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Morceaux choisis is the first seminal overview of Saâdane Afif’s artistic practices. The publication features 48 exhibitions or performances organized in 28 separate sections, covering a period of 14 years. Starting with Melancholic Beat at Museum Folkwang, Essen in 2004 and leading up to the recent exhibition Musiques pour tuyauterie, at mor charpentier, Paris in 2018, the monograph considers the format of the exhibition as Saâdane Afif’s medium, through which his work takes form and can be read. Each one of the figuring exhibitions form an individual booklet: the pages with full color reproductions of the individual works and installation views are inserted within four additional pages providing the exhibition’s title, description, details and captions. These 28 booklets form the body of the publication. The exhibition texts have been written by Lily Matras and Yasmine d’O. They are accompanied by an interview of Saâdane Afif by Lili Reynaud-Dewar, two critical texts by Zoë Gray and Jörn Schafaff, an index of the exhibited works and an index of Afif ’s released books and records.

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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.

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We are almost constantly surrounded by architecture, but we barely perceive it. Yet it has a major impact on our thought and actions – sometimes obviously, but usually unconsciously. The Colombian artist Gabriel Sierra is interested in precisely this psycho­logical dimension of architecture. He aims to create an experiment that explores the intricate relation in between reality and perception. After all, built spaces are repositories for ideas, fears, and convictions; they are full of ambitions, traces, and future experiences, and possess multiple layers of time. Hardly any other experience demonstrates this as strikingly as déjà-vu, when we witness a moment as if it had already occurred. During a moment of déjà-vu, the present is transported backward in time; in it, the past, the future, and the present merge into a magical second that is both euphoric and unsettling. This publication has been published on the occasion of Sierra’s exhibition, Before Present, at Kunsthalle Zürich, that is dedicated to this unfathomable and uncanny Before Present.

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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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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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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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This publication is a continuation of Gabriel Sierras site-specific installation project at the Renaissance Society in 2015. Sierra is intrigued by the language of the spaces in which we live, work, and think. His practice employs a variety of techniques to examine how the human body functions in relation to its environment. The Bogotá-based artist’s first solo show in the United States consisted of a group of constructions to stand in, walk over, or lie down in, and relating abstractly to the idea of inhabiting different moments of space and time. The title of the exhibition changed every hour to frame the specific moment in which the visitor experienced the work.

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Every living thing has two bodies. To be an animal is to be in possession of a physical body, a body which can eat, drink and sleep; it is also to be embedded in a worldwide network of ecosystems. When every human body has an uncanny global presence, how do we live with ourselves? In this timely and elegant essay, Daisy Hildyard captures the second body by exploring how the human is a part of animal life. She meets Richard, a butcher in Yorkshire, and sees pigs turned into boiled ham; and Gina, an environmental criminologist, who tells her about leopards and silver foxes kept as pets in luxury apartments. She speaks to Luis, a biologist, about the origins of life; and talks to Nadezhda about fungi in an effort to understand how we define animal life. Eventually, her second body comes to visit her first body when the river flooded her home last year. The Second Body is a brilliantly lucid account of the dissolving boundaries between all life on earth.

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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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Kaleidoscopic Eye departs from an argument between André Breton and Roger Caillois. The confrontation arose from their discovery of Mexican jumping beans—beans that make sudden movements and leap into the air. Caillois conjectured that larva or some other animal was making the beans move. Breton rejected his theory, accusing Caillois of being a closed-minded positivist who negated the marvellous and the poetic in his attempt to find a rational explanation. For Breton, absolute or objective chance blurred the borders of rationality, proffering a chaotic and stimulating universe: convulsive beauty. Caillois wrote a letter ending the relationship with Breton, declaring his attempt to reconcile research with beauty. Caillois sought to examine chance, chaos, and the irrational with the goal of finding a pattern similar to the structure of coral. T his structure should combine, in one system, everything that had until then been systematically excluded—a structure capable of taking into consideration all the possible forms of reality. Kaleidoscopic Eye was first published as part of the exhibition Kaleidoscopic Eye, in 2009 at Kunst Halle Sankt Gallen, now republished in its second edition.

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