between Williams’ photographs of sunsets at dusk: light on clouds, a reflection in a window, the glow behind a mountain. These images are always evidence of an instance recorded, of having been present at a time and place, for the meeting of the sun at the horizon.

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Conceived in close collaboration with Shimabuku as an extension of his exhibition The 165-metre Mermaid and Other Stories at Villa Paloma in 2021, this new publication tells of the poetic actions conducted during his travels, between his native Japan and Monaco via Brazil, Australia, and many other lands. The artist’s texts form the narrative thread of a subsequent ensemble of installations, films, sculptures and photographs made over the last thirty years. Three essays never published before have been written for the occasion by art critics and curators Nicolas Bourriaud and Claire Le Restif as well artist Rirkrit Tiravanija. As an introduction, Célia Bernasconi, curator of the exhibition, traces Shimabuku’s artistic adventures through a logbook, therefore, confronting the epidemic context. Through the logbook, she reviews productions made by Shimabuku in Monaco in 2021, amongst which the totemic work Erect is featured on the cover of the book.

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The circus is a drama that extends its own means, and the metaphor of its name (itself clowning around with the word) is widespread across the art industry, financial world, and, of course, anything to do with performance. For four years during the mid-aughts, photographer, video and film artist Ieva Epnere immersed herself in the life of the Riga Circus – a type of traditional circus that cherishes the respectful use of animals, operating on a circus-family model (skills are passed down through generations to produce family units that travel and live on the road), and the big top tent (the landmark interior of one of the oldest circus structures, built for this purpose in Europe since 1888) as a performance space. This publication, that was developed during Ieva Epnere’s fellowship with the Artists-in-Berlin Program of the DAAD, symbolically marks four stages of her single, larger work. Fine-tuned digital color shots, a collection of black-and-white 35 mm film prints showing action at the Riga Circus, followed by a burst of color shots and black and white photos taken on a film camera, to end with a set of intimate black-and-white portraits of the performers. Whereas the conversion of circus into text might to some degree be a violation of the true nature of its subject, Ieva Epnere’s book – with the help of elephants, clowns, all the “freakery,” and her kaleidoscopic peek into the machinery that makes performances in the arena possible – itself stands as an adventurous act of reinvention.

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Bom Dia Kinder is about children books made by artists. The first one is this coloring book by Dr. Lakra

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Published together with the CAPC musée d'art contemporain de Bordeaux, this reference book and catalogue raisonné surveys the history of the independent publishing house Beau Geste Press (BGP) through the books published by its founding members Felipe Ehrenberg, Martha Hellion and David Mayor from 1971 to 1976.

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The positions adopted by Hito Steyerl in her works and texts are of key importance in any consideration of the contemporary role that art and the museum play in society. They are also crucial to experimental forays into different forms of media presentation and to the critical examination of artificial intelligence and its uses. Over the past thirty years, the artist has been tracking the way camera images have mutated, from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image and the implications this then had for the representation of wars, genocides, and capital flows. “We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand,” writes Brian Kuan Wood of the digital visual worlds that the artist presents. The book is being published in conjunction with Hito Steyerl’s survey show, which will take place in autumn 2020 at the Centre Pompidou in Paris and the Kunstsammlung Nordrhein-Westfalen in Düsseldorf. The cooperative project is funded by the German Federal Cultural Foundation.

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The Long Road to Xico, 1991–2015 is the first monograph of Brazilian artist Maria Thereza Alves, and the outcome of her solo show at the Centro Andaluz de Arte Contemporáneo in Seville in 2015. It gathers more than twenty projects realized between 1991 and 2015, including rarely viewed early works that help us see her most recent production from a new perspective. This publication also collects a selection of Alves’s writings and contextualizes her work in the political and cultural debates from the 1980s, when she became an activist—in the United States and Brazil—and an early participant in discourses around “postcolonialism” and “ecology.” Together with these materials, the book contains essays by the editor, Pedro de Llano, and T. J. Demos, professor of art and visual culture at the University of California, Santa Cruz, and author of Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016). Containing an exhibition history and bibliography with a record of Alves’s activities in art, literature, and politics since the late 1970s as well, The Long Road to Xico, 1991–2015 establishes itself as the main publication on the artist’s work to date.

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An essential sourcebook on conceptual art's famed champion, reproducing his texts as scans to immerse the reader in this deep archival dive. "Better Read Than Dead" was the title Seth Siegelaub had chosen for an anthology of his own writing—one of the projects for which he never found the time, busy as he was running his global one-man operation. The selected writings, interviews, extended bibliography and chronology in this source book fill historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub’s life’s work. "Siegelaubian" paperwork comprises Siegelaub’s writings, which are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion. Interspersed with these “writings” are interviews and talks, several newly transcribed. The majority of interviews from 1969-1972 are reprinted here.

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Das Keramikos-Buch zeigt photographische Aufnahmen von insgesamt 300 bemalten Stücken, die die Künstler Matthew Lutz-Kinoy und Natsuko Uchino seit 2010 geschaffen haben - darunter Teller, Schalen und Krüge. Einige Objekte werden von narrativen Beschreibungen begleitet, die die Vorstellungen von Gesellschaft, Religion, Politik, Stil und Technik durch die lange Geschichte der keramischen Produktion aus der hispano-moresken, byzantinischen, islamischen und koreanischen Keramik aufgreifen. Jede Platte ist auf der Recto-Seite gedruckt, ihre Rückseite ist in der gleichen Position auf der Verso-Seite derselben Seite abgebildet. Ein umfangreicher Index rundet das Buch ab. ***** The Keramikos book presents front-and-back photographic records of 300 painted pieces that artists Matthew Lutz-Kinoy and Natsuko Uchino produced since 2010 - including plates, bowls, pitchers and oil jars. Some objects are accompanied by narrative descriptions that present aspects of the duo's vast and complex research exploring notions of society, religion, politics, style and technique through the long history of ceramic production motifs from Hispano-Moresque, Byzantine, Islamic and Korean ceramics. Each plate is printed on the recto side with its reverse shown in the same position on the verso side of the same page. An extensive index completes the book as well as an interview with the artist and curator Nicolas Trembley.

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Join the inimitable Fergus Henderson and Trevor Gulliver as they welcome you into their world-famous restaurant, inviting you to celebrate 25 years of unforgettable, innovative food. Established in 1994, St. JOHN has become renowned for its simplicity, its respect for quality ingredients and for being a pioneer in zero waste cooking – they strive to use every part of an ingredient, from leftover stale bread for puddings, bones for broths and stocks, to typically unused parts of the animal (such as the tongue) being made the hero of a dish.

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The Space for Visual Research was established at the Bauhaus-University Weimar in 2013 as a workshop and laboratory for experimental research into new graphic, abstract and visual worlds. The Space’s mission is to support the exploratory urge for new aesthetics, in particular by empowering design students to create their own individual imagery. The resulting »Space for Visual Research« publication is a lab book, a log of visual experiments conducted using physics, chemistry, optics and reproduction technology as starting points for image production. Technical explanations open up possibilities for customized reproductions of each visual experiment presented here, while commissioned interviews and essays as well as a hand-picked bibliography render »Space for Visual Research« a useful reference tool for visual research generally today.

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Published on the occasion of the first major retrospective of Dara Birnbaum's work. Since the 1970s Dara Birnbaum has been studying and making art about mass media. Her videos and installations often focus on the way we look at political events and how we are influenced and manipulated by images, television, and the media in general. This book combines photographs of these and other works with fascinating dialogues between Birnbaum and the curator Hans Ulrich Obrist as well as numerous insightful critical essays. Including never-before-released images from the artist's personal archives and bringing together early and recent works, this book is the most comprehensive resource available on this important figure in contemporary art.

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In the style of a catalogue raisonné, Reto Pulfer’s comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist’s work over the past fifteen years. Excerpts from the artist’s novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer’s technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself.

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A reproduction of one of the architect’s personal sketchbooks this beautiful volume contains fifty-two drawings and collages that explore the passage of time and the possibility of a tender architecture. The thoughts and drawings in this book were made in the month of January, 1994, Hejduk explains, I wanted to make two architectures in love . . . to have architectural intercourse on every level...chromosomic exchange.The drawings are explained in his essay Sketchbook Notes, and Still Life/Dead Nature elucidates his thoughts about space.

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This book is an homage to the wisdom of potters and a journey into the depths of the ancient trade of pottery. Through beautiful imagery and delightful prose, the book explaines the wisdom of artisanal design and pottery’s important economical, social and identity-based roles. The book approaches pottery from a design perspective, touching on themes such as diversity in form, social contexts, funcionality, techniques and the challenges presented by modern times, providing us with the tools to understand pottery and potters in all their complexity. With a prologue by master ceramic artist, Gustavo Pérez, and photos by Paris Barrera. For explorers, there is a detailed guide to visit the 70 pottery villages presented in the book, with maps and directions.

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In these essays, the acclaimed artist, photographer, writer, and filmmaker Moyra Davey often begins with a daily encounter - with a photograph, a memory, or a passage from a book - and links that subject to others, drawing fascinating and unlikely connections, until you can almost feel the texture of her thinking. While thinking and writing, she weaves together disparate writers and artists - Mary Wollstonecraft, Jean Genet, Virginia Woolf, Janet Malcolm, Chantal Akerman, and Roland Barthes, among many others - in a way that is both elliptical and direct, clearheaded and personal, prismatic and self-examining, layering narratives to reveal the thorny but nourishing relationship between art and life.

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Minor Detail begins during the summer of 1949, one year after the war that the Palestinians mourn as the Nakba – the catastrophe that led to the displacement and expulsion of more than 700,000 people – and the Israelis celebrate as the War of Independence. Israeli soldiers capture and rape a young Palestinian woman, and kill and bury her in the sand. Many years later, a woman in Ramallah becomes fascinated to the point of obsession with this ‘minor detail’ of history. A haunting meditation on war, violence and memory, Minor Detail cuts to the heart of the Palestinian experience of dispossession, life under occupation, and the persistent difficulty of piecing together a narrative in the face of ongoing erasure and disempowerment.

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Stickers presents itself as a genre of artist books on its own. The book demonstrates Anna M. Pasco Bolta’s works, including various techniques, within the genre of stickers, and explores the idea how objects can exist in two states: as objects themselves, and as their images. Every copy of the edition is unique and overflowing with stickers waiting to be stuck on. The stickers act as a medium for displaying all content: artwork, text, sponsor logos, ISBN and barcodes, giving a certain autonomy to the images. Thus, Stickers is a changing and pluralistic platform that allows an approach from the audiences individual point of view to Pasco’s work and emphasizes the importance of action and interaction for the perception of reality.

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Sandra Mujinga’s recent exhibition at Bergen Kunsthall presented a large-scale video installation together with a selection of sculptural works and photographs. Drawing on Afro-futurist strategies, the exhibition investigated concepts of invisibility as survival strategies, both as a speculative gaze at the future and in relation to the political reality of our time. The exhibition was Mujinga’s largest solo-presentation to date and will also be on view at Vleeshal, Middelburg, 20.9 – 13.12.2020. This book includes a specially produced visual essay, conceived as an animation in book form. The images are stills from footage captured of an elephant outside of Johannesburg, digitally treated and presented as a series of close-ups of the elephant’s skin. The publication features contributions by Sandra Mujinga, Wong Bing Hao, Tamar Clarke-Brown, Olamiju Fajemisin and Jessica Lauren Elizabeth Taylor and has been has been designed by Studio Manuel Raeder. Published by BOM DIA BOA TARDE BOA NOITE, Bergen Kunsthall and Vleeshal.

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This long-awaited monograph presents the breadth of JB Blunk's practice and includes never-before-seen archival and newly commissioned photographs of jewelry, ceramics, paintings, furniture, sculpture and his hand built house. Edited by Mariah Nielson and Åbäke, the book features essays by Lucy Lippard, Glenn Adamson, Fariba Bogzaran and Louise Allison Cort. JB Blunk is designed by Åbäke, printed by die Keure and co-published by Blunk Books and Dent-de-Leone.

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This is the fifth book in the historic series created for children by Munari in 1945. Alfonso, the thoroughly likeable green magician, disappears and reappears in trunks and boxes. At the end he finally manages to play his violin in peace.

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This book is one of the reprints of the exceptional books for children created by Munari in ’45, which are still as fresh and new as ever. Toc toc is perhaps the best known and most representative of the series. As with the other books, Munari plays with an essentially visual story full of expectations and surprises created using the simplest of devices. Toc toc (knock knock) … and a door opens.

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In 1979 Munari donated part of his personal archive to the CSAC in Parma: a sort of encyclopedic collection of solutions for possible answers. From the very first drawings for abstract paintings in the Thirties to the studies for the Negativi-positivi, to the sketches for publishing graphics, to the series of the original editions of his games: a rich collection of Munari’s projects, many of them previously unpublished, which help understand Munari’s poetics “behind the scenes”. From the Bauhaus to Piaget’s psychological theories, Munari assimilated many visual and conceptual trends of the XXth century, re-proposing them in a very new and original creative richness. As it has been said, he “burns” a quantity of principles, each one of them could hold up a whole artistic life. From this collection is born an accurate and complete publication, an instrument with lots of cues and informations to know Munari before his works, through the projects. The book includes: A systematic essay by Gloria Bianchino, director of the CSAC, about Munari’s project poetics seen through his most important works; the “historical” essays written in 1979 on the occasion of the exhibition Bruno Munari at the CSAC in Parma: an introduction by Giulio Carlo Argan and a detailed interview to Munari by Arturo Carlo Quintavalle. Also, a rich collection of more than 500 colour images from the Bruno Munari Fund in the CSAC Archive with the corresponding index cards and a bibliography of the most important publications about Bruno Munari’s works. This book is published on the occasion of Minimondi – 8th edition of the children’s literature and illustration festival (15th February – 9th March 2008) in Parma and province. It is also the catalogue of the exhibition Bruno Munari: il disegno, il design. The Bruno Munari Fund in the CSAC Archive at the Salone delle Scuderie of the Palazzo della Pilotta in Parma from 16th February to 30th March 2008.

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Page after page Bruno Munari shows us a world hidden in the stones, populated by characters drawn along the stone’s lines and veins. While smiling at a monkey grabbed at the lianes-streaks we understand that the point of view can change a lot our perception of reality: a complex and philosophical theme tackled through a simple joke. An important book to see less and watch a little bit more.

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This book is considerad a classic in Middle East vernacular architecture. This work, published in 1981 by the MIT Press, shows up in a new revised and extended edition. The content remains a necessary reference,dueto its extraordinary documentary value, that includes the content of the first edition and completes it with material collected in 2006, giving now a global vision of the unified Yemen territory.

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This publication El Plástico, the Sun that lives inside the Rock is an observation on evolution of material plasticity, it is a story about plastic whose native land is Mesoamerica. It explores the past, present and future of plastic through encounters with various people — a weaver from Oaxaca, a taxi driver, a sociologist working on trash collection in Mexico City and the owner of a small family-run plastic factory. The book contains a polymorphous project resulting from several years of research by artist Viktorija Rybakova and designer Goda Budvytytė, it also includes a conversation between philosophers Kristupas Sabolius and Catherine Malabou, and essays by Post Brothers and Chris Fitzpatrick.

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Gigi’s looking for his cap. Where can it be? Let’s help him find it by opening closet doors, lifting lids and looking around. A book to rummage through, like an attic or a messy bedroom, with direct and captivating pictures drawn over half a century ago. Ah! Gigi finds his cap in the end!

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DISCULPE. On bus travel, the cycle of gifting and counter-gifting and a quest for meaning. During their performances travelling on the city busses of Medellín and Bogotá, the hawkers locally known as “vendedores ambulantes” dish out compliments and pleasantries to their audience, as well as excessive apologies and gratitude. As these busses are flagged down by prospective travellers along the route, they face the crowd with all of their spectators already conveniently seated in front-facing rows. The vendors practice something that may be loosely described as “rebusque”, or “the quest for what makes a life”. What this boils down to is making money with whatever is readily available: chocolate bars, ballpoint pens, music or stories. The German-Colombian artist Jan Lotter Benavides has collected 65 such scenes in his unpretentiously laid out, heartfelt small-format book. Titled DISCULPE, it revolves around his clear and knowledgeable transcripts of recordings he made secretly while in Colombia on a travel scholarship from Hessische Kulturstiftung, the Cultural Foundation of the State of Hesse (Germany). It quickly becomes clear that the “vendedores” provide more than just a show, and that the audience gives them more than just small change; in fact, it is about much more than surplus value. In the ethos becoming apparent here we begin to witness a cycle of gifting and counter-gifting that marks the entire practice out as an act of existence rather than one of subsistence. Life is remembered, imagined and narrated as something that is by necessity shared. The bus is then turned into a theatre of a common symbolic space, and it is on this stage that something akin to catharsis becomes possible.

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When Mette Winckelmann moved from Copenhagen K, a city center area, to Copenhagen N, near Nørrebros Runddel, her eyes immediately caught the strip of clothing stores that is a landmark of this specific area. One of them is LAILA UTI, located on Nørrebrogade 82. The lettering on the facade suggested that a B and a K were once part of the store’s name: LAILA UTI used to be LAILA BUTIK. Perhaps, at one point, the store even presented as LAILA UTIK or LAILA BUTI, that is if the letters did not go missing at the same time. Either way, the change of name also changed the store’s character and identity, if only in how its name is pronounced. Loss and letting go is also part of the history of the actual the book. The documented objects fade into each other in digital layers, creating new potentials in the absence of the letter Y (and consequently the colour yellow) in CMYK. LAILA UTI is published on the occasion of the exhibitions with the same name by the artist Mette Winckelmann at Viborg Kunsthal, and LAILA UTI / ULLA TILA at Augustiana in Denmark in 2019-2020. It contains, among other things perspectives on transformations, actions, paintings, clothing, architecture, patchwork, textile, scenography, building materials, concrete, patterns and layers.

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From the book's cover: "By reactivating the 1971 Portuguese version of Aimé Césaire's text _Discours sur le colonialisme_ through the reproduction of a facsimile of the original publication together with a copy of the censor's report and her own notes, Filipa César traces a complex course between past and present encapsulated in the clandestine existence and public absence of the publication in Portugal." Published on the occasion of the exhibition 1975, Madam Luxembourg in 2012.

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During ‘wonder, wander’, a collective walk across Jordan organized by the Spring Sessions annual artist residency, Thomas Amouyal, Sara Elkamel and Charlotte York arrived in Wadi Rum, welcomed by a ruthlessly dry heat. One morning in the red desert, they improvised a workshop where they gave the rest of the group a series of drawing and writing prompts. The collaboration sparked the idea for The Ex-Clown, The Fan, The Stranger, and I, a book that proposes 161 prompts to draw and write. The trio wrote it in September 2018 on the Greek island of Tinos—in between visits to a green beach—with the generous encouragement and contribution of Spring Sessions curators Noura Al Khasawneh and Toleen Touq and the ‘wondering, wandering’ artists present on the island: Hanaa Safwat, Kari Rosenfeld, Raymond Gemayel, Gian Spina Nuno Cassola, Parastoo Anoushahpour, Noura Salem, Melika Abdel Razzak and Soraya Ghezelbash. The publication was designed by Åbäke, translated into Arabic by Yasmine Zohdi, proofread by Habiba Effat, published by Dent-De-Leone and produced with support by The Mohammad and Mahera Abu Ghazaleh Foundation (MMAG). Imagined as a generative tool for artists and educators, the book prompts its users to make drawings and write texts that respond to everyday objects, imaginary characters, as well as physical and celestial bodies. As they create stories of their own, there’s an invitation for the book’s users to engage with the mundane, the absurd and the profound.

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I For Idiot functions as an extension of the film Avenida Progreso in the sense that it assembles three different perspectives: a philosopher’s, an ethnologist’s and a film theorist’s, and juxtaposes these with some of the external layers of reality that have in one way or another informed the film. The purpose of this exercise, is to further consider the potential of dialectic time as a tool for collapsing linear narratives and analyzing the relation between speed, history and the distribution of knowledge in information based societies. The book was published on the occasion of the exhibition Avenida Progreso by Mauricio Gullién at the MMK Museum für Moderne Kunst, Zollamt, Frankfurt am Main (2012).

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This book is an overview of the exhibition program of Bart van der Heide from 2010 – 2015, which he realised as the director of Kunstverein München. Each exhibition is presented by a corresponding booklet, containing all texts and images. These accompanying publications were designed individually for each exhibition in cooperation with Studio Manuel Raeder. The different designs play with various fonts, formats, and graphic elements. Together with these publications, a variety of coloured images of exhibition views conveys the curatorial direction as well as the identity of the Kunstverein in those years. A reflection by Bart van der Heide and all booklet texts are included in both German and English.

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Uranus, the frozen giant, is the coldest planet in the solar system as well as a deity in Greek mythology. It is also the inspiration for uranism, a concept coined by the writer Karl Heinrich Ulrich in 1864 to define the “third sex” and the rights of those who “love differently.” Following Ulrich, Paul B. Preciado dreams of an apartment on Uranus where he might live beyond existing power, gender and racial strictures invented by modernity. “My trans condition is a new form of uranism,” he writes. “I am not a man. I am not a woman. I am not heterosexual. I am not homosexual. I am not bisexual. I am a dissident of the gender-sex binary system. I am the multiplicity of the cosmos trapped in a binary political and epistemological system, shouting in front of you. I am a uranist confined inside the limits of technoscientific capitalism.” This book recounts Preciado's transformation from Beatriz into Paul B., but it is not only an account of gender transitioning. Preciado also considers political, cultural, and sexual transition, reflecting on issues that range from the rise of neo-fascism in Europe to the technological appropriation of the uterus, from the harassment of trans children to the role museums might play in the cultural revolution to come. An Apartment on Uranus is a bold, transgressive, and necessary book.

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A new wave of artistic activism has emerged in recent years in response to the ever-increasing dominance of authoritarian neoliberalism. Activist practices in the art field, however, have been around much longer. As Oliver Marchart claims, there has always been an activist undercurrent in art. In this book he traces trajectories of artistic activism in theater, dance, performance, and public art, and investigates the political potential of urbanism, curating, and “biennials of resistance.” What emerges is a conflictual aesthetics that does not conform with traditional approaches to the field and that activates the political potential of artistic practice. Oliver Marchart is a political theorist and philosopher. He is currently professor of political theory at the University of Vienna. His books include Post-foundational Political Thought: Political Difference in Nancy, Lefort, Badiou and Laclau (2007), Thinking Antagonism: Political Ontology after Laclau (2018), and the forthcoming Post-foundational Theories of Democracy: Reclaiming Freedom, Equality, Solidarity.

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Rodrigo Hernández’s first larger publication depicts several paths around his sculpture “Figure 1”. Seven writers, invited to collaborate on this publication, reflect on his artistic practice and on this particular work and conform the spine of this book. Accompanied by both recent and earlier works, these new texts offer the reader to look from different angles at his poetic oeuvre. The catalogue has been published on the occasion of Rodrigo Hernández’s solo exhibition “I Am Nothing” at the Heidelberger Kunstverein (17.9.–20.11.2016) with the support of the Ministry of Science, Research and the Arts Baden-Württemberg.

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For her first solo exhibition in Asia, Canell made research into the production and distribution of fiber optic sheaths in the outskirts of Seoul, where cable mounds are sorted according to colour and eventually remoulded into the synthetic circumferences of future relations. Literally caught in between melting and being repurposed, several hundred meters of gutted sheaths are compressed into dense lumps of immaterial distance. The accompanying book consists of ten short new texts around which fragments of communication with the authors have been punctuated by observational photographs and sculptural documentation. Contextualized by both recent and earlier works, the exhibition and book considers sculpture as a medium of storage, transmission and reception.

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The problem with coloring books is that they seem to be more about filling time rather than a page. It’s as if they suggest that there is no negotiation involved in the processes which give shape to things on paper, or the subjects they depict. Shouldn’t geometry, scale and proportion be as wild on paper as they are in the wild? This small book is not about censorship, nor is it explicitly about the colouring-in of vegetables: the full-page figures from Maxwell Tylden Masters’s Vegetable Teratology: An Account of the Principal Deviations from the Usual Construction of Plants (1869) are not bound to botany. As abstract illustrations they function as an exploration into morphological occurrences, rejecting the goal-oriented, the figurative, and the categorical. Following a traditional format, the Vegetable Teratology Colouring Book (edited by Nina Canell & Robin Watkins) attempts to open up a creative bypass, embracing the multitude of forms that may emerge as a pear or plum. Time then to draw out the possible colors of fruit to come. In the publication, Masters’s botanical illustrations have been contextualised by a glossary, image captions, and a short text by Robin Watkins.

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The title of this book references a mythical peak where gods dwell ‘in the cold waste where no man treads’ described in H.P.Lovecraft’s ‘The Dream Quest of Unknown Kadath’ (1926/27). Lovecraft’s novel itself drew from William Beckford’s gothic horror ‘Vathek’ (1786), Robert W. Chambers’ ‘The King in Yellow’ (1895) and the novels and short stories of Lord Dunsany. Bohl’s drawings refer to a wide variety of popular and archetypal imagery familiar to him from his adolescence. They incorporate styles learned from, amongst others, Aubrey Beardsely, Métal Hurlant comic books and Blair Reynolds and other graphic artists associated with Pagan Publishing. As with his previous works, these drawings employ modest yet very specific materials.

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Neither the book is a publication that arose from Neither the exhibition, curated by Fernanda Brenner in 2017 to inaugurate the Brussels gallery of Mendes Wood DM. Yet Neither the book is not a documentation of Neither the exhibition. Instead a selection of the artists who exhibited have been invited to produce new works for the page that, alongside a fictional history of the gallery’s new European home, written by Oliver Basciano, mingle with a photographic commission from Mauro Restiffe. They, like the exhibition, evoke a space somewhere between moving in and feeling at home, a capturing of a place that was no longer a family abode and not yet a fully functioning commercial gallery. By taking this conscious pause—respecting the distance and the journey of an exhibition from idea to materialization to memory—Neither the book hovers and loops between proposal, scrapbook and diary.

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English and Portuguese texts. This book was published on the occasion of the artist’s solo exhibition, Zona de Crepúsculo, at the Iberê Camargo Foundation, Brazil, in 2018, curated by Bernardo José de Souza. The following texts are a rendering, in written form, of monologues included in his performance The Zone, 2015-2018. The artwork consists of an after-hours tour in and around a given exhibition space, where a series of found narratives are performed by the artist. With psychoanalysis and literature as his usual starting points, Pablo Pijnappel’s works are meta-narratives that poetically combine cultural, historical and ancestral identities through the prism of memory. Language always plays a leading role in uniting mental mechanisms and the world, in video installations, texts, or performances that lie at the crossroads between cinema, photography, and fragments of prose.

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Nora Schultz’s work explores questions of the emergence of pictures and production as an artistic dynamic. She is more interested in the genesis of images and objects and its material traces than in the completed work. That is why the manufacturing process plays a central part in her prints, printing machines, installations, and performances and always remains recognizable as such. The book figures as a sort of retelling in which manhole cover stamp, die-stamping drum, paper, plastic, and aluminium sheet, camping mat, microphone sculpture, dictaphone, sound funnel, and print worm blithely continue their cycles of production.

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The publication is a collaborative project bewtween Frac Île-de-France, the Cypriot artist Haris Epaminonda, and the Berlin designers Santiago da Silva and Simon Steinberger. It recounts and translates the experience of the exhibition VOL. XVI, presented at Le Plateau in 2015, for which the artist had created a global environment. Through a series of parallel actions the whole exhibition was connecting the interior and exterior with the presence of an old Japanese man “living” in the exhibition and with two young women dressed in traditional Japanese costumes who were walking in the des Buttes-Chaumont Park in Paris. This book concentrates the different perspectives of the artist’s work, where the idea of travel, of displacement – in time and space – offers a unique spatial experience combined with the cinematographic dimension included in the exhibition. At the same time, are gathered the critical texts of Philippe Artières (Historian and Research Director in CNRS, EHESS), Chris Sharp (Independent art critic), and Aurélie Verdier (Curator in Musée national d’art moderne, MNAM-CCI, Centre Pompidou).

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Nick Mauss’ artist’s book comes in the form of a postcard accordion with a wrap-around cover sleeve, reproducing artworks presented as part of his contribution to HERE AND NOW at Museum Ludwig: Transcorporealities, curated by Leonie Radine. Featuring works by George Brecht, Inge Schmidt, Jack Smith, Max Ernst, and Mauss, amongst others, this leporello recalls the juxtapositions and interrelationships among artworks and performers brought together within the permanent collections galleries of the Museum Ludwig for the duration of the exhibition, confounding representations of the body, the utterance, and the event.

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An artist book with four visual poems by Emmett Williams including 'SOLDIER' and 'Fête Duchampêtre' printed in colour. An expansive book where Williams uses the space of over 200 pages to experiment with colour, typography and fragmentation of texts elegantly furthering the movement of a flip-book style form.

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Written between 2015 to 2018, From self-employment to employment, follow Andreas Sell’s path from self-employment to permanent work. This artist book is his second in a five-yearly series and follows his early booklet, titled Lifestyles, published by BOM DIA BOA TARDE BOA NOITE, in 2015.

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This book is a close collaboration between artist Jorge Méndez Blake, curator Rodrigo Ortiz Monasterio, and designer Santiago da Silva in the mutual interest on unfinished novels, libraries and the connections that can be made between literature and architecture. Não de China (China Boat) takes as a departure point José Juan Tablada’s writings, seeking the missing connections in order to produce a series of encounters and perspectives into his literature. By unraveling Tablada’s oeuvre, imagining his lost or unfinished works, this book attempts to give contemporary interpretations of some of the seminar themes in his work: Orientalism, the relation between literature and visual arts, and the creation of national identity through art and architecture. This book is written in English and Spanish.

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In this collection of stories and illustrations, Anna M. Szaflarski examines the subject of violence, in particular as it is experienced through the female body. Beginning with an autobiographical experience, the story triggers a dissociative state that plunges the book in and out of imaginary worlds and associative narrative threads.

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By way of word games and schematics, Anna M. Szaflarski searches for the ‘emergent properties’ that materialize between texts. This book compiles the issues from Letters to the Editors: a self-printed black and white bi-weekly journal dedicated to text-based practices, written and distributed by Szaflarski between October 2014 and November 2015. Each issue combined Szaflarski’s texts with contributions from artists, writers, family, friends, librarians, and colleagues, ranging from poetry and fiction to essays and manifestos. As the project progressed the letters came together and the body of LTTE formed: It had arms and legs, perhaps a brain but above all, a heart and a stomach, often aching, rarely satisfied.

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Do we think that a stone is a cold and dead material or rather warm and vital? A Heart of a Stone is published as part of the installation by artist Ayami Awazuhara. The work consists of several elements arranged in various display structures. The book A Heart of a Stone is part anecdote, part fiction and part sculpture. It was developed in a collaboration with Santiago da Silva.

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Rosetta is one of the most popular restaurants in Mexico City. Since its doors first opened in 2010, it has reinvented what a Mexican restaurant can be: through sincere, ingredient-based cuisine that both revives and challenges tradition; through its commitment to serving local and seasonal produce grown by small-scale, sustainable producers; and through its location and attention to detail, creating a vibrant and welcoming atmosphere. The first book by Elena Reygadas, chef and owner of Rosetta, is more than a cookbook. For one thing, she shares a selection of her recipes from the present and the past. But she also offers a series of reflections on many different topics: from the social and environmental impact of industrialized food, to personal recollections, to the history of little-known Mexican ingredients.

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Eamon Ore-Giron’s first artist book pairs paintings from his ongoing Infinite Regress series with original poetry by scholar Edgar Garcia, offering a rich linguistic and visual context for understanding Ore-Giron’s work. Rendered on raw linen, Ore-Giron’s brightly-hued paintings fuse the tradition of Peruvian goldwork with the geometries of hard-edged abstraction. His compositions evoke the cosmos and notions of an ancient global architecture, creating optical play and a multiplicity of planes on the canvas. Garcia has written “poetry thick with” abstraction, exploring the role of the formal and theoretical within Ore Giron’s work through his own research and work exploring the hemispheric literatures and cultures of the Americas. His “Tractatus” examines the apprehensibility of origins in their visual and poetic forms, and traces a contemporary conception of origins in the knot, fold, crushed stone, haunted bone, and constellation of everyday emergencies.

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Figures of Perception is a result of the artist Ebbe Stub Wittrup’s solo exhibition at Villa Salve Hopes at Kunstverein Braunschweig in Germany in 2016. The publication is both a catalogue and a perspective of the artist’s practise of the past 10 years. The book was developed in collaboration with Kunstverein Braunschweig. In addition to a large number of work illustrations, the book offers text contributions by the curator of Kunstverein Braunschweig, Jule Hillgärtner, and Aline Fieker, curatorial assistance, as well as an essay by Helmut Zander, professor of religious studies at the Université de Friborg in Switzerland

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The book accompanies Little animals, ash trays (a project by Rometti Costales in the CA2M Centro de Arte Dos de Mayo, Madrid) and functions as a compendium of distinct materials that revolve around their artistic practice of the last few years; at the same time it is an essential component of the project. The book is structured by a conversation between the artists and Juan Canela, curator and editor of the book, which provides space for a range of graphic materials and various contributions written specifically for it by Quinn Latimer, Yasmil Raymond, Elfi Turpin, Magalí Arriola, and Manuel Cirauqui. This book is written in English and Spanish.

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More than anything else about architecture, Tobias Engelschall is fascinated by transformation. Between the regularity and randomness of architectural development, the new always emerges from what already exists. Every Zustand—every state of affairs, condition, configuration, every image in this book—attests only to the outcome of transformation. In their juxtaposition, Tobias Engelschall’s “Sehschule” presents what cannot be seen. With its thematic focus and careful selection, this topography includes mostly buildings that likely would never have appeared again in an architectural book after their initial publication. The book shows an exuberant multiplicity of formal languages, where one or another of them may effectively attain a new, unexpected quality. The publication was generously funded by Stiftung Hermann Reemtsma, Hamburg.

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Those who feel the truth of 14th century German theologian Meister Eckhart’s words, “When the soul wants to experience something she throws out an image in front of her and then steps into it,” might do well to consider Franck André Jamme’s latest book, Tantra Song: Tantric Painting from Rajasthan from this point of view. It is an evocation of the image as a threshold leading to new dimensions of meaning, a revelatory understanding that some images are more than mere data; they are instead vital seeds, living carriers of possibility.

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In Not to Read, Alejandro Zambra outlines his own particular theory of reading that also offers a kind of blurry self-portrait, or literary autobiography. Whether writing about Natalia Ginzburg, typewriters and computers, Paul Léautaud, or how to be silent in German, his essays function as a laboratory for his novels, a testing ground for ideas, readings and style. Not to Read also presents an alternative pantheon of Latin American literature – Zambra would rather talk about Nicanor Parra than Pablo Neruda, Mario Levrero than Gabriel García Márquez. His voice is that of a trusted friend telling you about a book or an author he’s excited about, how he reads, and why he writes. A standard-bearer of his generation in Chile, with Not to Read Alejandro Zambra confirms he is one of the most engaging writers of our time.

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This book, the first critical study of Jean-Luc Moulène's work, brings together leading scholars to examine the artist's diverse aesthetic strategies and interests in the relationships between social and political arenas and systems and orders, including geometry, mathematics, social sciences, and human behavior. Featured essays also examine Moulène's theoretical and playful inquiries into the plasticity of materials and the ways we see and understand both still and moving images.

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Now in paperback, this volume presents an overview of the legendary Canadian collective. Founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson, the trio adopted a generic identity that "freed it from the tyranny of individual genius." Their intermingling of reality and fiction took the form of a transgressive, often parodic take on art and society. Paintings, installations, sculptures, photographs, videos, magazines and TV programs: General Idea's is an authentically multimedia oeuvre that has lost nothing of its freshness. The book covers the collective's main themes, such as the artist and the creative process, glamour as a creative tool, art's links with the media and mass culture, architecture and archaeology, sexuality and AIDS. It is richly illustrated with documents and reproductions of key projects realized by General Idea from 1969 to 1994.

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Iman Mersal intricately weaves a new narrative of motherhood, moving between interior and exterior scapes, diaries, readings, and photographic representations of motherhood to question old and current representations of motherhood and the related space of unconditional love, guilt, personal goals, and traditional expectations. What is hidden in narratives of motherhood in fictional and nonfictional texts as well as in photographs? This is the fourth book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Iman Mersal is an Egyptian poet and associate professor of Arabic Literature and Middle Eastern Studies at the University of Alberta, Canada.

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Nineteenth-century Sudan, wracked by religious, cultural, and political differences, is brilliantly evoked in the most ambitious book yet by this talented novelist. This, Mahjoub's latest novel, centers around the Battle of Omdurman---one of the great colonial wars in Britian's attempt to gain control over the Sudan.

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This publication, designed by Studio Manuel Raeder in close dialogue with Pedro Barateiro, is published after the exhibition Palmeiras Bravas / The Current Situation at the Museu Coleção Berardo in Lisbon from February 11 to May 24, 2015. The works exhibited were conceived specifically for this occasion and were linked by several narratives to produce a disturbing view of the current state of affairs of the culture in which we live. The book manages to register the installation, described by Pedro Lapa, curator of the exhibition and author of the main essay.

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Trefferia – a made up word – mixing the words Treff and Cafeteria together. Appropriated from a cafeteria-like meeting place with filter coffee, beer and cold smoke. For Wilhelm Klotzek an ideal place to invite his own works to. Central to this book is Klotzek’s personal relationship with the medium of language. He embeds his body of works of the last ten years around his personal stories – growing up in East Berlin, going through his adolescence in the years of the post-fall-of-the-wall years. In sculpting his memories in dense moving texts that take us into the corners of the broken German past his dark and humorous approach creates a specific aesthetic language that he stretches and bends in various directions. Therefore Klotzek doesn’t only act as a sculptor of words, objects, memories and situations but furthermore also as a performer, display and furniture designer and collaborator when he works with his artist’s colleagues Konrad Mühe or David Polzin.

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The Grinberg Mystery is a novel based on the author’s involvement with a shaman known as Brother Cuauhtémoc. It describes the author’s desperation, and his quest into the unknown searching for a cure, after his mother was diagnosed with terminal cancer. The book revolves around the limits of one capacity of doing anything for love, and that which lies in between the visible and the invisible. It is a story about acceptance, and learning how to let go of those who we love the most.

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The Memory of The Archive: Christoforos Savva in the 1954–1968 Cypriot Press & Literary Periodicals is published on the occasion of the survey exhibition project Untimely on Time: Christoforos Savva (1924–1968), co-organised by the Cyprus Ministry of Education and Culture, Cultural Services and Point Centre for Contemporary Art, Nicosia and presented at the State Gallery of Contemporary Art – SPEL, Nocosia, Cyprus, between 31 January and 31 March 2019. The book is a compilation and an archive of press cuttings, consisting of more than two hundred articles, commentaries, reports, and advertisements that appeared in the mainstream Cypriot press and literary periodicals between 1954 and 1968 and relate to the Christoforos Savva. The press cuttings are treated as objects with a story, a narrative worth telling with the goal of shedding new light on the artist’s life and career.

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The publication focuses, in a very precise but also circumscribed manner, on a specific aspect of Christoforos Savva’s work that is beyond the artist’s control: the artwork’s presence in the world. The moment the work leaves the studio and goes into the world is, quite often, when artists themselves find out whether it has sufficient autonomy and strength. In Savva’s case and particularly in the case of such a fragmented photographic archive – and, therefore, so fascinating and suggestive – as the one presented in the book, the glimpses of his work in contact with the world over time silently witness and reflect the transformations of a society. Looking at, often blurred or slightly crooked, amateur photographs is a way to reaffirm that what matters, when one faces the work of Christoforos Savva, is not only or not so much individually looking at each painting, yfasmatography, or relief on its own, but also looking at the world around them.

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Started in 1998, the 'Lichtzwang' series consists today of more than 300 watercolors, all on 15 x 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 last watercolor usually matches the first one, so that each group forms a loop that could be installed in any order. The process of realization is, however, guided by simple rules (play with the grid on the sheet, each item that appears in the watercolor lasts for three sheets), 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.

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Makulatur, a German word that derives from lat. maculatura ’something stained’, refers to misprinted paper that is discarded at the beginning of the printing process as use- and worthless. In 2010, the graphic designer Manuel Raeder started to collect and preserve misprinted sheets of all the publications he designed not only for his own publishing house BOM DIA BOA TARDE BOA NOITE but also for fellow artists and institutions. These original waste paper sheets, with different qualities and grammatures, – trails, testy or stains – were combined to a new volume as a compilation of maculae ’stains’. Thus, dissolving the spoiled material from the realm of invisibility and displays it to the public whereby the Makulatur book reveals and reflects on the conventions of a book.

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In Lifestyles Andreas Sell combines a diary with photographic documentation, pictures of sculptures and drawings from 2010 to 2015. These excerpts reflect his nomadic-like life, the clearance of his parents’ household and the enterprise of building a holiday house. Andreas Sell’s artistic process reveals a strategic method within the conventions of our capitalist society, which are simultaneously subject to critical analysis. A question discussed since the 1960s is a recurrent theme: Where does the private sphere cross over into the public sphere? Over the last years, Sell worked on the founding and operation of an employment agency, the documentation and sorting of his property, living without a permanent residence and travelling to the Sahara without mission or goal. The book co-constitutes together with the holiday house on the island of Lesbos the making of an art work.

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This publication presents an extended interview with the French architect Claude Parent (1923 – 2016) by curator Mai Abu ElDahab and visual artist Benjamin Seror that took place between 2013 and 2015. Committed to experimentation throughout his life, Parent questioned his field and his own practice in his unique polemical and provocative manner motivated by his desire to see ideas circulate and conventions challenged. The book is based on transcription of conversations allowing Parent’s unique storytelling voice and style to come through.

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In the trilogy of videos portraited in this book, Insight, Suspension and The Lost Object, the artist invites us to suspend ourselves in a dream-like scenario dominated by lighting effects. We do not enter a dark room but an atmosphere subject to the different beams of light shining all around us. That is the point, to throw light on the unknown, or on what we take for granted as natural when in fact it is nothing more than an impoverished fallacy. Or maybe it is simply about shining a light on ourselves as subjects and returning to the true essence of things: beauty, surprise, novelty and illusion. The unknown.

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