BOM DIA weekly planner for 2022. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

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 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. ↑ ↓ ↓

As part of the 50th anniversary of the Calouste Gulbenkian Museum, the exhibition Art on Display explores the display solutions found for the opening of the Museum in 1969 and focuses more generally on the design of museums and exhibitions at that time. The catalogue accompanying the exhibition opens with a curatorial note explaining the aims and characteristics of the exhibition, taking into account that it is held at the Calouste Gulbenkian Foundation in Lisbon and at Het Nieuwe Instituut in Rotterdam at different times. In addition, the catalogue reflects the dual objective of exploring both exhibition design at the Gulbenkian Museum and other significant examples of post-war international museography, as the essays written by each curator of the exhibition reveal: Penelope Curtis analyses the relationship between the Museum and exhibition design in other countries, especially the designs developed by Franco Albini, while Dirk van den Heuvel explores the exhibition as an urban space in the work of Aldo van Eyck, Alison and Peter Smithson and Lina Bo Bardi. The five case studies following these two texts provide greater detail about the projects that the exhibition aims to recreate: Palazzi Bianco and Rosso by Franco Albini, Museo Correr by Carlo Scarpa, First and Second International Exhibition of Experimental Art and Fifth International Sculpture Exhibition by Aldo van Eyck, Painting & Sculpture of a Decade 54-64 by Alison and Peter Smithson and the Museu de Arte de São Paulo by Lina Bo Bardi. Both the essays and the case studies are amply illustrated with drawings and archive photographs of the exhibitions cited, as well as with views of the exhibition at the Gulbenkian Museum. ↑ ↓ ↓

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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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. ↑ ↓ ↓

Final Kadath Fatal is the third and last volume in a series of artist books by Henning Bohl. The title loosely refers to H. P. Lovecraft’s novella The Dream-Quest of Unknown Kadath (1926/27), in which Kadath appears as a mystical place to where the gods have betaken themselves “in the cold waste where no man treads.” The publication accompanies Bohl’s installation of four large-scale murals for the subway embankment wall along Paltaufgasse in Vienna’s 16th district, whose rough-faced, square-dressed stones are reminiscent of imperial architectural gestures like the rusticated facade of Palazzo Medici in Florence. It has been on display since Summer 2016, made possible by KÖR – Kunst im öffentlichen Raum Wien. ↑ ↓ ↓

This catalogue accompanied the exhibition La Letra E está por doquier organized by Studio Manuel Raeder in collaboration with the Centro de Diseño in Oaxaca, Mexico and, subsequently, on display at the Archivo Diseño y Arquitectura in Mexico City, the Kunstverein München and Galerie Neu, Berlin. Two open structures of wooden cubes displayed a selection of catalogues and artist books produced by, and central to the practice of the Berlin based design studio over the the last decade. The publications were exhibited spatially amongst collected and found objects, such as pieces of Barro Negro (Black Clay) – a style of pottery originating from Oaxaca, which the designers collected during their interaction with local artisans and ancestral craft techniques. ↑ ↓ ↓

Dissected into five colours in motion – all at once skin, gesture, word, voice – this first trilingual monograph by Elise Florenty and Marcel Türkowsky focuses on five film-projects investigating different layers of consciousness and power relations that blur the modern boundaries between the animate and the inanimate, the verbal and the non-verbal, the dream and the awake state. Each project unfolds minor situations in marginal zones – from Mississippi to the Aegean Sea, Brazil to Japan and Eastern Ukraine – where the human and the nonhuman – an imaginary river, an amazonian parrot, a speaking cactus plant or cannibal electrons – often meet to bring back “social-utopic” experiments and the part of future that seems to have been buried with them. The catalogue was published on the occasion of the exhibition Inter-passion by Elise Florenty and Marcel Türkowsky at Grimmuseum, Berlin (February 4–March 18,2017) with the support of the Cnap and Stiftung Kunstfonds. ↑ ↓ ↓

Ana Navas explores the border between design and art. Playfully, she tries to track down the mechanisms of how design affects our consumption of goods and investigate the essence of the possibilities to assimilate art in a context-free environment. The catalogue published on the occasion of the first institutional exhibition by Ana Navas at Galerie der Stadt Sindelfingen continues her artistic research, which deals with phenomena such as memory, translation, interpretation and authorship and documents a wide exchange of images and ideas. A collection of photographs the artist received from friends and acquaintances provides an insight into how her work is influenced and understood by others under the motto ‘I had to think of you’. ↑ ↓ ↓

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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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. ↑ ↓ ↓

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. ↑ ↓ ↓