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(4th edition, 4th size) A recalled dialogue from some time ago: Martino: I will make 100 chairs åbäke: What, the same one 100 times? M: No, they will be different. They’ll be actual size 3D sketching, somehow, you know, instead of drawing on a piece of paper. å: Sounds great. Do it in 100 days then.

16,00

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Ode to chairs Dear chairs, You appear to be multiplying in our quiet brown house. Some of you are familiar old friends, others of you have only just arrived and I haven’t quite got used to you yet. Some of you I can’t move, some of you make me constantly stub my toe. Others of you are light as air as I move you from one corner of the room to another. Some of you are quite uncomfortable, others surprisingly relaxing; some quiet and humble, others a little louder. Some of you are ugly, but all of you are beautiful. Some of you I dislike, yet none I would want to live without. You come from nature, from the ground, trees and rocks, but you also speak of modern times. You are all different, but you are all made in the same spirit, by the same hands, and can stand alone or live together. Each of you speaks of a time, a place and a moment in our lives. With love, Gemma & Ivo

18,00

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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.

50,00

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Since 2009, Charlotte York would take her wallet out in a restaurant, a bar, on a picnic blanket or even an art centre to give a guided tour of its content. Perhaps you were there, sober or drunk, and perhaps you interrupted her to show your own wallet. Perhaps your name is Elias and you gave her a coin which you described as the funniest in the world on a beautiful spring evening in Stockholm. Eventually the pocket museum outgrew the wallet and even the pockets it lived in. Meanwhile the oral stories were fading until now, consigned in this book.

22,00

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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.

18,00

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'Be Like Teflon' is a new book by Jasleen Kaur commissioned by curatorial company Panel for Glasgow Women's Library. In a collection of conversations between Jasleen and women of Indian heritage living in the UK, arise themes of labour, duty, sustenance and loss. Here we find a place for their histories, experience and strength. Through the simple act of listening, over a hot tava or plate of food, begin acts of solidarity and self-nourishment.

15,00

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The oldest urushi object is about 9,000 years old and was found in Hokkaido, Japan. Fast forward to the 21st Century and you will find Max Lamb travelling, on numerous occasions since 2013, to Wajima in Ishikawa prefecture, Japan to work with the craft of urushi lacquer. Max Lamb is a designer with a mission: give him an existing tool, or an existing material, or indeed both, and he will single-handedly transform it into something you will find immediately familiar but which you have never seen before.

29,00

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