Buchangebote 4

Buchangebote


Bildtext: Management and Marketing - With Mini-Dictionary of 1000 Common Terms (Helbling Languages) von Mackenzie, IanBildtext: Management and Marketing - With Mini-Dictionary of 1000 Common Terms (Helbling Languages) von Mackenzie, Ian

Management and Marketing - With Mini-Dictionary of 1000 Common Terms (Helbling Languages)

Mackenzie, Ian
Verlag: THOMSON
Jahr: 2006
Edition: Softcover
ISBN: 9781899396801
Zustand: Gebraucht

Preis(€): 4,90

Versand(€): 2,10

Bildtext: 20+ Years Witte de With von Koen Kleijn, Ken Lum, Andrew Renton, Zoë Gray, Nicolaus Schafhausen, Monika SzewczykBildtext: 20+ Years Witte de With von Koen Kleijn, Ken Lum, Andrew Renton, Zoë Gray, Nicolaus Schafhausen, Monika Szewczyk

20+ Years Witte de With

Koen Kleijn, Ken Lum, Andrew Renton, Zoë Gray, Nicolaus Schafhausen, Monika Szewczyk
Verlag: Witte de With Center for Contemporary Art / Whitney Museum
Jahr: 2012
Edition: Hardcover/gebunden
ISBN: 9789073362932
Zustand: Gebraucht
Buch ist neu, noch verschweisst Witte de With was established in 1990 with the mission of introducing contemporary art and theory in the context of the City of Rotterdam and internationally. While the program has transformed under the leadership of five visionary directors Chris Dercon (1990-1995), Bartomeu Marí (1996-2001), Catherine David (2002-2004), Hans Maarten van den Brink (2005) and Nicolaus Schafhausen (2006-present) a constant of the institution is its pioneering role in the field. Witte de With exhibitions have supported some 300 artists, many at the very beginning of impressive careers and, through its publications, lecture programmes and participation in global events such as the Venice Biennale and the Shanghai World Expo, the centre continues to shape international discourse on the broad development of art and its institutions. On the occasion of its 20th anniversary, Witte de With Publishers presents a survey that balances celebration of and reflection on these achievements.

Preis(€): 25,00

Versand(€): 4,80

Bildtext: Shannon Bool - Inverted Harem - (English and German Edition) von CRAC Alsace Centre Rhenan d'Art Contemporain Altkirch (Editor), GAK Gesellschaft fur Aktuelle Kunst Bremen (Editor), Bonner Kunstverein (Editor)Bildtext: Shannon Bool - Inverted Harem - (English and German Edition) von CRAC Alsace Centre Rhenan d'Art Contemporain Altkirch (Editor), GAK Gesellschaft fur Aktuelle Kunst Bremen (Editor), Bonner Kunstverein (Editor)

Shannon Bool - Inverted Harem - (English and German Edition)

CRAC Alsace Centre Rhenan d'Art Contemporain Altkirch (Editor), GAK Gesellschaft fur Aktuelle Kunst Bremen (Editor), Bonner Kunstverein (Editor)
Verlag: DISTANZ Verlag GmbH
Jahr: 2012
Edition: Hardcover
ISBN: 9783942405614
Zustand: Gebraucht
Buch ist neu, noch verschweisst Everyday life, literature, psychology, and art history are important sources on which the Canadian artist Shannon Bool (b. 1972 lives in Berlin) draws for her production. Her paintings, photograms, collages, carpets, wall paintings, and objects revolve around displacements of context, transfers of meaning, and how different cultures and periods articulate different ideas about one and the same thing. Brancusi comes upon medieval ornaments French films from the 1960s meet old Tarot cards art deco meets Barnett Newman and the aesthetic of striptease. Bool interweaves high art with less reputable techniques to create works that revolve around displacements of the meanings of materials, visual traditions, and ideas of femininity, eroticism, or the oriental. The catalogue includes essays by Janneke de Vries and Christina Végh that offer an introduction to essential aspects of Shannon Bools artistic procedure Monika Szewczyks contribution, meanwhile, approaches her work from a feminist perspective.

Preis(€): 22,90

Versand(€): 4,80

Bildtext: Exponential Future von Juan Gaitán (Author), Scott Watson (Author), Monika SzewczykBildtext: Exponential Future von Juan Gaitán (Author), Scott Watson (Author), Monika Szewczyk

Exponential Future

Juan Gaitán (Author), Scott Watson (Author), Monika Szewczyk
Verlag: Univ of British Columbia Pr (R.A.M.)
Jahr: 2008
Edition: Paperback
ISBN: 9780888657954
Zustand: Gebraucht
Catalogue of an exhibition held at the Morris and Helen Belkin Art Gallery, University of British Columbia, Jan. 18-Apr. 27, 2008. Essays by Scott Watson and Juan A. Gaitán open letter by Monika Szewczyk. A beautifully illustrated exhibition catalog from Vancouver's Belkin Gallery, bringing together eight exciting young artists: Tim Lee, Alex Morrison, Isabelle Pauwels, Kevin Schmidt, Mark Soo, Corin Sworn, Althea Thauberger and Elizabeth Zvonar. The exhibit looks at the dizzying rush to contradictory futures rehearsed daily in the mass media that flood our imaginations. Yet images also tug us into the past, towards a primitive condition of order, familial loyalty, ecstatic belief, and thrall to totalitarian sublimes. Curators Juan Gaitán and Scott Watson use the notion of imagined futures as a narrative and thematic device, a device to open up the larger question of the relationship between works of art and historical consciousness in a time of general amnesia.

Preis(€): 25,00

Versand(€): 2,10

Bildtext: The seven most exciting hours of Mr. Triers life in twenty-four chapters von Cytter, KerenBildtext: The seven most exciting hours of Mr. Triers life in twenty-four chapters von Cytter, Keren

The seven most exciting hours of Mr. Triers life in twenty-four chapters

Cytter, Keren
Verlag: Witte de With Center for Contemporary Art / Whitney Museum - Lukas & Sternberg
Jahr: 2009
Edition: Taschenbuch
ISBN: 9781933128412
Zustand: Gebraucht
The Seven Most Exciting Hours ... is an adventure novel based on a true story told in a televised interview by the notorious Danish filmmaker Lars von Trier. Set around a Copenhagen hospital, it describes seven hours in the life of Tibor Klaus Trier the filmmaker's father from the moment that his wife goes into labor early in the morning until Lars is born. The plot only then begins to thicken: carjackings, family murder, zombies, Armageddon, and phantom diagnosis of cancer all vie for attention. Using classic slasher flicks and psychological pot-boilers and a wink to Glenn Gould as its guides, Cytter explores the metaphysical wildness of mind representative of von Trier's work.

Preis(€): 13,90

Versand(€): 2,10

Bildtext: Jerry Pethick - The further world von Jerry PethickBildtext: Jerry Pethick - The further world von Jerry Pethick

Jerry Pethick - The further world

Jerry Pethick
Verlag: Inner City Books / Catriona Jeffries Gallery
Jahr: 1997
Edition: Taschenbuch
ISBN: 9780968247600
Zustand: Gebraucht
Ausstellungskatalog Jerry Pethick The Further World 1997 New Work, Catriona Jeffries, Vancouver The Further World, Canadian Embassy, Tokyo Published by Catriona Jeffries Gallery Text by Jerry Pethick Softcover, 25 pages, English, 1997 ISBN 0-9682476-0-1

Preis(€): 15,00

Versand(€): 2,10

Bildtext: Christina Mackie von Mark Sladen, Polly Staple, Rhea Dall, Jamie Stevens, Christina Mackie, Monika SzewczykBildtext: Christina Mackie von Mark Sladen, Polly Staple, Rhea Dall, Jamie Stevens, Christina Mackie, Monika Szewczyk

Christina Mackie

Mark Sladen, Polly Staple, Rhea Dall, Jamie Stevens, Christina Mackie, Monika Szewczyk
Verlag: Inner City Books / Catriona Jeffries Gallery
Jahr: 2012
Edition: Taschenbuch
ISBN: 9788788944792
Zustand: Gebraucht
Buch ist neu, Limitiert auf 1100 Christina Mackie's Biography Christina Mackie Born in 1956, Oxford, UK Lives and works in London Education 1976-1979 B A Hons ,Central St. Martins SOLO EXHIBITIONS 2008 Steal, In the Silent, Sonia Rosso, Turin, Italy 2007 This that & the other, Herald St, London Art Now Sculpture Court, Tate Britain, London (cat) 2006 How to Begin, I-Cabin, London Gadani Project, Gadani, Pakistan Five 06, VM Gallery, Karachi 2005 I Cant Help You, Herald St, London 2003 Magnani, London, UK 2002 The Interzone, Henry Moore Institute, Leeds 2001 AC Project Room, (with Katrin Asbury), New York 2000 Meanwhile, CCA Kitakyushu, Japan Forcing It, Magnani, London 1999 AC Project Room, New York IIP Intron Image Project, The Showroom, London 1998 show 50, (with Mark Hosking), City Racing, London GROUP EXHIBITIONS 008 Busan Biennale, Korea, curated by Tom Morton Roger Hiorns, Christina Mackie, Maaike Schoorel, Diana Stigter, Amsterdam 2007 It starts From Here, De La Warr Pavillion, Bexhill on Sea Love Me Tender, Tate Britain 2006 Flutter, curated by Michael Readecker, The Approach, London British Art Show 6, Baltic, Newcastle, UK (touring) 5five, VM Gallery, Karachi Pakistan 2005 5 Sculptors, Westfälischer Kunstverein, Münster, Germany Becks Futures, ICA, London, UK & CCA, Glasgow Inaugural, Herald St, London 2004 Real World, Modern Art Oxford, Oxford Concert in the Egg, The Ship, London 2003 Still Life, Museo de Bellas Artes, Santiago, Chile Black Box Recorder, Museum Ludwig, Cologne, Germany 2002 There is a Light That Never goes Out, Villa Galvani, Pordenone, Italy Animations, Kunstwerke, Berlin, Germany 2001 Animations, PS1, New York City Racing, a Partial Account, ICA, London 1999 Retrace Your Steps: Remember Tomorrow, Sir John Soane Museum, London OLDNEWTOWN, Casey Kaplan, New York Sweetie Female Identity in British video, British School at Rome, Italy (touring) 1998 Common People: British Art between Phenomenon & Reality, Palazzo Re Rebaudengo, Turin, Italy How will we Behave?, Robert Prime, London 1997 Life/Live, Musee dArt Moderne de la Ville de Paris, France 1996 Something Else, Curated by Kirsty Bell, Exmouth Market, London Against, 30 years of video and film, Anthony DOffay, London 1994 The Curators Egg, Anthony Reynolds, London

Preis(€): 15,90

Versand(€): 2,10

Bildtext: Tempting Fate by Swimming Alone - William Hunt von William HuntBildtext: Tempting Fate by Swimming Alone - William Hunt von William Hunt

Tempting Fate by Swimming Alone - William Hunt

William Hunt
Verlag: Witte de With Center for Contemporary Art / Whitney Museum
Jahr: 2009
Edition: Hardcover/gebunden
ISBN: 9789073362833
Zustand: Gebraucht
This first monograph on British performance artist William Hunt (born in 1977) is designed to unfold to 43 x 33 inches, revealing a performatively produced silk screen of the artist's body. Produced in a limited edition of 500. William Hunt Tempting Fate By Swimming Alone British artist William Hunt investigates the position and the potential of the body under artificial constraints. He draws upon (and questions) contem- porary male and female stereotypes, the cult of youth and beauty, and con- nects these to the iconography of pop culture. Hunts performances have their roots in art historical traditions most of all body art and pop art but operate consciously within contemporary cultu- re. His endurance-based performances have involved a degree of musical showmanship, played out under some situation of physical duress such as hanging upside down, spinning on a turntable, or singing under water. In his new work, Hunt continues to pursue the spirit of adventure with a self-depreciating and ironic look at vanity and ageing. This work takes the form of a multidisciplinary and multifunctional installation in his most recent solo show at Witte de With, Centre for Contemporary Art, Rotterdam, September October 2008. This special artists edition publication (designed by Atelier Bernau Carval- ho), accompanies Hunts exhibition and transforms from a book into a fold-out poster.

Preis(€): 19,90

Versand(€): 2,10

Bildtext: Jerry Pethick: Traces of Discovery, Seurat/Lippman 1909 Air Show, 11 February to 25 March, 1984, Vancouver Art Gallery von Jerry Pethick, Scott Watson et alBildtext: Jerry Pethick: Traces of Discovery, Seurat/Lippman 1909 Air Show, 11 February to 25 March, 1984, Vancouver Art Gallery von Jerry Pethick, Scott Watson et al

Jerry Pethick: Traces of Discovery, Seurat/Lippman 1909 Air Show, 11 February to 25 March, 1984, Vancouver Art Gallery

Jerry Pethick, Scott Watson et al
Verlag: Vancouver Art Gallery
Jahr: 1984
Edition: Heft/Zeitschrift
ISBN: 9789073362833
Zustand: Gebraucht
3 sheets : ill. (some col.), ports. 64 x 46 cm. folded to 32 x 23 cm. Text in English and French. Exhibition catalogue. Includes bibliographical references. Vancouver Art Gallery : 11 February to 25 March 1984. Watson, Scott. Jerry Pethick : Traces of Discovery / Seurat/Lippmann 1909 Air Show. Vancouver, BC: Vancouver Art Gallery, 1984. On-site consultation Abstract (English) According to Watson, Pethick's work which uses light and holography, refers to the dematerialization of mass and form which characterized the work of the cubists, the futurists, and Duchamp. Biographical notes. 9 bibl. ref. Résumé Selon Watson, le travail de Pethick utilisant la lumière et l'holographie, réfère à la dématérialisation du volume et de la forme qui a caractérisé la production des cubistes, des futuristes et de Duchamp. Notice biographique. 9 réf. bibl. Types: Catalogues Exhibition catalogues All Contributors: Watson, Scott (Curator) Watson, Scott (Author) Dossier: 410 - PETHICK, JERRY Collation: 3 posters : 46 ill. (21 en coul.) 32 x 23 cm (each unfolded poster : 63 x 46 cm) Language of Publication: English French Publishers: Vancouver, BC: Vancouver Art Gallery Artists: Pethick, Jerry Critics / Curators / Historians: Watson, Scott Event Statement: Dates d'exposition: 11 fév. - 25 mars 1984, Vancouver Art Gallery.

Preis(€): 89,00

Versand(€): 4,80

Bildtext: Grzegorz Klaman - In the Economic Sense of Usefulness von Bozena Czubak, Marzena Beata Guzowska, Andrzej Ceynowa, Tadeusz WolanskiBildtext: Grzegorz Klaman - In the Economic Sense of Usefulness von Bozena Czubak, Marzena Beata Guzowska, Andrzej Ceynowa, Tadeusz Wolanski

Grzegorz Klaman - In the Economic Sense of Usefulness

Bozena Czubak, Marzena Beata Guzowska, Andrzej Ceynowa, Tadeusz Wolanski
Verlag: Galeria Kronika
Jahr: 1999
Edition: kartoniert
ISBN: 9788390455372
Zustand: Gebraucht
polnisch/Englisch Gdansk : Centrum Sztuki Wspólczesnej Zamek Ujazdowski [1999] Sculptor, author of installations and outdoor projects, professor of the Academy of Fine Arts in Gdansk. He was born on 7th January 1959 in Nowy Targ. The artist's early attitudes and perceptions were shaped by his close-up view of the rise and, shortly thereafter, the fall of the Solidarity movement. He shared in the general enthusiasm that accompanied the movement's birth and in the protests that came with its suppression during Martial Law. He participated in demonstrations, co-edited underground publications and painted protest murals. In 1980 Klaman graduated from the State High School of Visual Art Techniques in Zakopane. He became a student of the Sculpture Department of the State Higher School of the Visual Arts (today the Academy of Fine Arts) in Gdańsk, which he completed in 1985. Klaman created his thesis project under the direction of Professor Franciszek Duszeńka. Upon completing his studies, he began to teach at his alma mater. He proceeded through all of the levels of an academic career and is currently a professor of the Academy of Fine Arts in Gdańsk. Between 1984 and 1986 he worked with Kazimierz Kowalczyk in creating colossal and simultaneously ephemeral works at various sites in the city of Gdansk, an activity that formed a part of the so-called Rotacyjna Gallery (Rotating Gallery) Klaman also created installations made of 'impoverished', perishable materials. These included Underground (1986), Napromieniowany / Radiated (1986), Czlowiek / Human (1986) - the latter being joint projects with Kazimierz Kowalczyk. In his sculptures of the 1980s, Klaman favored figurative art that was dramatic in its expression in the spirit of 'new expressionism'. He sculpted raw, monumental figures that he extracted from tree trunks using strokes of the axe and chisel. These were poly-chromed carelessly and usually combined with elements made of sheet metal, wire mesh, fabrics, plastic, and the like (Patrzcy / Gazing Figure, 1986, Big Man 1986, Golem, 1987, Czerwony plaszcz / Red Coat, 1987, Burzyciel / Destroyer, 1987). In 1987 he began situating his sculptures on plinths or near other monumental structures (Postac trzymajaca los / Figure Holding Fate, 1987 and a variation on this work titled Nowy Budda / New Buddha, dating from 1988 and purchased for the Olympic Sculpture Park in Seoul, South Korea). In the years 1989-1991, he created monumental projects of bent, irregular sheets of metal. These took the form of Obeliski / Obelisks (exhibition titled Na obraz i podobi / In Image and After Likeness, Warszawa 1989), Labirynt / Labyrinth (exhibition titled Labirynt - podziemna / Labyrinth - an Underground Space, Warsaw, 1989), Rotunda / Rotunda, Tunel / Tunnel, Rampa / Ramp, Brama / Gate (exhibition titled Raj utracony / Paradise Lost, Warsaw, 1990), and Góra / Mountains (exhibition titled Epitafium i siedem przestrzeni / Epitaph and Seven Spaces, Warsaw, 1991). Two factors prompted the change that occurred in his art around 1990. The first was the experience Klaman had gained as an organizer. Beginning in his student years, he had been creating galleries as well as outdoor sites of artistic activity for himself and a group of his peers. These were, in sequence, the Rotacyjna Gallery, located at various sites around the city of Gdansk (1984-1986), the Baraki / Barracks at Chmielna Street (turn of 1986/87), the Wyspa Gallery on the peninsula known as Granary Island (1987-1994), the Wyspa Gallery at the art school dormitory on Chlebnicka Street (1990-2002), and the Open Atelier in the former Municipal Bathhouse (1992, known as the Laznia Contemporary Art Center since 1998). All of these forms, which were institutionalized to a greater or lesser degree, chose the public space as the terrain of their activity. The group of young artists who created works therein, which apart from Klaman included Kazimierz Kowalczyk, Jacek Staniszewski, Eugeniusz Szczudlo, Jaroslaw Filicinski and Robert Rumas, posited themselves as partners of the ruling authority (under both political systems that reigned throughout these years) thereby eliciting a usually unfavorable reaction from authorities. The chasm that existed between the two sides became apparent with the failed attempt at defending Granary Island, threatened with commercial development, for the arts. This was the purpose behind the international symposiums titled Project Wyspa organized in 1992 and 1994 by Klaman and Agnieszka Wolodzko. Klaman's criticism and sensitivity to manifestations stereotypical thinking, stagnation, or simply the corruption of authorities found expression in art forms that were monumental, dominating, cold, and quasi-architectural (see the series Monumenty / Monuments, 1991-1993, Konstrukcje / Structures, 1991-1993, Budowle / Buildings, 1993, Eter / Ether, 1993, and the installation Pneuma at Main Town Hall in Gdansk, 1996). At the same time, the essential message of these works is not contained in their shape or the expression of their smooth, metal surfaces, but in added details like human hair, natural sounds, photographs, slide and video projections, and the like. The ideological current in these works, designed to 'retaliate' against authorities, was best expressed in a leaflet campaign titled Anatomia polityczna ciala / Political Anatomy of the Body, 1995, carried out in Berlin and involving the handing out of leaflets bearing messages drawn from the work of Michel Foucault. Klaman referred to the Polish situation strictly in a design for the national flag, in which the white and red fields were supplemented with a band of black, symbolizing the influence of the Catholic Church on the State. A second factor eliciting change were the artist's theoretical interests in contemporary times and the future, and in particular in the problems of power, technology and medicine on one hand, and the body as a subject of study and manipulation on the other. The artist explored these issues in a manner deprived of all symbolism, reference to tradition or conventional ways of thinking, which often caused them to be rejected by critics and even censored at times. This was especially true of works in the series Emblematy / Emblems, 1993 and Katabasis / Cathabasis, 1993, for which he used preserved human organs, including intestines, a brain and a liver, as well as an eye, ear and tongue (communication organs). Transferring the preserved items from the context of the laboratory to a gallery space gave rise to objections that were variously motivated through aesthetic and religious criteria. In the artist's opinion, however, in our age of transplants, cloning and genetic manipulation, these objects are merely indicators of a not too distant everyday reality, in which the type and scope of 'life' decisions will be altogether different. This line of thinking was reconfirmed in Klaman's newest series of objects titled Biblioteki / Libraries, 1999, and Anatrophy, 2000. In recent years the artist has shown that he is far from abandoning his public activity. For the celebrations of the 20th anniversary of 'Solidarity' in the year 2000, Klaman constructed a monumental form that stood at the entrance to an exhibition titled Droga do wolnosci / Road to Freedom held within the Gdansk Shipyard. The shipyard - which is perhaps on the way to being changed in the same manner as Granary Island was - is also the subject of his project titled City Transformers, 2002. Important exhibitions and awards: 1985 - I Biennale Sztuki Nowej / 1st Biennial of New Art, Zielona Góra 1986 - Ekspresja lat 80-tych / Expression of the 1980s, BWA (Office of Art Exhibitions), Sopot 1987 - What's Up, Former Norblin Factory, Warsaw 1988 - Realizm radykalny. Abstrakcja konkretna / Radical Realism - Concrete Abstraction, National Museum, Warsaw 1990 - Raj utracony / Paradise Lost, Centre for Contemporary Art, Warsaw 1995 - Award of the Mayor of the City of Gdansk for the programs of the Wyspa Institute of Art 1996 - Pollock-Krasner Foundation Scholar Survival - 6th Rauma Biennale Balticum, Rauma (Finland) 1997 - Kolekcja Sztuki A Collection of Contemporary Art for the 100th Anniversary of the City of Gdansk, former Municipal Bathhouse, Gdansk 2000 - The Figure in Polish Art of the 19th and 20th Centuries, Oronsko - Warsaw 2000 - 2001 Free At Last, Baden-Baden - Warsaw 2001 - In Between - Art in Poland 1945-2000, Chicago Cultural Center, Chicago 2002 - Dangerous Liaisons, Arsenal Municipal Gallery, Poznan 2007 - Fear and Trembling, Schmidt Center Gallery Public Space, Florida Atlantic University, Boca Raton USA

Preis(€): 19,90

Versand(€): 4,80

Bildtext: Art in Chicago: 1945-1995: 1945-95 von Lynne Warren (Herausgeber), Jeff Abell (Autor), Dennis Adrian (Autor), Staci Boris (Autor), John Corbett (Autor), Kate Horsfield (Autor), Barbara Jaffee (Autor)Bildtext: Art in Chicago: 1945-1995: 1945-95 von Lynne Warren (Herausgeber), Jeff Abell (Autor), Dennis Adrian (Autor), Staci Boris (Autor), John Corbett (Autor), Kate Horsfield (Autor), Barbara Jaffee (Autor)

Art in Chicago: 1945-1995: 1945-95

Lynne Warren (Herausgeber), Jeff Abell (Autor), Dennis Adrian (Autor), Staci Boris (Autor), John Corbett (Autor), Kate Horsfield (Autor), Barbara Jaffee (Autor)
Verlag: Thames & Hudson Ltd
Jahr: 1996
Edition: Hardcover/gebunden
ISBN: 9780500237281
Zustand: Gebraucht
This survey examines the work of 150 artists who have either lived or worked in Chicago, and ranges from painting, sculpture, photography and drawing to film, video and performance art. Essays by a range of art critics and historians consider the institutions, movements, attitudes and ideas that have shaped Chicago over the past 50 years, while over 170 colour reproductions are set amid a running timeline of historical events in both Chicago and beyond.

Preis(€): 18,90

Versand(€): 4,80

Bildtext: Amikejo (Mehrsprachig) von Max Andrews (Herausgeber), Mariana Canepa Luna (Herausgeber)Bildtext: Amikejo (Mehrsprachig) von Max Andrews (Herausgeber), Mariana Canepa Luna (Herausgeber)

Amikejo (Mehrsprachig)

Max Andrews (Herausgeber), Mariana Canepa Luna (Herausgeber)
Verlag: Mousse Publishing
Jahr: 2012
Edition: Hardcover/gebunden
ISBN: 9788896501832
Zustand: Gebraucht
Buch ist neu, mehrsprachig Amikejo edited by Latitudes Amikejo has been produced in coordination with a series of four exhibitions by artist duos, curated by Latitudes (Max Andrews & Mariana Cánepa Luna) at Laboratorio 987, the project space of the Museo de Arte Contemporáneo de Castilla y León, MUSAC (exhibitions by Pennacchio Argentato, Iratxe Jaio & Klaas van Gorkum, Uqbar-Irene Kopelman & Mariana Castillo Deball, and Fermín Jiménez Landa & Lee Welch). The title refers to a tiny state that existed from 1908 to 1920 between the Netherlands, Belgium and present-day Germany, founded to foster more effective international communication through the synthetic language Esperanto Amikejo means place of friendship in Esperanto. This episode-place was a unique synthesis of cartography, language, nationhood, politics, economics and subjectivity, and is evoked as a twin site to Laboratorio 987, lending its name and conceptual borders to the exhibition series and the book. The publication includes installation views of the exhibitions and essays by Theo Beckers, Peter Osborne, Menno Schilthuizen, Ryszard Zelichowski, reprints by Giorgio Agamben and Georges Pérec, as well as texts on each exhibition by Latitudes. Texts: Giorgio Agamben, Theo Beckers, Latitudes, Peter Osborne, Georges Pérec, Menno Schilthuizen, Ryszard Zelichowski

Preis(€): 16,90

Versand(€): 2,10

Bildtext: Lisa Oppenheim - Works 2003 - 2013 (English and German Edition) von Lisa Oppenheim (Autor) Florence Derieux, Krist Gruijthuijsen, Bettina SteinbrüggeBildtext: Lisa Oppenheim - Works 2003 - 2013 (English and German Edition) von Lisa Oppenheim (Autor) Florence Derieux, Krist Gruijthuijsen, Bettina Steinbrügge

Lisa Oppenheim - Works 2003 - 2013 (English and German Edition)

Lisa Oppenheim (Autor) Florence Derieux, Krist Gruijthuijsen, Bettina Steinbrügge
Verlag: Sternberg Press
Jahr: 2014
Edition: Paperback
ISBN: 9783956790409
Zustand: Gebraucht
Deutsch und Englisch Edited by Florence Derieux, Krist Gruijthuijsen, Bettina Steinbrügge texts by Karen Archey, Angie Keefer, Lisa Oppenheim, Christian Rattemeyer ---------------- Over the past decade, artist Lisa Oppenheim has steadily developed a unique body of work exploring the usage of (historical) imagery. Balanced between appropriation and reconstruction, her work relies on substitutions applied to photographic and filmic records through which the historical and the present are transmitted and constituted through a language of today. One could define her work as an archaeology of time and visual culture. By exposing, or even reexposing, archival material, Oppenheim bridges the past and the present by introducing new meaning to these historical images, often resulting in film and photographic projects. -------------- ''Works 2003-2013'' is Lisa Oppenheim's first monographic publication and is copublished with Grazer Kunstverein, Kunstverein in Hamburg, and FRAC Champagne-Ardenne, on occasion of the artist's exhibition ''From Abigail to Jacob (Works 2004 2014)'' at Grazer Kunstverein. ---------------- Design by Marc Hollenstein

Preis(€): 28,00

Versand(€): 4,80

Bildtext: Lost past 2002-1914 - de toekomst van het verleden - memorial signs for the present von Lieven de Cauter, Moritz KüngBildtext: Lost past 2002-1914 - de toekomst van het verleden - memorial signs for the present von Lieven de Cauter, Moritz Küng

Lost past 2002-1914 - de toekomst van het verleden - memorial signs for the present

Lieven de Cauter, Moritz Küng
Verlag: WPG Uitgevers België - Ludion
Jahr: 2002
Edition: Hardcover/gebunden
ISBN: 9789080649026
Zustand: Gebraucht
Englisch / Niederländisch, Dutch and English mit Umschlag Foreword This year, Flanders celebrates the 700th anniversary of the 'Gulden-sporenslag' (Battle of the Spurs), that took place in the area surroun-ding Kortrijk. Fought between well-trained French knights and a rather dilapidated people's infantry from the feudal life of Flanders, this battle has grown into a symbol for the Flemish fight for liberation. Fifteen cities and communities from Southern West-Flanders have taken the opportunity of capitalizing on this festive year with an ambi-tious cultural festival, Anno '02. From its conception, Anno '02 has resolutely chosen for a strongly contemporary and reinvigorating programme. The Lost Past exhibition is good evidence of this. At the request of Anno '02, curator Moritz Küng has assembled the work of 15 artists hailing from nine different countries. Over this past year, many of them came to Ypres for the first time. They were struck by the way in which a city and a region learn to deal with the past. The many military cemeteries, monuments, museums and the emotionally-laden Last Post, the air played daily under Ypres' Menin Gate, made the grief that accompanies remembrance apparent to them. On the other hand, in the total reconstruction of the city to its pre-war state, they also saw the urge to wipe away all traces of the past. It is just this duality which motivates the point of departure for this exhibition. Lost Past invites you to transverse a course of eight (historical) sites, where you will be introduced to a contemporary look at what the past can mean to us today. In this catalogue, curator Moritz Küng tells about his selections, and presents works from Becky Allen, Lara Almarcegui, Pierre Bismuth, David Claerbout, Rineke Dijkstra, Dora Garcia, Ann Veronica Janssens, Jan Kempenaers, Guillaume Leblon, Willem Oorebeek, Felix Gonzalez-Torres, Allen Ruppersberg, Gregor Schneider, Yael Seggev and Cerith Wyn Evans. Art historian Mark Kremer brings the war-experience-machine to a momentary standstill, while cultural philosopher Lieven De Cauter gives a re-reading of Walter Benjamin's last text, 'On the Concept of History'. We extend our grateful thanks to all the partners who helped with the realization of Lost Past 2002-1914 memorial signs for the present. 10 leper 1914-1930 20 A War-Experience-Machine Switched Off for a Moment, Ypres and Art Mark Kremer 36 Last Post versus Lost Past Moritz Küng 116 The guardian angel of history Walter Benjamin's theses on the philosophy of history Lieven De Cauter 142 Notes 146 Biographies leper 1914-1930 Een Oorlogs-Ervarings-Machine eventjes stilgezet, leper en Kunst Mark Kremer Last Post versus Lost Past Moritz Küng De beschermengel van de geschiedenis Walter Benjamins geschied-filosofische stellingen Lieven De Cauter Noten 147 Biografieen

Preis(€): 18,90

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Bildtext: Collective Vision: Creating a Contemporary Art Museum - Museum of Contemporary Art Chicago von Museum of Contemporary Art ChicagoBildtext: Collective Vision: Creating a Contemporary Art Museum - Museum of Contemporary Art Chicago von Museum of Contemporary Art Chicago

Collective Vision: Creating a Contemporary Art Museum - Museum of Contemporary Art Chicago

Museum of Contemporary Art Chicago
Verlag: Museum of Contemporary Art Chicago
Jahr: 1996
Edition: Softcover
ISBN: 9780933856431
Zustand: Gebraucht
It is said that art reveals the heart of humankind, architecture the soul of civilization. This summer, heart and soul will merge in the new building for Chicago's Museum of Contemporary Art. Designed by famous Berlin architect Josef Paul Kleihues (his first U.S. commission), the new MCA stands beside both celebrated Michigan Avenue and the city's stunning lake shore. This book examines the entire process of starting and then dramatically expanding a contemporary art museum, from the tumultuous sixties to the cusp of a new century. The MCA's achievements, such as Christo's first wrapping of a public building (1969), Frida Kahlo's first U.S. exhibition (1978), and Jeff Koons's first full-scale museum exhibition (1988) are discussed, accompanied by historic photographs. In his essay "Josef Paul Kleihues: Chicago and Berlin," art and architecture critic Franz Schulze considers the conceptual framework of Kleihues's design for the MCA, as well as the architect's adaptive reuse of the Hamburger Bahnhof train station to house Berlin's Museum of Contemporary Art. Finally, color reproductions of 40 works from the vast MCA permanent collection are juxtaposed with informative text on more than 30 featured artists, including Francis Bacon, Leon Golub, Jasper Johns, Sol LeWitt, Bruce Nauman, Ad Reinhardt, Mark Rothko, Cindy Sherman, and Andy Warhol. The sum of these parts is a fascinating volume that thoroughly examines the very idea of an art museum according to its corresponding ideal: presenting, interpreting, and collecting the art of our time for a diverse audience. Review The fundamentals involved in creating a contemporary art museum are presented both visually, in color photos, and in writing as contributors explore the founding of a new art museum in Chicago. While at first glance this production might seem exclusive to Chicago readers, look again: the description of the project from funding through building and representations within contrasts a variety of issues and approaches to making a museum, applicable to any such endeavor and to students interested in architecture. -- Midwest Book Review

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Bildtext: The long gaze, the short gaze von Knut ÅsdamBildtext: The long gaze, the short gaze von Knut Åsdam

The long gaze, the short gaze

Knut Åsdam
Verlag: Sternberg Press
Jahr: 2011
Edition: Hardcover/gebunden
ISBN: 9781934105283
Zustand: Gebraucht
Knut Åsdam The long gaze, the short gaze Essays by Philippe Pirotte, Simon Sheikh, Kaja Silverman Foreword by Solveig Øvsteb For several decades Norwegian artist Knut Åsdam has worked independently and uncompromisingly with his artistic projects, and he is today considered one of the central contemporary practitioners of film and video art. This book appears as a result of Åsdams 2010 exhibition at Bergen Kunsthall, and the production of his two new films Abyss and Tripoli (both 2010). Concepts like transformation and relocation constitute a thematic framework for most of Åsdams works. In his films and photographs, for example, relocation is about the migration of people between land areas, or about physical movement and the bodily experience of architecture in urban surroundings. Transformation is a key word in terms of social, economic, linguistic, psychological, identity-related and architectural processes of change. Underlying this is an awareness that the meaning of architecture is changeable and that it is experienced and expressed differently by different social groupings. Perhaps even more than before, the places portrayed are themselves central to the new films Abyss and Tripoli, not only as generic urban surroundings, but also with their distinct histories, demographic conditions, and architecture. Åsdam has long worked with the exploration of all the components of the language of film, and consequently the filmic has also become a central theme in this book. Under the title The long gaze, the short gaze, this publication presents a collection of new commissioned texts that do not only deal with the new films, but also place them in a retrospective context with the whole of Åsdams film production in the 2000s. Co-published with Bergen Kunsthall Design by blank blank

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Bildtext: fake or feint von Martin Beck, Adrian Bremenkamp, Joerg Franzbecker, ArsenalBildtext: fake or feint von Martin Beck, Adrian Bremenkamp, Joerg Franzbecker, Arsenal

fake or feint

Martin Beck, Adrian Bremenkamp, Joerg Franzbecker, Arsenal
Verlag: argobooks
Jahr: 2011
Edition: Paperback
ISBN: 9783941560383
Zustand: Gebraucht
Die Ausstellungsreihe fake or feint fand von Januar bis Juli 2009 in Projekträumen am Berliner Alexanderplatz sowie im Kino Arsenal statt. Im Mittelpunkt stand das Thema einer Politik der Oberfläche, verfolgt entlang von Konzepten wie Markierung, Maskerade, Inszenierung, Display, Störung, Devianz. Die im Anschluss erarbeitete Publikation überträgt die im Rahmen des Projekts erprobten Dokumentations- und Kontextualisierungsformate auf die Buchform. Der Dokumentation der sechs Ausstellungs- und Filmszenarien wird eine Auswahl von Textabschnitten gegenübergestellt, die ein Narrativ entlang der für die Ausstellungsreihe relevanten Konzepte entwickeln.Teilnehmende Künstler: Kaucyila Brooke, Claude Cahun, Daniela Comani, Keren Cytter, e-Xplo mit Jaime Lutzo, Amy Granat, Tom Holert, Heiko Karn, Daniel Knorr, Annja Krautgasser, Katrin Mayer, Eran Schaerf, Eske Schlüters/Axel Gaertner, Sofie Thorsen/Katharina Lampert

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Bildtext: ohne Titel. Sichern unter... Unbeständige Ausstellung der Bestände des Werkbund-Archivs von Renate FlagmeierBildtext: ohne Titel. Sichern unter... Unbeständige Ausstellung der Bestände des Werkbund-Archivs von Renate Flagmeier

ohne Titel. Sichern unter... Unbeständige Ausstellung der Bestände des Werkbund-Archivs

Renate Flagmeier
Verlag: Werkbund-Archiv
Jahr: 1995
Edition: Paperback
ISBN: 9783930929030
Zustand: Gebraucht
Werkbund-Archiv ohne Titel. Sichern unter .... Unbeständige Ausstellung der Bestände des Werkbund-Archivs Freitag, 13. Januar 1995 bis Sonntag, 11. Januar 1998 Die "Unbeständige Ausstellung der Bestände des Werkbund-Archivs" war ein langfristiges Projekt zu einer ersten Ausstellung der eigenen Sammlung, das in mehreren Phasen von 1994 bis 98 realisiert wurde.[1] Die im Laufe von zwei Jahrzehnten eher als Schleifspur thematischer Ausstellungsprojekte angesammelten Gegenstände und Dokumente des Museums wurden gesichtet, die Sammlungstätigkeit und die Ausstellungsarbeit wurde in einen neuen Zusammenhang gebracht. Damit sollte eine deutlichere Identität als Museum gewonnen werden ohne die offene, unkonventionelle Sammlungsstruktur aufzugeben. Deshalb der schillernde Titel: Eine unbeständige Bestände-Ausstellung. Ein Changieren zwischen dem scheinbar Gesicherten, Geordneten, Eindeutigen des Bestandes und der Veränderlichkeit, der Offenheit, dem Mehrdeutigen, das im Umgang mit diesem Bestand lag. Im Rahmen der "Unbeständigen" sollte - wie durch ein Kaleidoskop - eine sich stetig verändernde Sicht auf die Sammlung gewonnen und dem Besucher ermöglicht werden. Deshalb bestand die Ausstellung aus einzeln komponierten, austauschbaren Räumen, die sich jeweils auf einen Sammlungsbereich des Werkbund-Archivs bezogen. Der zentrale inhaltliche Aspekt der institutionellen Selbstreflexion, der museologische Blick auf die museale Sammlungsarbeit zeigte sich u.a. in durchgängigen spezifischen Gestaltungselementen: die ausgestellten Dinge waren gestapelt, aufgereiht, angesammelt, gruppiert, zugeordnet, inventarisiert, katalogisiert. Da die Räume für eine dauerhafte Präsentation der gesamten Sammlung nicht vorhanden waren, galt es außer den wechselnden Einzelinstallationen einen Raum zu schaffen, indem sich der Betrachter ein Bild von der Sammlung des damaligen Werkbund-Archivs machen konnte. Diesem Ziel entsprach die resümierende, dauerhafte Eingangsinstallation in der "Unbeständigen Ausstellung" im damaligen Ausstellungsentree, einem längeren, relativ breiten Flur. Im Kontext dieses Raumbildes war die Museumssammlung fotografisch präsent in der Art eines Stilllebens. Nicht die Dinge selbst, sondern Bilder von den im Museum stillgestellten Dingen wurden gezeigt eine Einstimmung und Sensibilisierung für das, was mit den Dingen im Museum geschieht, die Reduzierung des Objekts auf seine Zeichenfunktion. Es wurde ein den räumlichen Proportionen im Ausstellungsentree angepasstes großes Regal gebaut, in das die verschiedenen Sammlungsbereiche nacheinander eingeräumt und fotografiert werden konnten. Diese Fotografien wurden dann auf Stoff gedruckt und zu einer räumlichen Struktur zusammengefügt, die an eine Galerie oder Passage erinnerte. Entstanden ist ein Gang mit 17 "Regalen", die verschiedene Sammlungskomplexe vorstellten, ohne den Anspruch der Vollständigkeit zu erheben. Das Regal als Motiv bedeutete die adäquate bildliche Umsetzung des Depot- und Sammlungsgedankens. Es handelte sich um einen virtuellen Sammlungsraum, eine Art "Traumhaus": kein festes Gehäuse, sondern ein zeltartiger, transitorischer Raum, der eine zugleich offene und geschlossene Struktur hatte, der einen zugleich real begehbaren und einen symbolischen Ort bildete. Anhand der fotografierten Regale konnte man etwas über die Art des Sammelns, d.h. die Sammlungsfelder des Museums erfahren: Werkbundspezifische Sammlungskomplexe wie die Werkbundmarken bzw. die Produkte von Werkbundkünstlern und -firmen (z.B. Braun), Material-orientierte Sammlungen wie Kunststoff und Aluminium sowie Materialsurrogate, stilhistorische Sammlungsbereiche wie Jugendstil, themenorientierte Bereiche wie medienabhängiges Spielzeug unserer Gegenwart, zeithistorisch motivierte Sammlungsfelder wie Alltagskultur der DDR, Objekte der Kriegs- und Nachkriegszeit. Eine assoziative Bezugnahme auf die Tradition der Kunst- und Wunderkammern des 16. und 17. Jahrhunderts, die in der Eingangsinstallation der "Unbeständigen" anklingt, erschien für das Werkbund-Archiv nahe liegend die Anknüpfungspunkt waren die offene, noch nicht auf Ausschluss bedachte Systematik der Wunderkammern, das scheinbare Sammelsurium merkwürdiger Dinge und der Anspruch, ein Bild der Welt in der Vielfalt ihrer Erscheinungen zu repräsentieren. Im Werkbund-Archiv war diese historische Bezugnahme verbunden mit dem Versuch der "Unbeständigen", Sammeln und Ausstellen neu und anders zusammen zu denken. Das Museum hat stets versucht, Alternativen zu einer mittels Objekten illustrierten, linearen Geschichtserzählung zu entwickeln. Das erklärt die bestehende hohe Affinität zu Walter Benjamin und seinen Denkbildern. Benjamin beschreibt die adäquate Methode das Verhältnis zur Geschichte zu gestalten: "Die wahre Methode, die Dinge sich gegenwärtig zu machen, ist, sie in unserem Raum (nicht uns in ihrem) vorzustellen. (...) Die Dinge, so vorgestellt, dulden keine vermittelnde Konstruktion aus "großen Zusammenhängen"."[2] Entsprechend dieser konzeptionellen Ausrichtung war es schlüssig, dass sich hinter der dauerhaften Eingangsinstallation einzelne wechselnde Rauminstallationen anschlossen. Das Werkbundarchiv Museum der Dinge hat die Ausstellung als eigenständiges künstlerisches Medium begriffen, d.h. den neutralen Museumsraum weitestgehend aufgegeben und räumliche Bilder entworfen, die den sich bewegenden Besucher berücksichtigen. In diesem Zusammenhang wurde der Einsatz zentral gesteuerter, theatraler Bespielungselemente (Licht, Ton, Bildprojektion) auf einem hohen Niveau erarbeitet, die eine zeitweilige Veränderung und Bewegung in der Ausstellung erzeugten und das Element der Verzeitlichung ins Spiel brachten. In der "Unbeständigen Ausstellung" wurde diese spezifische Ausstellungsästhetik des Museums verfeinert und die theatralen Bespielungselemente sehr bewusst, nur zeitweilig und abwechselnd mit Phasen der vollständigen Stillstellung eingesetzt. Zwei dieser "Raumbilder" im Detail: Das Raumbild "Apparatekultur", ein Titel der sich von dem Philosophen Vilem Flusser ableitet, zeigte die unseren Alltag bestimmenden, zahlreichen mechanischen, elektrischen und elektronischen Gerätschaften, die sich in der Museumssammlung befanden. In insgesamt 16 Hochregalen (Alu-Lagerregale bis zur ca. 5 m hohen Decke) waren die Dinge nüchtern nach Funktionsgruppen geordnet, d.h. jeweils in einem Regal die Fernseher, die Radios, die Küchenmaschinen und Mixer, die Schreib- und Rechenmaschinen, die Staubsauger, die Telefone usw.. Die einzelnen Regale waren zu jeweils vier quadratischen Blöcken zusammengestellt und diese standen mit gleichem Abstand zueinander auf einem etwa quadratischen Raumfeld, dezentriert in einem großen, dunklen und mit schwarzem Boden ausgelegten Raum (ca. 300 qm). Diese Konstellation vermittelte das Bild einer Maschinerie, eines Gesamtapparats. Um die inhaltliche Dimension von Technik im Lebensalltag zu vermitteln, wurde der Raum mit dem theatralen Element einer Klang- und Lichtinstallation zeitweilig "bespielt", d.h. die Phasen der ruhigen Betrachtungsmöglichkeit bei neutraler Beleuchtung wurden in einem festgelegten Rhythmus unterbrochen. Es veränderte sich das Licht und, dramaturgisch damit verknüpft, hörte man eine Folge technischer Geräusche und Klänge. Ein Teil der ausgestellten Geräte wurden nicht nur virtuell, d.h. über ein entsprechendes Geräusch "angeschaltet", sondern auch real in Funktion gesetzt. Der grundlegende alltägliche Aspekt technischer Kultur sollte mit dieser Installation in Erinnerung gerufen werden: Die Apparate versprechen, den Menschen zu bedienen, und fordern das Bedient-Werden. Da die Verzahnung von Mensch und Technik auf einer immateriellen Ebene funktioniert, z.B. durch appellative Ton- und Lichtsignale der Maschinen, auf die jeder mit seiner Wahrnehmung eingestellt ist, war die Ton- und Lichtinstallation das adäquate Mittel zur Steigerung der Gesamtwirkung des Ausstellungsraums. Durch die zeitweilige künstliche Belebung der musealisierten Objekte, konnte der grundsätzliche Aspekt ihrer musealen Stillstellung, das Herausreißen aus ihrem ursprünglichen Kontext, sinnlich erfahrbar gemacht werden. Eine zweite Rauminstallation aus der zweiten Phase des Projektes (1996) zeigte Fundstücke aus verlassenen Sowjetkasernen rund um Berlin, sämtlich Selbstbau-Objekte insbesondere Antennen, die vom Werkbundarchiv gefunden und in seine Sammlung aufgenommen wurden. Aus Blechresten, Metallstangen, Plastikstücken, Lattenfragmenten, Draht, Schnur und Kabel von den russischen Soldaten konstruiert und zum Rundfunk- und Fernseh-Empfang benutzt, waren sie beim Abzug der Armee in den 1990er Jahren als Müll zurückgelassen worden. Im Kontext der ehemaligen Kasernen und auch im Alltagsleben Russlands bzw. der GUS-Staaten waren diese Objekte von größter Banalität, Notprodukte. Natürlich repräsentierte diese Ansammlung nicht den technischen Standard der Roten Armee, aber trotzdem waren die Fundstücke dem dort herrschenden Mangel in Bezug auf die individuellen Bedürfnisse der Soldaten und im alltäglichen Kasernenleben geschuldet. Trotz der Banalität der Objekte und der Armut des Herkunftszusammenhangs haben die Antennen eine eigenartige, raumfüllende, skulpturale Kraft. Jede Antenne ist trotz ähnlicher Formen und Materialien ein Unikat. Ihre Ausstellung im musealen Kontext rief ein Changieren zwischen der Banalität des Gegenstandes und seiner ästhetischen Ausstrahlung hervor, die durch die Art der Präsentation noch zugespitzt wurde, da jede Antenne einzeln auf einem Stück Baumstamm befestigt war, der als Sockel fungierte. Die Objekte waren als Skulptur lesbar, und es gab Besucherinnen und Besucher, die in der Präsentation eine Kunstinstallation vermuteten. Gleichzeitig war es eine einfache und sinnvolle Präsentationsweise, die sich aus den vorher an Dächern fixierten Antennen ergab. Das Spiel mit dem Ready-Made-Effekt war bewusste Setzung, das Museum als ästhetisierendes System wurde so in diesem Raumbild verdeutlicht, entsprechend der konzeptionellen Basis des Gesamtprojekts "Unbeständige Ausstellung". Ein im Ausstellungsraum fixierter literarischer Text charakterisierte den Fundort der ausgestellten Objekte und jede Antenne hatte eine eigene sachliche Objektbeschriftung. So wurde die starke ästhetische Ausstrahlung der Antennen nicht durch lange erklärenden Texte gestört und die Gefahr sie zur Illustration des Mangellebens in den Kasernen zu nutzen vermindert. Gleichzeitig wurde der bei Objekten aus fremden Kontexten nahe liegende und durchaus heikle ästhetische Zugang erkennbar gemacht. Die einzeln präsentierten Antennen als Gegenpol zu dem daneben liegenden Raum zur Apparatekultur warf noch eine andere inhaltliche Konstellation auf - die zwischen seriellem Massenprodukt und dem auch technischen, aber individuell erzeugten und archaisch anmutenden Einzelobjekt. Konzeption und Realisation: Renate Flagmeier Objektdramaturgie: Angelika Thiekötter Gestaltung: Detlev Saalfeld

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Bildtext: Mark Soo Figures Grounds von Mark Soo, Federica Bueti, Roger CailloisBildtext: Mark Soo Figures Grounds von Mark Soo, Federica Bueti, Roger Caillois

Mark Soo Figures Grounds

Mark Soo, Federica Bueti, Roger Caillois
Verlag: Künstlerhaus Bethanien
Jahr: 2011
Edition: Taschenbuch
ISBN: 9783941230125
Zustand: Gebraucht
limitiert auf 500 Federica Bueti: Down below the thresholds at which visibility begins Some footnotes on Mark Soo's artistic practice Be only your face. Go to the threshold. Do not remain the subjects of your properties or faculties, Do not stay beneath them: rather, go with them, in them, beyond them. Giorgio Agamben. Means Without End: Notes on Politics. MARK SOO FIGURES GROUNDS Roger Caillois: Mimicry and Legendary Psychasthenia Translated by John Shepley Beware: whoever pretends to be a ghost will eventually turn into one.

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Bildtext: Not Quite Replica - a Story of Relocation The Crooswijk Meteorite von Susanne G. Kriemann, F. Vries, M. Konrad, D.Reneman, M. Proceddu, D. VeenstraBildtext: Not Quite Replica - a Story of Relocation The Crooswijk Meteorite von Susanne G. Kriemann, F. Vries, M. Konrad, D.Reneman, M. Proceddu, D. Veenstra

Not Quite Replica - a Story of Relocation The Crooswijk Meteorite

Susanne G. Kriemann, F. Vries, M. Konrad, D.Reneman, M. Proceddu, D. Veenstra
Verlag: Susanne G. Kriemann
Jahr: 2006
Edition: Paperback
ISBN: 9789081079518
Zustand: Gebraucht
limited to 500 "NOT QUITE REPLICA" METEORITE Susanne Kriemann The Meteorite project is inspired by historical photographs of the Willamette Meteorite on the Internet, followed by research on the object itself in the Museum of Natural History in NYC. From digital images not quite a replica was produced in the Xiamen Bronze factory in China. In June 2005 the 'meteorite' arrived at the harbour in Rotterdam, and was stored in the Rijksakademie van Beeldende Kunsten until January 2006, and afterwards in the Museum Boijmans van Beuningen until April 2006. In May 2006 it was placed at the Crooswijk Singel in Rotterdam, where it will remain. Monika Konrad, architect, designed the public place surrounding the meteorite. The project was realized by commission of dS+V and Foundation Centrum voor Beeldende Kunst Rotterdam and was financed by Gemeentewerken Rotterdam and Rijksakademie van Beeldende Kunsten Amsterdam. THE WILLAMETTE METEORITE A story of relocation The Willamette Meteorite is the largest meteorite ever found in the United States, and the sixth largest in the world. It is an iron-nickel meteorite no impact crater has been found. It had been known to the natives for a long time: it is known as Tomanowos to the Clackamas Indians of the modern-day Confederated Tribes of the Grand Ronde to whom it originally belonged, but had to be abandoned by them upon their relocation in 1855. European immigrants rediscovered it in 1902. It is believed to have landed in Canada on the Cordilleran Ice Sheet, and carried by an iceberg as a glacial erratic to Oregon's Willamette Valley during an episode of the Missoula Floods. Its pits were caused not by a flaming descent through the atmosphere, but by centuries of rusting in the wet forest of Oregon. It was discovered in the Willamette Valley of Oregon at 4522' N 12235' W, by thepresent city of West Linn, Oregon. It weighs over 14,000 kg (about 32,000 pounds) and is roughly the size of a Volkswagen Beetle. Parts have been sliced off. Formed with the Solar System, about 4.5 billion years ago, the......

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Bildtext: Contemporary art & Investment - issue 43 - THE BLURRY FOREGROUND: EXPERIMENTAL FILMS IN ASIA - Records of Action von Monika Szewczyk, DONG BINGFENG, CAO KAI, WENG ZHIJUAN, ZUO JING, XU CHONGBAO, LI ZHENHUA, WANG MIN'AN, HAO JINGBAN, CAROL YINGHUA LU, SU WEI, HANS BELTING, CHEN YUNBildtext: Contemporary art & Investment - issue 43 - THE BLURRY FOREGROUND: EXPERIMENTAL FILMS IN ASIA - Records of Action von Monika Szewczyk, DONG BINGFENG, CAO KAI, WENG ZHIJUAN, ZUO JING, XU CHONGBAO, LI ZHENHUA, WANG MIN'AN, HAO JINGBAN, CAROL YINGHUA LU, SU WEI, HANS BELTING, CHEN YUN

Contemporary art & Investment - issue 43 - THE BLURRY FOREGROUND: EXPERIMENTAL FILMS IN ASIA - Records of Action

Monika Szewczyk, DONG BINGFENG, CAO KAI, WENG ZHIJUAN, ZUO JING, XU CHONGBAO, LI ZHENHUA, WANG MIN'AN, HAO JINGBAN, CAROL YINGHUA LU, SU WEI, HANS BELTING, CHEN YUN
Verlag: WENG ZHIJUAN,
Jahr: 2010
Edition: Paperback
ISBN: 9771003934036
Zustand: Gebraucht
EDITORIALAN APOLOGYDONG BINGFENG FEATURESTHE BLURRY FOREGROUND: EXPERIMENTAL FILMS IN ASIAORGANIZED BY CAO KAI TEN THOUSAND WAVESCHEN YUN PRESENTREWRITING ART HISTORY IN THE CONTEXT OF "INSTALLATION" IN A GLOBAL SPECTACULAR SOCIETY WENG ZHIJUAN MUSEUM ON PAPERLIU DAHONG E SHUANGBAI WORKSHOP: RECORDS OF ACTIONORGANIZED BY ZUO JING PROJECTYANBING: LIGHT ON THE CORNERORGANIZED BY XU CHONGBAO NEW MEDIA A RESEARCH ON NEW MEDIA DEVOLOPMENT OF THE WORLD(6). ARS ELECTRONICA ORGANIZED BY LI ZHENHUA CURATORIALNETHERLAND Monika Szewczyk NEW KNOWLEDGEALFRED JARRY'S TROUPEORGANIZED BY WANG MIN'AN PERSPECTIVESHARA KAZUO: ABOUT MY DOCUMENTARIESORGANIZED BY HAO JINGBAN OBSERVATIONSA DIALOGUE WITH ART HISTORY AFTER MODERNISM CAROL YINGHUA LU, SU WEI, HANS BELTING RECOMMENDATIONSTHOUGHT AND ACTION IN THE ART WORLDBY CAROL YINGHUA LU

Preis(€): 22,00

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Bildtext: Institution for the Future von Yoko Ono, Tino Sehgal, Dorothea Hantelmann,Bildtext: Institution for the Future von Yoko Ono, Tino Sehgal, Dorothea Hantelmann,

Institution for the Future

Yoko Ono, Tino Sehgal, Dorothea Hantelmann,
Verlag: Chinese Arts Centre, Centre for Chinese Contemporary Art
Jahr: 2012
Edition: Taschenbuch
ISBN: 9780954544058
Zustand: Gebraucht
Institution for the Future is an archive of ideas bringing together reflections by artists, curators and other cultural workers on what an institution for the future should and needs to look like. Through pondering what an institution for the future might look like the contributors explore a rich array of questions including what the relationship between an institution and artists should be, the possibilities for institutions and activism, an institution's frame of reference and how should it connect to local and international contexts, the role of an institution in research and knowledge production, an institutions relationship to the temporal as well as spatial and an institution as a way of being. Contributions include drawings, critical texts, informal correspondence, found text, hypothetical proposals, interviews and diagrammatic explorations by: Ade Darmawan (ruangrupa) Alexandra Hodby Alistair Hudson (Grizedale Arts) Dmitry Vilensky (chto delat) Dorothea von Hantelmann Elaine W. Ho Gerald Raunig Hans Ulrich Obrist Hu Xiarigqian Ho Tzu Nyen Jens Hoffmann Joao Ribas Jun Yang Keren Cytter Liu Ding Marina Abramovie Michael Lee Monika Szewczyk Nikita Ymgqian Cai Richard Streitmatter-Tran Roslisham Ismail aka Ise Sam Bower (Green Museum) Seng Yujin Third Belgrade Tino Sehgal Vandy Rattana Yoko Ono Institution for the Future International artists, curators, and other cultural workers were invited to contribute to a collection of ideas for an institution of the future. Building an archive around the notion of an institution for the future, the publication attempts to initiate a discussion of the following across a broad professional network: What kind of institution is actually needed? What could be the actual model for an institution that we are hoping to establish in the future? These are only some of the questions that we hope to look at through the development of an archive of ideas. Featuring contributions from many respected curators and artists including Hans Ulrich Obrist, Dorothea von Hantelmann, Jens Hoffmann, Marina Abramovic and Yoko Ono. This publication shares same title as exhibition Institution for The Future, presented as part of the Asia Triennial Manchester, 2011, curated by Biljana Ciric and Chinese Art Centre.

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Bildtext: Flash Art International No. 272 - May  June 2010 von Sarina Basta, Linda Klösel, Catherine Wood, Helena Kontova, Nicola Trezzi, Erika Martinez, Paula Bossa, Monika Szewczyk, Edith Jerabjkova, Laura Fried, John McKinnon, Christophe Boutin, Shaheen Merali, Gabrielle Giattino, Sarah McCroryBildtext: Flash Art International No. 272 - May  June 2010 von Sarina Basta, Linda Klösel, Catherine Wood, Helena Kontova, Nicola Trezzi, Erika Martinez, Paula Bossa, Monika Szewczyk, Edith Jerabjkova, Laura Fried, John McKinnon, Christophe Boutin, Shaheen Merali, Gabrielle Giattino, Sarah McCrory

Flash Art International No. 272 - May June 2010

Sarina Basta, Linda Klösel, Catherine Wood, Helena Kontova, Nicola Trezzi, Erika Martinez, Paula Bossa, Monika Szewczyk, Edith Jerabjkova, Laura Fried, John McKinnon, Christophe Boutin, Shaheen Merali, Gabrielle Giattino, Sarah McCrory
Verlag: Flash Art International
Jahr: 2010
Edition: Heft/Zeitschrift
ISBN: 03941493
Zustand: Gebraucht
Issue 272 May June 2010 Contents News New York Whitney Biennial: The Voice of Silence New York Whitney Biennial: A Truthful Story Los Angeles Shirley Morales: A Lived Dream London Max Mara Art Prize Eindhoven-Netherlands From Dusk Till Dawn Shanghai Zhang Huans Today and Tomorrow Bretigny-France Pierre Bal-Blanc, In and Out of CAC Survey PR Agencies Feature Ann Craven by Sarina Basta Feature Gerwald Rockenschaub by Linda Klösel Feature Painting by Catherine Wood Feature Hestekur by Helena Kontova and Nicola Trezzi Feature Tropicality by Erika Martinez and Paula Bossa Feature Josephine Meckseper by Monika Szewczyk Spotlight Your History is Not Our History by Helena Kontova Brand New Amir Mogharabi by Nicola Trezzi Brand New Oskar Dawicki by Edith Jerabjkova Brand New Lesley Vance by Laura Fried Brand New Molly Zuckerman-Hartung by John McKinnon Brand New Rafael Rozendaal by Christophe Boutin Brand New Sarah Rahbar by Shaheen Merali Brand New David Adamo by Gabrielle Giattino Brand New Matthew Smith by Sarah McCrory Flash Reviews Wolfgang Tillmans Andrea Rosen/New York Tala Madani Lombard-Freid-Projects/New York Jason Salavon Tony Wight/Chicago Mie Olise Barbara Davis/Houston Bani Abidi Green Cardamom/LondonAlex Katz Timothy Tailor/London Eija-Liisa Ahtila Parasol Unit/London Marieta Chirulescu Micky Schubert/Berlin Michaela Eichwald After the Butcher/Berlin Hugo Popping Anne Barrault/Paris Fiona Tan Aargauer Kunsthaus/Aarau,Switzerland Turi Simeti Salvatore+CarolineAla/Milan Reviews Banks Violette Gladstone/New York, Peter Halley Mary Boone/New York Alberto Di Fabio Gagosian/New York Mark Grotjahn Blum&Poe/Los Angeles Stanya Kahn Susanne Vielmetter/Los Angeles William Pope L. Samsn/Boston Bharti Kher Hauser&Wirth/London Henning Bohl Cubitt/London Tris Vonna Michell Capitain Petzel/Berlin Sharon Lockhart Neugerriemschneider/Berlin Jonathan Monk Yvon Lambert/Paris Ilya and Emilia Kabakov Thaddaeus Ropac/Paris Jean Frederic Schnyder Eva Presenhuber/Zurich El Angel Exterminador Palace of Fine Arts (Bozar)/Bruxelles Enzo Cucchi MACRO/Rome Josh Tonsfeldt Franco Soffiantino/Turin Armando Andrade Tudela MACBA/Barcelona, Hans Peter Feldmann Konsthall/Malmö Ernesto Neto Fortes Vilaça/São Paulo Surfaces of Desire MUAC/Mexico City

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Bildtext: Hjärnstorm - Nummer 101 von Niclas Östlind, FREDRIK BJERNELIND, TERESE BOLANDER, ANNA DUBRA, BENGT JAHNSSON-WENNBERG, STAFFAN KLING, BJÖRN LARSSON, IRINA LAZARESCU, JOHAN MODÉE, BO PETTERSSON, ANNA QVIST, MARIA SEWERIN, THOMAS SJÖSVÄRD, SOFIA ÅKESDOTTER, MACARENA OLMOS DUSANBildtext: Hjärnstorm - Nummer 101 von Niclas Östlind, FREDRIK BJERNELIND, TERESE BOLANDER, ANNA DUBRA, BENGT JAHNSSON-WENNBERG, STAFFAN KLING, BJÖRN LARSSON, IRINA LAZARESCU, JOHAN MODÉE, BO PETTERSSON, ANNA QVIST, MARIA SEWERIN, THOMAS SJÖSVÄRD, SOFIA ÅKESDOTTER, MACARENA OLMOS DUSAN

Hjärnstorm - Nummer 101

Niclas Östlind, FREDRIK BJERNELIND, TERESE BOLANDER, ANNA DUBRA, BENGT JAHNSSON-WENNBERG, STAFFAN KLING, BJÖRN LARSSON, IRINA LAZARESCU, JOHAN MODÉE, BO PETTERSSON, ANNA QVIST, MARIA SEWERIN, THOMAS SJÖSVÄRD, SOFIA ÅKESDOTTER, MACARENA OLMOS DUSAN
Verlag: Hjärnstorm
Jahr: 2010
Edition: Paperback
ISBN: 03486958
Zustand: Gebraucht
About Hjärnstorm Hjärnstorm is an independent journal of art, literature, philosophy, and contemporary debate. We publish essays and articles on current trends in the present, art submissions by international and Swedish artists and contemporary literature from the countrys best writers and present new translations. Hjärnstorms exhibitions are planned and curated by the editorial curatorgroup under the name of Galleri Hjärnstorm. From 2003 to 2006 Galleri Hjärnstorm was a physical gallery space on Valhallavägen 138th. Hjärnstorm is a collaborative effort of established artists and scientists mixed with those of debutant poets and young academics. The editorial staff: FREDRIK BJERNELIND artist TERESE BOLANDER artist ANNA DUBRA culture writer and web BENGT JAHNSSON-WENNBERG artist and author STAFFAN KLING culture writer BJÖRN LARSSON author and critic IRINA LAZARESCU artist and writer JOHAN MODÉE holds a Ph.D. in theological philosophy, and teaches human rights and international relations at Malmö college BO PETTERSSON artist ANNA QVIST author MARIA SEWERIN artist THOMAS SJÖSVÄRD graduate of Literary history SOFIA ÅKESDOTTER writer MACARENA OLMOS DUSANT art historian and culture writer Legally responsible for the publication of the periodical: STAFFAN KLING Issue price: 75-100 SEK Address: Kulturtidskriften Hjärnstorm, Box 342 37, 100 26 Stockholm, Sweden In addition to the magazine, Hjärnstorm is also a publishing house that has published art books by artists and authors like Christer Temptander, Anna Qvist & Bengt Jahnsson-Wennberg, Ola Wickander & Eva Maria Ern, and Per Gustavsson. The Hjärnstorm Gallery, existed between 2003 and 2006, and showed work by artists like Björn Melin, Lars Hillersberg, Nygårds Karin Bengtsson, Amalia Årfelt, Carl Johan de Geer, Johanna Schartau and Bengt Jahnsson-Wennberg. Innehåll HJÄRNKONTOR KONSTEN ATT SYNLIGGÖRA / Niclas Östlind ATT SKAPA ETT MELLANRUM möten mellan mode och konst / Ida Ömalm Ronvall RESA MED SLUTNA ÖGON brev om Rembrandt / Olga Sedakova ASSISTENTEN / Kristina Abelli-Elander MED TVIVLET SOM LEDSTJÄRNA en introduktion till Željko Ivankovic / Ljubica Miocevic TATUERING AV IDENTITETER intervju med Željko Ivankovic / Ljubica Miocevic FLORIAN / Zeljko Ivankovic FYRA DIKTER / Zeljko Ivankovic SKENFUNKTIONALISM / Jakob Sjövall FALUKORVENS POETIK / Per Olvmyr SAMTALETS KONST / Monika Szewczyk ETT SAMTAL OM SAMTALETS KONST intervju med Monika Szewczyk / Johan Lundh ANTECKNINGAR FRÅN ADDIS ABEBA / Sara Mannheimer 3 x AUDEN / W.H. Auden AUDENS FYRTIOTAL kommentar till översättningarna / Malte Persson Omslag: Optisk bänk av Christian Sandell. Hjärnkontor En redaktionell inledning som denna är ju, vanligtvis, tänkt att fungera som en sorts konsumentupplysning. Du, läsaren, är tänkt att serveras numrets innehåll i behändiga portioner små doftstråk av materialets bouquet, för att frasera det franskt. Desto mer väsentligt blir väl ett förord när tidskriften i fråga sedan länge valt att avstå från ingresser, som gör att du, läsaren, härmed inte kan smita undan med att säga att du läst en text efter att blott ha sniffat på dess parfymerade upptakt. Denna tidskrift envisas dessutom sedan ett trettiotal år tillbaka med att en eller ett par gånger per år ge ut nummer utan något bestämt tema. Vi kallar sådana nummer för blandnummer. Du, läsaren, blickar just nu ner i ett sådant. (Om du nu inte är modern av dig och drivs att läsa den här och andra texter ur numret på vår hemsida: www.hjarnstorm.com, eller rentav känner dig social och fiken och går med i vår grupp på Facebook.) Vad som är kännetecknande för bidragen i detta nummer av Hjärnstorm det hundraförsta i ordningen är att de vid en första anblick tycks ha ganska lite att göra med varandra. Och i viss mening är det ju sant. Samtidigt och det är något vi upplever med varje blandnummer tyr sig de från början till synes artskilda bidragen efterhand till varandra inleder samtal, utväxlar repliker och när de rätta förutsättningarna bjuds avlar ett litet barn. Läsaren är far till alla barn. Med en älskares sensibilitet skriver Niclas Östlind om Monika Larsen Dennis konstnärliga synliggöranden av sinnlighet och begär. Ida Ömalm Ronvall berättar i ett reportage om svenska pionjärer i det på senare år alltmer uppmärksammade, kreativa gränslandet mellan mode och konst. En av den ryska samtidslitteraturens främsta representanter, poeten och essäisten Olga Sedakova, reflekterar med lyrisk pregnans och paradoxal precision kring Rembrandts verk och sätt att gestalta livet. Kristina Abelli-Elander bjuder på ett exklusivt utdrag ur sin kommande självbiografiska serieroman. Ljubica Miocevic ger oss den första stora introduktionen av den framstående bosnienkroatiske författaren eljko Ivankovic på svenska vi får ta del av en orienterande essä om författarskapets estetik och motivkretsar, en längre intervju med författaren på plats i Sarajevo, och sist men inte minst smakprov på Ivankovics prosa och poesi. Jakob Sjövall begrundar och skärskådar vår tids och vårt samhälles vurm för det funktionella, eller skenfunktionella, och finner att kejsaren nog är näck skärskådningen interfolieras av Fredrik Noréns konstverk. Per Olvmyr anställer litterär granskning av en svensk basvara, tillika nationalklenod. Monika Szewczyk resonerar i en uppslagsrik essä kring samtalets konst och fördjupar sig därefter i både denna text och denna konst i just ett samtal, med sin översättare och kollega Johan Lundh. Sara Mannheimer, nyligen hemkommen från en arbetsresa till Addis Abeba för att undervisa i glasblåsning på den nybyggda och, i modern historia, första varmglasverkstaden i Etiopien (projektet stöds av Svenska Institutet och drivs av det Addis Abeba-baserade företaget Ethiopian Reflections), rapporterar i form av några kuriösa anteckningar. För finalen står ingen mindre än W.H. Auden, som uppträder med tre dikter ekiperade i värdiga svenska språkdräkter av mästarskräddaren Malte Persson, som även kommenterar sin klients manér och sitt eget hantverk. Christian Sandell heter mannen bakom det suggestiva konstverket Optisk bänk som pryder omslaget. Sandell arbetar ofta med problematik knuten till kameran, linsen och fotografiteknikens olika standarder, och det är ofta diskrepansen mellan det avbildade och representationen av det avbildade som står i fokus för hans verk. Den optiska bänken förefaller nästan sätta ljus på ett slags tematik, eller tematiska leder, i detta blandade nummer. Mer säger vi inte nu. Hoppas att du, läsaren, ändå känner dig hyfsat upplyst.

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Bildtext: Pink Wave Hunter - 3 Bände von Wekua, AndroBildtext: Pink Wave Hunter - 3 Bände von Wekua, Andro

Pink Wave Hunter - 3 Bände

Wekua, Andro
Verlag: Walther König
Jahr: 2011
Edition: Softcover
ISBN: 9783865609618
Zustand: Gebraucht
Künstlermonografie anlässlich der Ausstellungen Pink Wave Hunter, Kunsthalle Fridericianum, Kassel 2011 Never Sleep with a Strawberry in Your Mouth, Kunsthalle Wien, 2011 A Neon Sha-dow, Castello di Rivoli, 2011 Herausgeber Rein Wolfs, Gerald Matt, Andrea Bellini Künstler Andro Wekua Beiträger Douglas Fogle, Miciah Hussey. Vorwort von Rein Wolfs, Gerald Matt, Andrea Bellini, Beatrice Merz ISBN 978-3-86560-961-8 Format 18 cm 12 cm, Softcover Seiten 388 S. Sprachen Deutsch, Englisch, Italienisch Verlag Verlag der Buchhandlung Walther König, 2011

Preis(€): 19,90

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Bildtext: C Magazine - Issue 91  Bildtext: C Magazine - Issue 91

C Magazine - Issue 91 "The Young Canadians" Autumn 2006 - International contemporary art

Rosemary Heather, Victor Tupitsyn, Chris Kraus, Emily Vey Duke, Earl Miller, Yam Lau, Monika Szewczyk, Bernard Schütze, Christina Ritchie, Jennifer Murphy, Corwyn Lund, Simone Moir, Clint Burnham, Jacob Korczynski, Nadja Sayej, Charles Danby, Ruth Maclenn
Verlag: C Magazine
Jahr: 2006
Edition: Taschenbuch
ISBN: 9783865609618
Zustand: Gebraucht
Issue Contents Rosemary Heather The Young Canadians Abstract Columns Victor Tupitsyn Oil for Art's Sake: Andrei Molodkin cuts into the veins of Western oil dependency Abstract Chris Kraus Greetings from LA: Chris Kraus reports on some suspicious activity in the new USA Abstract Features Emily Vey Duke Althea Thauberger: Experimentalism is Dead, Long Live the Internet Abstract Earl Miller Law and Ordering: On Evaluating Recent Canadian Neoconceptualism Abstract Yam Lau Kristan Horton: An Image of Sculpture Abstract Monika Szewczyk Close To Icons: Monika Szewczyk on Steven Shearer's growing devotion to painting Abstract Bernard Schütze Michel De Broin: Taking Art For A Ride Abstract Interviews Christina Ritchie Vancouver's Collecting Collective Abstract Artist Projects Jennifer Murphy Wait For Me Abstract Corwyn Lund and Simone Moir Parlour of Twilight Abstract Reviews Jennifer Murphy Near and Far, Milutin Gubash, Stride Gallery Abstract Clint Burnham Territory, Artspeak and Presentation House Gallery Abstract Jacob Korczynski Ninth Havana Biennial Abstract Nadja Sayej Sadegh Tirafkan: Manhood Abstract Charles Danby Canada: A Group Show From New York Abstract Ruth Maclennan Dan Hays: Colorado Impressions Abstract Tatiana Mellema Daniel Olson: Beside Myself Abstract Rodney LaTourelle Nico Ihlein: Unclear Situations in Half Secured Rooms Abstract

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Bildtext: Public Time: A Symposium von Fadi Abdallah, Negar Azimi, Tony Chakar, Phil Collins, Suzanne Cotter, Catherine David, Joana Hadjithomas, Khalil Joreige, Bilal Khbeiz, Rabih Mroué, Eugene Rogan, Walid Sadek, Alexis Tadié, Stephen Wright, Akram ZaatariBildtext: Public Time: A Symposium von Fadi Abdallah, Negar Azimi, Tony Chakar, Phil Collins, Suzanne Cotter, Catherine David, Joana Hadjithomas, Khalil Joreige, Bilal Khbeiz, Rabih Mroué, Eugene Rogan, Walid Sadek, Alexis Tadié, Stephen Wright, Akram Zaatari

Public Time: A Symposium

Fadi Abdallah, Negar Azimi, Tony Chakar, Phil Collins, Suzanne Cotter, Catherine David, Joana Hadjithomas, Khalil Joreige, Bilal Khbeiz, Rabih Mroué, Eugene Rogan, Walid Sadek, Alexis Tadié, Stephen Wright, Akram Zaatari
Verlag: Modern Art Oxford
Jahr: 2006
Edition: Softcover
ISBN: 9781901352313
Zustand: Gebraucht
Buch ist neu Public Time serves as a second volume to the publication Out of Beirut, published on the occasion of the exhibition of the same name organized by Modern Art Oxford between May and July 2006. This book contains the edited transcripts of the symposium Public Time, which took place in Oxford in May 2006. The symposium brought together an international panel of artists, curators, critics and writers with a view to giving voice to issues facing contemporary artists in Beirut.

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Bildtext: EL MOMENTO - THE MOMENT - Rob Verf von Rob Verf, El Aleph, Maria Elena Lucero, Maria Jose HerreraBildtext: EL MOMENTO - THE MOMENT - Rob Verf von Rob Verf, El Aleph, Maria Elena Lucero, Maria Jose Herrera

EL MOMENTO - THE MOMENT - Rob Verf

Rob Verf, El Aleph, Maria Elena Lucero, Maria Jose Herrera
Verlag: castagnino + macro
Jahr: 2012
Edition: Taschenbuch
ISBN: 9789871701469
Zustand: Gebraucht
Buch ist neu Spanisch und Englisch Índice / Index American Beauty is not real. Seis notas sobre algunas fricciones visuales American Beauty is not real. Six notes regarding visual friction María Elena Lucero9 Rob Verf. La pintura espejo del ser Rob Verf. Painting as a Mirror of the Self María José Herrera39 EI Momento 1 The Moment Rob Verf59 Insomnio / Sleepless61 Dibujos secretos / Secret drawings67 Utrecht / Utrecht72 Pintura anti comercial / Anti-commercial painting78 Happenings / Happenings82 Dar forma a los pensamientos / Shaping thoughts85 Nada / Nothing88 Series / Series90 Rotterdam / Rotterdam96 Basura / GarbageI05 Rusia / Russia116 Experimentación / Experimentation122 Buenos Aires / Buenos Aires129 Uruguay / Uruguay134 La crisis / The Crisis138 EI bombón' de Constitución / The sweetie' of Constitution144 El maestro /The teacher146 Nueva York / New York149 Enseñando y aprendiendo / Teaching and Learning154 Movimiento / Movement162 Producto X / Product X170 Color / Color173 Forma y color / Form and Color174 Espacio/habitación / Space/Room181 No somos todos prisioneros de la caverna de Platón? / Are we not all prisioners in Plato's cave?187 Palabras de agradecimiento / Words of Gratitude192 Biografía de Rob Verf / Biography of Rob Verf195 Sobre los autores / About the authors205

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Bildtext: Projections, Mise En Abyme von Judith BarryBildtext: Projections, Mise En Abyme von Judith Barry

Projections, Mise En Abyme

Judith Barry
Verlag: Presentation House Gallery
Jahr: 1997
Edition: Taschenbuch
ISBN: 9780920293386
Zustand: Gebraucht
Buch ist neu Published on the occasion of the artist's installation at the Presentation House Gallery in Vancouver, this book reprints a discussion between the artist, Brian Wallis, and Mark Wigley. Informed by an historical investigation of architecture and public spectacle, Barry's multi-media work is concerned with the mediated construction of social identity. For the past twenty years, Judith Barry has brought a critical perspective to contemporary art through her provocative work in video, performance, installation and sculpture as well as through her writing. Barry's long-standing concern with the impact of mediated environments on human identity is grounded in a deep historical understanding of architecture and spectacle--but she also has a fix on what's going inside our bodies and minds. Judith Barry, Projections, Mise en abyme elaborates on the issues central to Barry's oeuvre, and presents the scope of thought that she brings to her work via visual sources ranging from historical materials to contemporary film stills. Barry's cosmos is one of sliding signifiers collapsing notions of time, space, and identity, a universe where a 1970s science fiction film might exist on the same plane as the buildings of 18th century France. Truly epiphanic, the works presented here stare into the abyss of history and dare it to stare back.

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Bildtext: Thomas Houseago When Earth Fucks with Space von Thomas Houseago, Rudi FuchsBildtext: Thomas Houseago When Earth Fucks with Space von Thomas Houseago, Rudi Fuchs

Thomas Houseago When Earth Fucks with Space

Thomas Houseago, Rudi Fuchs
Verlag: Xavier Hufkens
Jahr: 2008
Edition: Paperback
ISBN: 9789081291262
Zustand: Gebraucht
Buch ist neu Thomas Houseago Thomas Houseago (born 1972 in Leeds, Great Britain) is a contemporary visual artist. He currently lives and works in Los Angeles, California. Early life and education Thomas Houseago was raised by his mother, a teacher his father was institutionalized when he was 9. In 1989 he got a government grant to attend Jacob Kramer College (now the Leeds College of Art)[4] for one year. Houseago left Leeds for London in 1991, at 19, enrolling at Central Saint Martins and later studying at De Ateliers in Amsterdam. The South African artist Marlene Dumas was one of Houseagos teachers during his time at De Ateliers other visiting artists such as Stanley Brouwn, Thomas Schütte and Luc Tuymans but also Jan Dibbets who had a significant influence on his development as an artist. After completing his studies, he lived and worked for several years in Brussels before moving to Los Angeles in 2003. Houseago divorced in 2013 and has two children from this relationship. He currently lives in Los Feliz with writer and art therapist Muna El Fituri and their three children from previous marriages. Houseago is a sculptor who uses lo-fi materials such as plaster and plywood. His work references genres such as Cubism, performance art and Futurism and plays on the history and tradition of sculpture. Early in his career, Houseago maintained a relationship with Xavier Hufkens Gallery in Brussels and soon began showing with Michael Werner Gallery in New York. From 2009, he was represented by David Kordansky and his first serious patrons were the Miami collectors Donald and Mera Rubell. Today he is represented by Gagosian Gallery and Hauser & Wirth. Selected individual exhibitions My Genghis Khan Suit/Like A Circle Around the Sun, Xavier Hufkens, Brussels, Belgium 2012 Hauser & Wirth, London, England 2011 The Beat of the Show, Inverleith House, Royal Botanic Garden, Edinburgh, Scotland What Went Down, Centre International d'art et du Paysage de l'Ile de Vassivière, Vassivière, France What Went Down, Museum Abteiberg, Mönchengladbach, Germany 2010 What Went Down, Modern Art Oxford and Ashmolean Museum, Oxford, England Thomas Houseago: The Moon and the Stars and the Sun, Michael Werner Gallery, New York Giant Geiant, 2010, Art 41 Basel, on Messeplatz, sited directly in front of the buildings hosting the Art 41 Basel 2009 Two Face, with Aaron Curry, Ballroom Marfa, Texas There is a Crack in Everything, That's How the Light gets in, Contemporary Fine Arts, Berlin TWOFACETWO: Aaron Curry & Thomas Houseago, VW (VeneKlasen / Werner), Berlin Ode, ZERO, Milan, Italy 2008 Serpent, David Kordansky, Los Angeles, CA, USA When Earth fucks with Space, Xavier Hufkens, Brussels, Belgium Bastards, Herald Street, London, England 2007 A Million Miles Away, The Modern Institute, Glasgow, Großbritannien 2004 Art Brussels*, Solo-Präsentation, mit Xavier Hufkens, Brussels, Belgium 2003 Thomas Houseago, I am Here, Selected Sculptures 1995 - 2003, Stedelijk Museum voor Actuele Kunst (SMAK), Ghent, Belgium 2002 with Amy Bessone, Xavier Hufkens, Brussels, Belgium 2000 Something to Be, Galerie Fons Welters, Amsterdam, Netherlands 1996 Stedelijk Museum Bureau, Amsterdam, Netherlands Tattoo Mum's, with Matthew Monahan, guest curator Luc Tuymans, Si en La, Antwerp, Belgium Selected group exhibitions 2010 2010: The Whitney Biennial, Whitney Museum of American Art, New York 2009 Thomas Houseago, Dieter Roth, André Thompkins, The Modern Institute/Toby Webster, Glasgow Construct and Dissolve, Galerie Sabine Knust, Munich Beaufort03. Art by the Sea, Blankenberge, Belgium The Craft of Collecting, Museum of Contemporary Art, Chicago California Maximalism, Nyehaus, New York Beg Borrow and Steal, The Rubell Family Collection, Miami 2008 Black Swan, Michael Werner gallery, Projectspace, London, Great Britain Academia : Qui es-tu ?, la Chapelle de lEcole des Beaux-Arts, Paris, France Nobody Puts Baby in a Corner, Isabella Bortolozzi, Berlin, Germany KABUL 3000. Love among the Cabbagesi, Galleria Zero, Milan, Italy Sonsbeek 2008: Grandeur, Arnhem, the Netherlands 2007 Strange things permit themselves the luxury of occurring, Camden Arts Center, London, UK Sculptors Drawings: Ideas, Studies, Sketches, Proposals, And More, Angles Gallery, Santa Monica, CA Personal Belongings Contemporary Sculpture from Los Angeles, Sabine Knust Galerie Maximilian Verlag, Munich, Germany 2006 Red Eye: Los Angeles Artists from the Rubell Family Collection, Rubell Family Collection, Miami, FL, USA Making and Finding, The Foundation To-Life, Mount Kisco, NY, USA Transformers, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV, USA The Glass Bead Game, Vilma Gold Project Space, Berlin, Germany 2005 Both Ends Burning, David Kordansky Gallery, Los Angeles, CA, USA Six Outdoor Projects, L.I.U., Brooklyn, New York, NY, USA 2003 Passie in Beeld, Ruimtelijk werk uit de collectie van de Nederlandsche Bank, Maliebeeld, The Hague, the Netherlands Group show/artists of the gallery, Galerie Fons Welters, Amsterdam, the Netherlands 2002 Stedelijk Museum in De Nieuwe Kerk, Beelden/Sculpture 1947-2002, curated by Rudi Fuchs, Nieuwe Kerk, Amsterdam, the Netherlands 2001 Rondom Jheronimous Bosch, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands 1999 Glad IJs, Stedelijk Museum, Amsterdam, the Netherlands Werk Boven de Bank, Archipel, Apeldoorn, the Netherlands 1998 Morning Glory, De Ateliers, Amsterdam, the Netherlands Summer Show, Xavier Hufkens, Brussels, Belgium Acquisitions 1997, De Nederlandsche Bank, Amsterdam, the Netherlands 1997 New Acquisitions, Stedelijk Museum, Amsterdam, the Netherlands

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Bildtext: If Mind Were All There Was - Nine Themes on Giuseppe Sacchi - with seven drawings by Victor Man and Andro Wekua von Victor Man, Andro Wekua, Giuseppe Sacchi, Piero della Francesco, TOM MORTON, MARTIN VINCENT, FRANCESCO MANACORDA, ALESSANDRO RABOTTINI, CYNTHIA MOHO-LINIER, GOTTSTEIN STROHKOPP (CALX SUPERUM CAPUT STIPULA), MARTIN HERBERT, MASSIMILIANO GIONI, WALTER PLINBildtext: If Mind Were All There Was - Nine Themes on Giuseppe Sacchi - with seven drawings by Victor Man and Andro Wekua von Victor Man, Andro Wekua, Giuseppe Sacchi, Piero della Francesco, TOM MORTON, MARTIN VINCENT, FRANCESCO MANACORDA, ALESSANDRO RABOTTINI, CYNTHIA MOHO-LINIER, GOTTSTEIN STROHKOPP (CALX SUPERUM CAPUT STIPULA), MARTIN HERBERT, MASSIMILIANO GIONI, WALTER PLIN

If Mind Were All There Was - Nine Themes on Giuseppe Sacchi - with seven drawings by Victor Man and Andro Wekua

Victor Man, Andro Wekua, Giuseppe Sacchi, Piero della Francesco, TOM MORTON, MARTIN VINCENT, FRANCESCO MANACORDA, ALESSANDRO RABOTTINI, CYNTHIA MOHO-LINIER, GOTTSTEIN STROHKOPP (CALX SUPERUM CAPUT STIPULA), MARTIN HERBERT, MASSIMILIANO GIONI, WALTER PLIN
Verlag: Kaleidoscope Press & Transmission Gallery
Jahr: 2011
Edition: Leinen
ISBN: 9788897185093
Zustand: Gebraucht
Buch ist neu Conceived by Victor Man, Published by Transmission Gallery and Kaleidoscope Press in conjunction with Man's solo show Lazarus Protocol (September 2011). With contributions from Maria Fusco, Massimiliano Gioni, Martin Herbert, Francesco Manacorda, Tom Morton, Alessandro Rabottini, Joao Ribas, Torsten Slama and Martin Vincent. With drawings by Victor Man and Andro Wekua. Hardback EDITOR'S NOTE Published in 1889, The Dictionary of Painters and Engravers, Biographical and Critical states that the seventeenth-century Italian artist Giuseppe Sacchi, son of Andrea, was a painter of portraits and historical subjects, who gave up art to become a Franciscan monk, and died young. No evidence of his work or further biography exists. This book is a collection of texts inspired by two words, scratched into a masterpiece of Western art. In the Basilica di San Francesco in Arezzo, Tuscany, a horse depicted in Piero della Francesco's famous cycle of frescos, The Legend of the True Cross, (completed in 1466) bears Giuseppe Sacchi's name on its forehead, a piece of graffiti added at an unknown date, and by unknown hands. Readers may understand this book as an attempt to shape a possible (unauthorised) biography. The 'themes' presented here reconsider the limits and possibilities of art writing. They project knowledge and fantasies upon a historical object that is difficult to classify, and point to how loss may give rise to an awareness of the connectedness of all things. SUMMARY PROLOGUE THE FOLLOWING BEING THE TRUE CONFESSION OF GIUSEPPE SACCHI, SINNER P.V THEME ONE THEREFORE. BECAUSE. After R. D. Laing BY MARIA Fusco P.1 THEME TWO ON GIUSEPPE SACCHI AN UNPUBLISHED TEXT BY WALTER PLINGE EDITED BY JOAO RIBAS P.5 THEME THREE AN EYE FOR AN I BY MASSIMILIANO GIONI P.19 THEME FOUR As ABOVE, SO BELOW BY MARTIN HERBERT P.27 THEME FIVE THE GHOST OF GIUSEPPE SACCHI BY GOTTSTEIN STROHKOPP (CALX SUPERUM CAPUT STIPULA) P.37 THEME SIX SPITTING ON PIERO: THE GRACE AND THE SHAME OF GIUSEPPE SACCHI BY CYNTHIA MOHO-LINIER EDITED BY ALESSANDRO RABOTTINI P.67 THEME SEVEN WRITING AND DEFACING: THE CASE OF GIUSEPPE SACCHI BY FRANCESCO MANACORDA P.77 THEME EIGHT 1992 BY MARTIN VINCENT P.87 THEME NINE DAEDALUS AND ICARUS By TOM MORTON P.97

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Bildtext: JAVIER TAPIA: MONTE CARLO CLUB von JAVIER TAPIABildtext: JAVIER TAPIA: MONTE CARLO CLUB von JAVIER TAPIA

JAVIER TAPIA: MONTE CARLO CLUB

JAVIER TAPIA
Verlag: Martin Asbæk Projects
Jahr: 2008
Edition: Broschur
ISBN: 9788897185093
Zustand: Gebraucht
LIMITED EDITION Monte Carlo Club Year: 2008, Edited by 1508. Texts by: Niels Henriksen and Mark Von Schlegell. Limited Edition Presented together with the exhibllion Monte Carlo Club MAProjects, Copenhagen EDUCATION 2004-2010 Det Kongelige Danske Kunstakademi / Royal Academy of Fine Arts, Denmark. (Prof. Thomas Demand, Prof. Gerard Byrne and Prof. Florian Pumhôsl) 2009 UCLA, Faculty of Fine Arts, Los Angeles, CA. USA. (Prof. Mary Kelly) 1999-2001 Facultad de Bellas Artes (Art Theory), Universidad de Barcelona, Spain 1994-1997 Escuela de Artes Visuales (Visual Arts School), PUC, Chile SOLO EXHIBITIONS 2017 Midnight Vessel Den Nordiske Ambassade, Copenhagen, Denmark 2017 Equality Wallpaper Kunsthal ved siden af, Svendborg, Denmark 2016 The Good The Bad & The Human Third Space Gallery, Copenhagen, Denmark 2015 Double Headed South - w Peter Bonde, National Museum of Fine Arts, Chile 2015 Double Headed South - w Peter Bonde, D21 Art Projects, Chile 2015 High Density: Fragments, Stories & Traditions - Christoffer Egelund Gallery, Copenhagen, Denmark 2014 Travelling Dust w/ Camilo Ontiveros - 18th Street Arts Center, Los Angeles, CA. USA 2013 Shared Problems Shared Questions - Galería Tajamar, Santiago, Chile 2013 Solid Liquids - Istanbul, Turkey 2012 An Archeology of Motivations / case study Los Angeles Salon Proceso, USA 2012 Color Fields Experimentarium, Denmark 2011 Angst Journey, Wheres the Dead Mans Chest WPA Los Angeles, CA. USA 2010 A Platform Proposal / Fluid Trust No Judgment - ALT CPH Fabrikken Copenhagen, Denmark 2008 Monte Carlo Club MAProjects, Copenhagen, Denmark 2007 A meeting point KKC, Klaipeda Kultur Center, Lithuania 2006 The cloning and the egiptian laboratory chapter w/ Al Masson. Andratx Kunsthalle, Mallorca, Spain 2006 Behind the Sun Q Galleri, Copenhagen, Denmark 2005 SATURATION (m.Olof Olsson) MAProjects Copenhagen, Denmark 2004 HEY! Kunst Industrien, Copenhagen, Denmark 2004 Territory, platform1 Trottoir, Hamburg, Germany 2003 TCP Tapia Cultural Project Vordingborg, Denmark 2002 Reaction Social Platform, Barcelona, Spain 2001 Warning Decoration - Groc Art Gallery, Barcelona, Spain 2001 Outsider views - Streets of Denmark Hill, London, England 2000 Box - Nau Ivanow, Barcelona, Spain 2000 Beautiful World - Groc Art Gallery, Barcelona, Spain GROUP EXHIBITIONS 2017 Decolonial Atlas Video from the Americas Vincent Price Museum, Los Angeles, CA, USA 2017 Unravelings Meter Art Space, Copenhagen, Denmark 2016 Good fortune, no blame Tribute to Emil Westman Hertz Gallery Susanne Ottesen, Copenhagen, Denmark 2016 Decolonial Atlas Video from the Americas Oficina de Proyectos Culturales, Juárez, Mexico 2016 "Untitled" - Galería Metales Pesados (Heavy Metals Gallery), Santiago. Chile 2015 "OFF" Biennale El Cairo - Curated by Pilar Tompkins, Egypt 2015 "Stafetten" at Gl. Strand, Copenhagen, Denmark 2015 "The Examples" at Arts & Globalization Conference w/ curator Carl Martin Faurby, Øksnehallen, Copenhagen, Denmark 2013 "Zeigen" Group show, curated by Karin Sander - Nikolaj Kunsthal, Copenhagen, Denmark 2013 Fotografisk Center Group show tribute to Sren Kierkegaard, curated by Gerard Byrne. Copenhagen, Denmark 2013 Echo Galleri Christoffer Egelund, Copenhagen, Denmark 2011 Ok Corral Toves Galleri, Copenhagen, Denmark 2010 Berlin Forum Art Messe, Berlin, Germany 2010 Nordic Art Fair Martin Asbæk Gallery, Copenhagen, Denmark 2010 Afgang, Charlottenborg Kunsthal, Copenhagen, Denmark 2009 Astronomical Frontiers, BKS Garage Henningsen Contemporary, Copenhagen, Denmark 2008 Art Copenhagen / Forum- MAProjects, Copenhagen, Denmark 2007 Group show at Henningsen Contemporary, Copenhagen, Denmark 2007 MAGT på Kronborg, Helsingr, Denmark 2007 Charlottenborg Kunsthal Forårsudstilling, Copenhagen, Denmark 2006 Art Copenhagen / Forum- MAProjects, Copenhagen, Denmark 2006 Art Brussels- MAProjects, Brussels, Belgium 2005 Buffet Den frste til venstre , Copenhagen, Denmark 2005 The Post Group Show Dilemma 7 artists that might be born on a Tuesday. Parallel event to the 9th Biennal of Art of Istanbul, Turkey 2005 Pro Art, Randers Kunstmuseum, Denmark 2002 SUR, Museo de Arte Contemporáneo, Valdivia, Chile 2002 Conexiones Cruzadas, Galería Cecilia Palma, Santiago, Chile 2001 Tapia +SAG, Aunkan Gallery, Barcelona, Spanien 2001 Pop meets Pop. with Kenny Scharf, Foxx Gallery, Zurich, Switzerland 2001 New ART Art Fair, Galería Berini, Barcelona, Spain 1998 Itinerant show 000, El Generador, Cultural Center Santiago New York (Chile/USA) 1998 Fair of Graphic Works, Museum of Victória, Brasil 1998 DeALTA Tour, Barcelona-Spain, Cay Caulker-Belize, Montreal-Canada 1999 Cosapi Contest, Galería Tomás Andreu - Santiago, Chile 1998 000, Galería Ante-Sala Santiago, Chile 1998 Galería Isabel Aninat, Santiago, Chile 1998 Grafinnova, Art Festival, Ostrothbonian Museum Vaasa, Finland 1998 5, APECH Association of Fine Arts of Chile 1998 ALTA, Galería San Francisco - Santiago, Chile 1997 Spirit of America, Galería San Francisco - Santiago , Chile 1997 Public, Santiago, Chile 1995 Open Show, Lo Matta Museum Santiago, Chile OTHER PROJECTS 2017 Screening at "Til Vægs"/ Lundtoftegade open air video gallery - 7 screens in 7 different buildings, Copenhagen, Denmark 2015 Book release: Double Headed South / Pocket book - MNBA - Chile 2015 Book release: Double Headed South / CAT#41 - D21 Art Projects - Chile 2015 "Grosses Treffen" at Nordic Embassies in Berlin, Germany 2015 Hvidhed Talks - with Curator Carl Martin Faurby, Charlottenborg Kunsthal, Copenhagen, Denmark 2014 Screening of "Travelling Dust" at Vincent Price Museum, Los Angeles, CA, USA 2014 Residency at 18th Street Arts Center, Los Angeles, CA, USA 2013 Cazuela Social / Social sculpture - Galería Tajamar, Santiago - Chile 2013 Residency - Danish Arts Council / SALT - Istanbul, Turkey 2012 Residency - Salon Proceso / LAX Art - The Mistake Room, Los Angeles, CA, USA 2012 Old New Ideas Memorial Square - Hans Tavsens Park, Denmark 2012 A Relational Proposal - project with Eduardo Rodriguez, curated by AVPD - Roskilde Festival, Denmark 2012 Art Libre - digital platform during the 7th Berlin Biennale, curated by Pit Schultz, Artur Żmijewski and Joanna Warsza 2011 Book release - IMO Projects - Copenhagen, Denmark 2011 Free Derive Tours - Any Place in the world, ongoing project. 2010 Residency at MOCA house - Jorge Pardo, Los Angeles, CA, USA 2010 Screening Salon Proceso -Camilo Ontiveros / Michelle Dizon - South West Studio, Los Angeles, CA, USA 2010 Screening/Workshop, Art Center, Pasadena, CA, USA 2010 Fashion show / Sculptural environment with designer Simon Rasmussen, Copenhagen, Denmark 2009 Screening at Imprenta, Los Angeles, CA, USA 2008 "Cazuela Cultural" - 15 hrs. performance, curated by Niels Henriksen. Koh i Noor, Denmark 2008 Book release: Monte Carlo Club 2008 Books - Red Devil serie (1 to 3) with Mark Von Schlegel, Cologne, Germany 2007 Residency at Andratx Kunsthalle, Spain 2005 The artist as a general Lets kick some ass. Royal Academy of Fine Arts 2005 Kulturcenter - Randers Kunstmuseum, Denmark 2004 Territory Streets of Copenhagen, Denmark 2004 Danger Fox. Design Project Copenhagen, Denmark 2001 Warning Decoration Barcelona, Spain AWARDS AND SCHOLARSHIPS 2016 Statens Kunstfond / Danish Arts Foundation: 1år Arbejdslegat / 1 year Work award 2016 Statens Kunstfond / Danish Arts Foundation: Production of new works for show The Good, The Bad & The Human 2015 Grosserer L.F. Fond 2015 Knud Hjgaards Fond 2015 Statens Kunstfond / Danish Arts Foundation: Danish Art Abroad 2015 Statens Kunstfond / Danish Arts Foundation: Production of new works 2015 Statens Kunstfond / Danish Arts Foundation: 1år Arbejdslegat / 1 year Work award 2014 Department of Cultural Affairs, City of Los Angeles: Production (Travelling Dust - the show) 2014 Statens Kunstrådet / Danish Arts Council: Production (Travelling Dust - the show) 2014 Statens Kunstfond / Danish Arts Foundation: Open Residency - 18th Street Arts Center - LA, USA. 2013 Statens Kunstrådet / Danish Arts Council: Danish art abroad grant (Shared Questions / Shared Problems - Galeria Tajamar, Chile) 2013 Statens Kunstrådet / Danish Arts Council: Production (Shared Questions / Shared Problems - Galeria Tajamar, Chile) 2013 Statens Kunstfond / Danish Arts Foundation: Travel Legat 2013 Statens Kunstrådet / Danish Arts Council: Production (Solid Liquids - Istanbul) 2013 Statens Kunstrådet / Danish Arts Council: Residency in Istanbul - collaboration w/ SALT 2012 Statens Kunstrådet / Danish Arts Council: Residency with LAX Art 2012 Statens Kunstrådet / Danish Arts Council: Production for a show in Los Angeles, CA 2012 PaNIK Art Award - Experimentarium and Statens Kunstfond / Danish Arts Council 2011 Statens Kunstrådet / Danish Arts Council: Production (book project). 2010 Statens Kunstrådet / Danish Arts Council: Production (Research project, LA) 2006 Statens Kunstrådet / Danish Arts Council: Production - Group show during Istanbul Biennale 2010 IDELLA Fond 2009 Krista og Viggo Petersens Fond 2009 OTICON 2009 JL FONDET 2009 Karl Thyrres Legat 2009 Billedhuggeren Gottfred Eickhoff og hustru maleren Gerda Eickhoffs Fond 2005, 2008, 2009 Grossere L.F. Foghts Fond 2007 Peter og Emma Thomsens Legat 2007 Theodor Alfred Chr.Von Irgens Bergh og Hustru Gisela von Irgens Bergh Kunstnerlegat 2006 Marie Langhoffs Legat 2003, 2004, 2006 Kunsthandler Richard Wilstrup og Hustru Franciska, Fdt Jensens Legat 2005 DCCD Arts Fond

Preis(€): 35,00

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Bildtext: Book a or Megacolon or for & Against Language von Nathaniel Mellors, Xander KarskensBildtext: Book a or Megacolon or for & Against Language von Nathaniel Mellors, Xander Karskens

Book a or Megacolon or for & Against Language

Nathaniel Mellors, Xander Karskens
Verlag: Onomatopee
Jahr: 2013
Edition: Hardcover/gebunden
ISBN: 9789078454526
Zustand: Gebraucht
Buch ist neu Book A or MEGACOLON or For and Against Language is an experimental monograph exploring linguistic manipulation, absurd-ist comedy and other aspects of the work of Nathaniel Mellors, with contributions by Mick Peter and John C. Welchman. Book A or MEGACOLON or For and Against Language contains a selection of Mellors' original scripts from 2004 onwards, that have since been turned into video and installation works from the demise of an ageing Polish supercomputer in Brain One M6zg Jeden (2004) to the language games and ideological clashes within the Maddox-Wilson family in Our-house (2010-). Art historian John C. Welchman has contributed an experimental Abecedarium, both academic and playful, in which he responds to and elaborates on ideas present in Mellors' scatological intrahuman journey Giantbum (2008). Artist and writer Mick Peter's 'Wall Eyed Stranger: An Introduction to Mellorfilm and the British Grotesque Explosion' sheds new light on some of the building-blocks of Mellors' absurdist universe, in a deeply annotated text that increasingly expands and dissolves itself.

Preis(€): 25,90

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Bildtext: Give them the picture - an anthology of La Mamelle and ART COM, 1975-1984 von Liz Glass, Susannah Magers, Julian MyersBildtext: Give them the picture - an anthology of La Mamelle and ART COM, 1975-1984 von Liz Glass, Susannah Magers, Julian Myers

Give them the picture - an anthology of La Mamelle and ART COM, 1975-1984

Liz Glass, Susannah Magers, Julian Myers
Verlag: CCA Wattis Institute for Contemporary Arts
Jahr: 2011
Edition: Broschur
ISBN: 9780980205572
Zustand: Gebraucht
Published in conjunction with the exhibition, God Only Knows Who the Audience Is: Performance, Video, and Television Through the Lens of La Mamelle /ART COM from April 21 to July 12, 2011 at the Logan Galleries of the San Francisco campus of California College of the Arts

Preis(€): 59,00

Versand(€): 2,10

Bildtext: Documents no. 21 fall 2001 / winter 2002 - a journal of art, culture, and criticism von Thomas Crow, Andrew Perchuk, T. J. Clark, Mieke Bal, Paul Pfeiffer, Stefano Basilico, James Meyer, Daniel O'Ouinn, David Deitcher, Tom McDonough, Helen Molesworth, Rachel Harrison, Julian MyersBildtext: Documents no. 21 fall 2001 / winter 2002 - a journal of art, culture, and criticism von Thomas Crow, Andrew Perchuk, T. J. Clark, Mieke Bal, Paul Pfeiffer, Stefano Basilico, James Meyer, Daniel O'Ouinn, David Deitcher, Tom McDonough, Helen Molesworth, Rachel Harrison, Julian Myers

Documents no. 21 fall 2001 / winter 2002 - a journal of art, culture, and criticism

Thomas Crow, Andrew Perchuk, T. J. Clark, Mieke Bal, Paul Pfeiffer, Stefano Basilico, James Meyer, Daniel O'Ouinn, David Deitcher, Tom McDonough, Helen Molesworth, Rachel Harrison, Julian Myers
Verlag: documents
Jahr: 2001
Edition: Pappe
ISBN: 9780980205572
Zustand: Gebraucht
ISBN: 074470827306 DOCUMENTS No. 21, Fall 2001 / Winter 2002 Documents, a journal of art, culture, and criticism (1992-2004) On The Intelligence of Art by Thomas Crow edited by Andrew Perchuk Theory and Its Objects: On Thomas Crow's The Intelligence of Art T. J. Clark Yesterday Isn't What It Used to Be Mieke Bal Author's Response Thomas Crow A Conversation with Paul Pfeiffer by Stefano Basilico Reviews Julian Myers on "Know: Art in Technological Times" at SFMoMA and "Bitstreams" at the Whitney Museum, NY Helen Molesworth on Rachel Harrison at Greene Naftali, NY Tom McDonough on "Worksphere" at MoMA, NY Daniel O'Ouinn on Dear Friends by David Deitcher Margaret Sundell on Minimalism: Art and Polemics in the Sixties by James Meyer

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Bildtext: Kaleidoscopic eye : exhibition / concept and realization: Mariana Castillo Deball von Mariana Castillo Deball, Dario GamboniBildtext: Kaleidoscopic eye : exhibition / concept and realization: Mariana Castillo Deball von Mariana Castillo Deball, Dario Gamboni

Kaleidoscopic eye : exhibition / concept and realization: Mariana Castillo Deball

Mariana Castillo Deball, Dario Gamboni
Verlag: Kunst Halle Sankt. Gallen
Jahr: 2009
Edition: Softcover
ISBN: 9780980205572
Zustand: Gebraucht
Limitiert auf 500 This book was published as part of the exhibition Kaleidoscopic Eye, 2009. Kunst Halle Sankt. Gallen www.k9000.ch Concept and realization: Mariana Castillo Deball Texts by Mariana Castillo Deball, Dario Gamboni Translation: Jen Hofer Copy Editing: Steve Rushton Edition: 500 Thanks: Giovanni Carmine, Sina Najafi, Dario Gamboni, Gian Carlo Parodi, Manuel Raeder. Contents Chance and Estrangement: Toward a Personal Equation Mariana Castillo Deball Nobody was Tomorrow Mariana Castillo Deball Stumbling over/upon Art Dario Gamboni Entropology Mariana Castillo Deball Mariana Castillo Deball Kaleidoscopic Eye 14th February 13th April 2009 Mariana Castillo Deball, exhibiiton view, Entropology, 2008/2009 and Do ut des, 2008/2009 The Kunst Halle Sankt Gallen is presenting the first solo exhibition of Mexican artist Mariana Castillo Deball (*1975) in Switzerland. At the same time we will be showing a project by Swiss artist Jürg Lehni (*1978) and English artist Alex Rich (*1975). We are very pleased to begin 2009 with this double exhibition, which scrutinizes the functions of science and technique in very different ways. In this process-oriented shows, not only will the participating artists function as important protagonists, but so too will the other guests invited on different occasions. Furthermore, the audience itself will be interacting with the exhibits. In her works, Mariana Castillo Deball maps out areas of action and memories as well as object worlds that all display a specific historical and cultural context. During her research, the artist looks for institutions that house collections, classifications, catalogues and (re-)presentations of cultural assets, such as libraries, museums and archives, and which represent a symbolic classification of the world. After the process of collecting and selecting information, she often creates site-specific installations, objects, photographs, video and audio-works, that feature a fictional background story. Castillo Deball not only consciously uses scientific methods such as collecting, evaluating, selecting, but also theoretical writing. The artist finds a media transfer for these processes whilst checking the conventions and standards of the museum's presentation and its archive management. In terms of content, the spectrum of visual and narrative examinations covers many different fields, such as archaeology, anarchy, ethnology, the musealization, display conventions within museums, philosophy and the history of technics. Alongside this approach, the artist also shows a special interest in collaborations with other cultural producers. These often result in performances, book projects or installations. During the last few years, Castillo Deballs mode of work has been based on a kaleidoscopic approach towards language: Different disciplines and ways to describe the world can clash and thereby generate a polyphonic voice. Based on the idea of a kaleidoscope, Castillo Deball has developed a project for the Kunst Halle Sankt Gallen in which she implements her central artistic theme of site-specific archiving for St. Gallen. In our world that is flooded by masses of information, this topic is more relevant than ever. In her work with archives, the artist is above all interested in changing, deleting or reversing their order and thus bestowing them with a new reading mode. In these ordered spaces, she seeks to find proof of the fact that we cannot make sense of the world without treating it irreverently and playfully. In the exhibition, as well as in her artistic practice, a tension between order and coincidence exists, especially when these two elements coexist. Kaleidoscopic Eye seeks to serve as a connection between important sites and the history of St. Gallen. The encyclopaedic archive of materials of the Sitterwerk, the citys textile history and the Kunst Halle are involved. The Sitterwerk with its database of materials and its extensive library functions as a place for ways to sort things, for experimentation as well as for artistic production (Art Foundry). Castillo Deball is going to conduct research in this place and will carry out an intervention, which will be displayed in both the Sittertal and the Kunst Halle. The artist will also produce a new film dedicated to the tradition of embroidery in St. Gallen which will show its manifold patterns in a kaleidoscopic way. It will be shown in the Kunst Halle alongside further works recently created by the artist. Castillo Deball will also enliven the Kunst Halle with a monumental installation that will in fact constitute the exhibition architecture. An artistic publication with texts by Mariana Castillo Deball and Dario Gambosi, professor of Art History at the University of Geneva, accompanies the show. Special thanks to Sitterwerk/Kunstgiesserei St. Gallen, Heeb Elektro AG Küsnacht, Speckert + Klein AG Zürich for the cooperation.

Preis(€): 28,90

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Bildtext: FILLIP Issue No. 13 - spring 2011 , which introduces Intangible Economies, a new series edited by Antonia Hirsch, with essays by Jan Verwoert and Candice Hopkins von Antonia Hirsch, Candice Hopkins, Anthony Downey, Carson Chan, Jeff Khonsary, Lisa Marshall, Haema Sivanesan, Jesse McKee, Claire Tancons, Kristina Lee Podesva, Ryan Trecartin, Jan VerwoertBildtext: FILLIP Issue No. 13 - spring 2011 , which introduces Intangible Economies, a new series edited by Antonia Hirsch, with essays by Jan Verwoert and Candice Hopkins von Antonia Hirsch, Candice Hopkins, Anthony Downey, Carson Chan, Jeff Khonsary, Lisa Marshall, Haema Sivanesan, Jesse McKee, Claire Tancons, Kristina Lee Podesva, Ryan Trecartin, Jan Verwoert

FILLIP Issue No. 13 - spring 2011 , which introduces Intangible Economies, a new series edited by Antonia Hirsch, with essays by Jan Verwoert and Candice Hopkins

Antonia Hirsch, Candice Hopkins, Anthony Downey, Carson Chan, Jeff Khonsary, Lisa Marshall, Haema Sivanesan, Jesse McKee, Claire Tancons, Kristina Lee Podesva, Ryan Trecartin, Jan Verwoert
Verlag: Projectile Publishing Society
Jahr: 2011
Edition: Softcover
ISBN: 9780980205572
Zustand: Gebraucht
Limited edition of 3000 FILLIP Issue No. 13 - spring 2011 , which introduces Intangible Economies, a new series edited by Antonia Hirsch, with essays by Jan Verwoert and Candice Hopkins Measures of an Exhibition: Space, Not Art, Is the Curators ?Primary Material / Carson Chan Camps (or the Precarious Logic of Late Modernity) / Anthony Downey Intangible Economies / Antonia Hirsch The Golden Potlatch?: Study in Mimesis and Capitalist Desire / Candice Hopkins Browsing the AAAARG Library / Jeff Khonsary An Evidence Horizon / Lisa Marshall Producing Images in Times of War / Haema Sivanesan On Carnival and ?Contractual Curating / Jesse McKee and Claire Tancons When the time comes? you wont understand ?the battlefield / Kristina Lee Podesva and Ryan Trecartin Faith Money Love / Jan Verwoert Fillip is a publication of art, culture, and ideas released three times a year by the Projectile Publishing Society based in Vancouver. Beautiful Is Panama! Exterior of the Barter Theatre, Abingdon, Virginia, c. 1933, One million mark note designed by Herbert Bayer, Thuringen, Weimar, 1923. N. Bruhl, engraving of Johannes Tetzel (1465-1519) after contemporary portrait. Courtesy of Archiv fur Kunst and Geschichte, Berlin. Production still from L'eclisse, 1962. Directed by Michelangelo Antonioni. 18. People of the Potlatch, Vancouver Art Gallery, 1956. Installation view. Courtesy of the Museum of Anthropology, Vancouver. Golden Potlatch Parade, 1912. Courtesy of University of Washington. Voids, fine Retrospektive, Kunsthalle Bern, 2009. Installation view. Franz Erhard Walther, Sockel, vier Bereiche (Keeping the Canvas Square in Shape), number 49 and Connection (Head), number 31, from I. Werksatz, 1967 Photo by Timm Rautert Courtesy of Peter Freeman, New York. El Lissitzky, Design for the Abstract Cabinet, 1930, reconstructed in 1968. photographic conversation from Bug ai-Shamali camp, 2008. Documentation of the Gwangju Democratization Movement, Gwangju, South Korea, May 1980. MAP Office, The Final Battle in Spring, 90-minute procession. Photo by Akiko Ota. Courtesy of Claire Tancons. Judy Radul, World Rehearsal Court, 2009, details. Photo by Howard Ursuliak. Courtesy of the Morris and Helen Belkin Art Gallery, Vancouver. Buddha carved from the rock at Bamiyan, Afghanistan, fifth century (now destroyed). Courtesy of the Afghan Information Bureau, London. Jayce Salloum, piles/fragments/ruins, some that is left of the buddhist statues (constructed 100-490 AD), bodily discarded (destroyed by Taliban, March 2001), pieces protected/sheltered, torn, (saved for possible reconstruction @ 45-50 million each) at the caves site, Bamiyan, Hazaralat. Afghanistan, 4/16/08 [DSCF3081], 2010. Detail from the heart that has no love/pain/ generosity is not a heart, 2010. C print. Courtesy of the artist. Ryan Trecartin. Any Ever, MOCA Pacific Design Center, 2010. Installation view. Photo by Brian Forrest.

Preis(€): 15,90

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Bildtext: Growth and culture - Crescimento e cultura von Ricardo Valentim Ricardo Nicolau Isla Leaver-YapBildtext: Growth and culture - Crescimento e cultura von Ricardo Valentim Ricardo Nicolau Isla Leaver-Yap

Growth and culture - Crescimento e cultura

Ricardo Valentim Ricardo Nicolau Isla Leaver-Yap
Verlag: Museu de Arte Contemporânea de Serralves
Jahr: 2012
Edition: Leinen
ISBN: 9789727392698
Zustand: Gebraucht
Serralves, Ricardo Valentim (Loulé, Portugal, 1978) is a Portuguese artist based in New York. Since 2006, Valentim has produced graphic materials, including leaflets, brochures, and posters, as part of his film screenings and lecture-based works. This printed matter functions as a supplement to the content conveyed in these screenings and lectures, but it also signifies the transformation of the immateriality of these works into a materialized form. This book gathers all the graphic material produced by the artist over the years, as well as new projects specifically conceived for the exhibition at Serralves. Essays by Ricardo Nicolau (curator of the exhibition) and Isla Leaver-Yap (Walker Art Center's Bentson Visiting Film Scholar).

Preis(€): 25,90

Versand(€): 4,80

Bildtext: Liberties of the Savoy von Ruth EwanBildtext: Liberties of the Savoy von Ruth Ewan

Liberties of the Savoy

Ruth Ewan
Verlag: Book Works
Jahr: 2012
Edition: Taschenbuch
ISBN: 9781906012434
Zustand: Gebraucht
Summoning the spirit of John Ball, Wat Tyler and the Peasants' Revolt of 1381, Ruth Ewan invited 200 teenagers from east London to take over The Savoy's Lancaster Ballroom for an ambitious event, Liberties of the Savoy, which addressed the social history of the site: the immunity from prosecution wealthy debtors were offered by the historic Precinct of the Savoy, and the freedom of opulence and indulgence offered to those who can afford to guest at the hotel. Through a process of workshops, interviews and essays, young people respond to the demands of liberty through questions of injustice, class division, riots and racial inequality, in voices that resonate with the ancient call for freedom, common ownership and equality. The book presents the plans, drawings, photographs, interviews and texts led by the students, and gathered throughout the project, alongside commissioned texts, and recipes by Martin Chiffers, executive pastry chef at The Savoy. The film, edited by Sam Hepworth, features video footage recorded by the young people, documenting both the event and the work of making it happen.

Preis(€): 4,90

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Bildtext: The Happy Hypocrite: For and about Experimental Art Writing. Linguistic hardcore von Nick Thurston, Gerard Byrne, Douglas Coupland, Paolo Arao, Farhad Ahrarnia, Andrea Mason, Giles Eldridge, Alexandre Singh, Clunie Reid, Michele Bernstein, Lisa Robertson, Cosey Fanni Tutti, Maria Fusco, Stewart HomeBildtext: The Happy Hypocrite: For and about Experimental Art Writing. Linguistic hardcore von Nick Thurston, Gerard Byrne, Douglas Coupland, Paolo Arao, Farhad Ahrarnia, Andrea Mason, Giles Eldridge, Alexandre Singh, Clunie Reid, Michele Bernstein, Lisa Robertson, Cosey Fanni Tutti, Maria Fusco, Stewart Home

The Happy Hypocrite: For and about Experimental Art Writing. Linguistic hardcore

Nick Thurston, Gerard Byrne, Douglas Coupland, Paolo Arao, Farhad Ahrarnia, Andrea Mason, Giles Eldridge, Alexandre Singh, Clunie Reid, Michele Bernstein, Lisa Robertson, Cosey Fanni Tutti, Maria Fusco, Stewart Home
Verlag: Book Works
Jahr: 2008
Edition: kartoniert
ISBN: 9781870699020
Zustand: Gebraucht
Contents 4 Say What You See In which The Happy Hypocrite invites someone to describe something visual in words. Psychic Stewart Home 6 Interview In which The Happy Hypocrite brings together people to discuss the issue's theme. Linguistic Hardcore Cosey Fanni Tutti and Maria Fusco 17 All the King's Horses In which Lisa Robertson translates Michele Bernstein's Tous les Chevaux du Roi 22 Untitled (Reworked Bananas) Clunie Reid 26 A Thousand and One Knights of the Round Table of Knottingham Alexandre Singh 34 Dionysus stays a little while Giles Eldridge 39 Like The Toad, Ugly and Venomous Andrea Mason 43 Tehran 1969 Farhad Ahrarnia 49 Drawings from the series Make Them Lore You' Paolo Arao 57 Notes on Time Douglas Coupland 69 A photograph and some possible captions Gerard Byrne 78 Paper Machine Bananas In which The Happy Hypocrite reprints a seminal magazine or journal. Index Nick Thurston

Preis(€): 23,00

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Bildtext: Multitudes, numéro 7 : Après Gênes, après New York, tarde intempestif, nations meurtrières von Yann Moulier Boutang, François Matheron, Toni Negri, Starhawk, Robert Bui, Christian Marazzi, Michael Hardt, Yoshihiko Ichida, Luca Casarini, Giuseppe Caccia, Alain Joxe, Anne Querrien, Allan Sekula, Bertrand Ogilvie, Éric Alliez, René Schérer, Jean-CletBildtext: Multitudes, numéro 7 : Après Gênes, après New York, tarde intempestif, nations meurtrières von Yann Moulier Boutang, François Matheron, Toni Negri, Starhawk, Robert Bui, Christian Marazzi, Michael Hardt, Yoshihiko Ichida, Luca Casarini, Giuseppe Caccia, Alain Joxe, Anne Querrien, Allan Sekula, Bertrand Ogilvie, Éric Alliez, René Schérer, Jean-Clet

Multitudes, numéro 7 : Après Gênes, après New York, tarde intempestif, nations meurtrières

Yann Moulier Boutang, François Matheron, Toni Negri, Starhawk, Robert Bui, Christian Marazzi, Michael Hardt, Yoshihiko Ichida, Luca Casarini, Giuseppe Caccia, Alain Joxe, Anne Querrien, Allan Sekula, Bertrand Ogilvie, Éric Alliez, René Schérer, Jean-Clet
Verlag: Exils
Jahr: 2001
Edition: Taschenbuch
ISBN: 9782912969323
Zustand: Gebraucht
NUMÉRO 7- DÉCEMBRE 2001 ENTETE 5 Yann Moulier Boutang Ce qui dépend de nous... Déclaration de Volksbad : Faire le monde, pas la guerre ! MAJEURE ii François Matheron Après Gênes, après New York : les multitudes ? 17 Toni Negri Ainsi commença la chute de l'Empire 27 Starhawk Fascisme à Gênes 33 Robert Bui Lettre sur les Tute Blanche e Christian Marazzi A l'ère de la sécurité sociale mondiale 51 Yann Moulier Boutang Apocalypse New York 57 Entretien avec Michael Hardt Nouvelles d'Amérique 63 Yoshihiko Ichida La théologie politique japonaise 67 Entretien avec Luca Casarini et Giuseppe Caccia Nous sommes allés à Gênes, nous désertons leur guerre 75 Entretien avec Toni Negri Rupture dans l'Empire, puissance de l'exode 85 Yoshihiko Ichida Questions d'Empire 90 Entretien avec Alain Joxe Des guerres asymétriques ? 97 Anne Querrien Multitudes en fugues ICONES 119 Allan Sekula Waiting for tear qas HORSCHAMPS 130 Bertrand Ogilvie Comparer l'incomparable 167 Anne Querrien Questions à Bertrand Ogilvie MINEURE 171 Éric Alliez Différence et répétition de Gabriel Tarde 177 René Schérer Tarde, puissances de l'invention 186 Jean-Clet Martin Tarde : une nouvelle monadologie 193 Maurizio Lazzarato La Psychologie économique contre l'économie politique 203 Jean-Philippe Antoine Tarde, commun sensationnel 212 Isaac Joseph Tarde avec Park INSERT 221 Gisèle Donnard Pour les femmes en noir de Jerusalem 227 GhassanKatib Le problème palestinien non résolu LIENS 231 Laurent Guilloteau Jeunesse du précariat, un salariat en mode mineur 236 Charles Wolfe The Deleuze Connections 242 Pascal Jollivet Politiques de la cryptographie

Preis(€): 15,60

Versand(€): 2,10

Bildtext: Who Told You So?!: The Collective Story Vs. the Individual Narrative - 40 Artists - 10 Writers - 4 poets von Freek Lomme, Monika Love, Slavs, Tartars, Elena Bajo, Hank Willis Thomas, Gillian Wearing, Ken Lum, Matthijs Bosman, Keren Cytter, Nadine Byrne, Sebastian Friedman, Matteo Lucchetti, Markus Miessen, Tanja BaudoinBildtext: Who Told You So?!: The Collective Story Vs. the Individual Narrative - 40 Artists - 10 Writers - 4 poets von Freek Lomme, Monika Love, Slavs, Tartars, Elena Bajo, Hank Willis Thomas, Gillian Wearing, Ken Lum, Matthijs Bosman, Keren Cytter, Nadine Byrne, Sebastian Friedman, Matteo Lucchetti, Markus Miessen, Tanja Baudoin

Who Told You So?!: The Collective Story Vs. the Individual Narrative - 40 Artists - 10 Writers - 4 poets

Freek Lomme, Monika Love, Slavs, Tartars, Elena Bajo, Hank Willis Thomas, Gillian Wearing, Ken Lum, Matthijs Bosman, Keren Cytter, Nadine Byrne, Sebastian Friedman, Matteo Lucchetti, Markus Miessen, Tanja Baudoin
Verlag: Onomatopee
Jahr: 2013
Edition: kartoniert
ISBN: 9789491677045
Zustand: Gebraucht
We live in times of great social ambiguity. A recent exhibition, curated by Onomatopee director Freek Lomme, used the work of a wide range of contemporary artists to illustrate the dichotomy between the collective and the individual in ever-changing contemporary society. Tipping the scales at 438 pages with more than 600 color reproductions, Who Told You So?! provides the crafted feel of an artist s book, the rigor of a theoretical reader, and the high quality reproductions of an exhibition catalog. Featuring 40 international artists, both emerging and established, from the last quarter century, including: Monika Love, Slavs and Tartars, Elena Bajo, Hank Willis Thomas, Gillian Wearing, Ken Lum, Matthijs Bosman, Keren Cytter, Nadine Byrne, and Sebastian Friedman. Writings from Matteo Lucchetti, Markus Miessen, and Tanja Baudoin, among others, and a sticker from Heath Bunting round out this can't miss volume.

Preis(€): 18,00

Versand(€): 4,80

Bildtext: Jimmy Robert - vis-à-vis (MCA Monographs) von Madeleine Grynsztejn, Naomi BeckwithBildtext: Jimmy Robert - vis-à-vis (MCA Monographs) von Madeleine Grynsztejn, Naomi Beckwith

Jimmy Robert - vis-à-vis (MCA Monographs)

Madeleine Grynsztejn, Naomi Beckwith
Verlag: Mca Monographs
Jahr: 2012
Edition: kartoniert
ISBN: 9780933856950
Zustand: Gebraucht
This catalogue accompanies the first large-scale solo U.S. exhibition of the work of Brussels-based artist Jimmy Robert (born 1975). One of Europe's most dynamic younger artists, Robert works in a range of media, including photography, sculptural objects, film, video and collaborative performances. What unites these different threads is a concern for the body and a guiding interest in the poetic potential of ephemeral materials such as paper and tape. Creating form through gesture, Robert draws inspiration from such artists as Yvonne Rainer and Yoko Ono. His exploration of folding bodies, crumpling paper and filmed repetitive gestures has come to define him as an artist of touching: the act of tearing tape from skin, a hand stroking hair, fingers rubbing a text. Jimmy Robert includes multiple paper stocks and sizes, is spiral-bound and features the artist's newest work. Jimmy Robert Vis-à-vis is the first major solo museum exhibition in the United States of work by Brussels-based artist Jimmy Robert. Born in Guadeloupe, an overseas region of France, Robert was raised and educated in Europe in the 1980s and 1990san era in which questions of citizenship and representation were hotly contested. Rather than creating conspicuously political artworks, Robert takes his cues from cultural figures of the recent pastavant-garde writers, filmmakers, visual artistswho were not only pioneers in their respective art forms but also deft at subtly registering the traumas and effects of their social conditions. Roberts concern for the bodyboth personal and politicalin addition to his interest in the poetic potential of ephemeral materials unites much of his work, which ranges in media from photography, film, and video to sculpture and collaborative performance. Robert typically uses photographic portraitureas a starting point for his works on paper, gently breaking down divisions between two and three dimensions, image and object. In some cases Robert uses found photographs that he tears, collages, tapes, and crumples before digitally scanning them and pinning them to the wall. In other cases, Robert takes new photographs in his studio and crams them into wooden boxes or arranges them on the gallery floor. Extending into the space of the gallery, these works create a relationship to the viewers body while underscoring a sense of impermanence. Likewise, Roberts sculptures are either made from wood-based materials or give the illusion of paper forms and often play with notions of value and durability. Roberts films and videos convey a sense of the ordinary in their scale, subject, and material. Broadly inspired by the French New Wave, the artist is also deeply influenced by feminist filmmakers such as Marguerite Duras and Chantal Akerman. Of a similarly intimate register, Roberts dance and performance works value gesture and chance over elaborate choreography, referring to Fluxus and the Judson Dance Theater. To create one of the works in this exhibition, Robert performs with performer, choreographer Maria Hassabi live in the galleries. The exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago.

Preis(€): 16,90

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Bildtext: Piktogram : talking pictures magazine No. 13 von Pawel Althamer, Miroslaw Balka, Miroslawem Balka, Robert Kusmirowski, Michal Wolinski, Magda Szalewicz, Paulina Olowska, Jan Verwoert, Zygmunt Rytka,Bildtext: Piktogram : talking pictures magazine No. 13 von Pawel Althamer, Miroslaw Balka, Miroslawem Balka, Robert Kusmirowski, Michal Wolinski, Magda Szalewicz, Paulina Olowska, Jan Verwoert, Zygmunt Rytka,

Piktogram : talking pictures magazine No. 13

Pawel Althamer, Miroslaw Balka, Miroslawem Balka, Robert Kusmirowski, Michal Wolinski, Magda Szalewicz, Paulina Olowska, Jan Verwoert, Zygmunt Rytka,
Verlag: Stowarzyszenie Piktogram
Jahr: 2009
Edition: Taschenbuch
ISBN: 17348137
Zustand: Gebraucht
Text englisch und polnisch PKTGM 13 Wspolna sprawa/Common Task Pawel Althamer i inni/ et al The Music, which Tattooed my Brain Miroslaw Balka Nie bylo jednego odcienia, wszystko bylo przemieszane, kolaze/ There was no Single Hue Everything was a Melange, a Collage Z Miroslawem Balka rozmawia Michal Wolinski/ Miroslaw Balka in conversation with Michal Wolinski Patent na dzwiek/ A Patent for the Sound Robert Kuśmirowski Mitologia narodowa, handel walizkowy i biale plamy/ National Mythology, Suitcase Trade, and Blank Spaces Z Jankiem Simonem rozmawia Michal Wolinski/ Janek Simon in conversation with Michal Wolinski Goshka Macuga: Okielznac bestie/Taming the Beast Michal Wolinski Pien staje sie twarza, twarz staje sie pejzazem.../ A Tree Trunk Becoming a Face, a Face Becoming a Landscape... Z Paulina Olowska rozmawia Magda Szalewicz/ Paulina Olowska in conversation with Magda Szalewicz Lato w Piktogramie"/ Summer in the Piktogram Paulina Olowska Konsumuj! Cokolwiek! Za wszelka cene! Utopia konsumpcji, ktora nie musi miec sensu/ Consume! Whatever! At all costs! The Utopia of a Consumption That is not Forced to Make Sense Jan Verwoert Fiat 126 P Zygmunt Rytka Reklamy z magazynu ilustrowanego Ty i Ja"/ Advertisements from Ty i la illustrated magazine Na okladce/ on the cover: Paulina Olowska, Lato w Piktogramie"/ Summer in the Piktogram 2009, kolaz na tekturze/ collage on cardboard, 42 x 30 cm. Courtesy of the Artist. 13 pktgm

Preis(€): 12,90

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Bildtext: the Borrowed Gaze - Variations Gtb von Karin HanssenBildtext: the Borrowed Gaze - Variations Gtb von Karin Hanssen

the Borrowed Gaze - Variations Gtb

Karin Hanssen
Verlag: MER Paper Kunsthalle
Jahr: 2012
Edition: Leinen
ISBN: 9789490693442
Zustand: Gebraucht
Buch ist neu INTRODUCTION PAINTING AGAINST TIME THE PICTORIAL PRACTICE OF KARIN HANSSEN: A DISCURSIVE CONTEXT Johan Pas TOURNEZ S'IL VOUS PLAIT, TRANSCRIPTIONS OF A RUCKENFIGUR BY GERARD TER BORCH Daniela Hammer-Tugendhat THE BORROWED GAZE / Variations GTB THE BIRTH OF CRITICISM FROM THE SPIRIT OF ART: KARIN HANSSEN'S ALLEGORIES OF SATIN Kurt Vanhoutte INTRODUCTION This book is the outcome of a research project initiated by Karin Hanssen and Kurt Vanhoutte. The central focus is the installation The Borrowed Gaze/Variations GTB, a series of paintings created by Hanssen. The ten synchronous replications establish a multifaceted relationship with the female Ruckenfigur (back figure) of the famous work Paternal Admonition (1654) of Gerard ter Borch and the many variations that were produces in the hundred years that followed. Next to this installation the book includes three texts that together provide a perspective on the intriguing relationship between two eras: they show how Hanssen meticulously crafts a dialogue between the 17th century and the present, broaching themes as varied as the tension between original and copy, the moral value of representation and the many ambivalences of cultural mimesis. In his contribution Johan Pas situates the artist Karin Hanssen in the context of both painting practice in Belgium and (or, partly, against) a broader postmodernist and avant-garde discursive context. The substantial text of Daniela Hammer-Tugendhat offers an eloquently detailed account of ter Borch's paintings, stressing the role of the Ruckenfigur as a paradigmatical figure for ambiguity, for the projections and imaginings of the spectators. Finally, Kurt Vanhoutte describes the ways in which art and research are closely and inherently intertwined in the allegorical images of The Borrowed Gaze/Variations GTB, resulting in a work of art that paradoxically succeeds in turning a fetishized copy into a revived original. At the time almost identical replications of ter Borch's paradig-matic image of a woman in a satin dress circulated on the market. Today, in the era of technical reproduction and digital simulation, this practice acquires new relevance. By transferring the image of the 17th century woman to the here and now, and by producing new variations, concepts of authorship and artistic appropriation can be critically examined. More importantly, the extensive replication also fundamentally alters the status of the original image. The tension between old and new creates the background against which the iconic woman from the past truly comes alive, for the first time displaying the complexity of her individual identity.

Preis(€): 22,00

Versand(€): 2,10

Bildtext: Excavating History: Artists Take on Historic Sites von Rebecca KellerBildtext: Excavating History: Artists Take on Historic Sites von Rebecca Keller

Excavating History: Artists Take on Historic Sites

Rebecca Keller
Verlag: Stepsister Press, Llc
Jahr: 2015
Edition: kartoniert
ISBN: 9780980230055
Zustand: Gebraucht
Buch ist neu Artist Rebecca Keller started making site-specific interventions in an anatomy theatre in Estonia in 2006. The project has since become a course, a collective, and a series of artist exhibitions in historic sites in the United States and Europe. This full-color book shares the stories of these exhibitions, student reflections, and essays from scholars with concerns in historic preservation and artistic interventions on historic sites. Keller carefully weaves together the context and motivation for these interventions, and offers suggestions for how to replicate her work in classroom-museums around the world. This project is partially supported by a grant from the Illinois Arts Council, a state agency, and by funding from the School of the Art Institute of Chicago

Preis(€): 13,90

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Bildtext: Runa Islam: Dogs Devouring Dead Horses von Runa Islam, Christian Rattemeyer, Marc Gloede, Milovan FarronatoBildtext: Runa Islam: Dogs Devouring Dead Horses von Runa Islam, Christian Rattemeyer, Marc Gloede, Milovan Farronato

Runa Islam: Dogs Devouring Dead Horses

Runa Islam, Christian Rattemeyer, Marc Gloede, Milovan Farronato
Verlag: BOM DIA BOA TARDE BOA NOITE
Jahr: 2013
Edition: Hardcover/gebunden
ISBN: 9783943514063
Zustand: Gebraucht
Buch ist neu

Preis(€): 15,60

Versand(€): 2,10

Bildtext: Roman Signer at Camden Arts Centre von Jeremy MillarBildtext: Roman Signer at Camden Arts Centre von Jeremy Millar

Roman Signer at Camden Arts Centre

Jeremy Millar
Verlag: Camden Arts Centre
Jahr: 2001
Edition: kartoniert
ISBN: 9781900470193
Zustand: Gebraucht
List of works in the exhibition Gallery I, ll & Ill Kameramann, 2001 (Cameraman) 9 monitors, 9 DVDs, synchronizer unit, wooden box plinth Courtesy Galerie Hauser & Wirth, Zurich Cross Country, 2001 Sand, cross country skis, ski poles Courtesy the artist and Galerie Hauser & Wirth, Zurich Balton mit Kamera, 2001 (Balloon with camera) Balloon, helium, camera, plasma screen Courtesy Galerie Hauser & Wirth, Zurich Tisch mit Kamera, 2001 (Table with camera) Video projection, DVD, 13 minutes 20 seconds duration Courtesy the artist and Galerie Hauser & Wirth, Zurich 8 Helicopters, 1995 Eight model helicopters, metal funnel for bagging Christmas trees, white netting Courtesy the artist and Galerie Hauser & Wirth, Zurich Mind the Gap, 2001 Bed, CD, CD player, speakers Courtesy the artist and Galerie Hauser & Wirth, Zurich Beobachtungskiste, 2000 (Observation box) Wooden box, protective fire suit, black powder, battery, release button Courtesy Galerie Hauser & Wirth, Zurich Fahrrad, 1997 (Bicycle) Bicycle, lengths of wood, fittings Flick Collection Weihnachtsbaum II, 2001 (Christmas Tree II) Christmas tree mounted on a wooden stand, laser light, electric fan Courtesy Galerie Hauser & Wirth, Zurich Foyer Video compilation of works shown at Venice Biennale, 1999. 13 minutes, 30 seconds duration Kabine, 1999 (Cabin), Gleichzeiting, 1999 (Simultaneous), Blaues Fass, 1999 (Blue Barrel), Roter Ball, 1996 (Red ball), Helikopter auf Brett, 1998 (Helicopter on wooden board), Fass mit Kamera, 1999 (Barrel with camera), Vulkan, 1993 (Volcano), Eis und Lampe, 1995 (Ice and lamp), Sand, 1996 (Sand), and Ziegelsteine, 1993 (Bricks) Roman Signer (born 1938, Appenzell, Switzerland) has been making work since the early 1970s. He has shown extensively in Switzerland, Germany, Italy, The Netherlands and the United States. Recent solo exhibitions have included shows with Galerie Hauser & Wirth, Zurich Westfalisches Landesmuseum fiir Kunst und Kulturgeschichte, Miinster Bonnefanten Museum, Maastricht Secession, Vienna Oriel Mostyn, Llandudno and Butler Gallery, Kilkenny. An exhibition of his photographs took place at the Photographers' Gallery, London in 1997 and he represented Switzerland in the 1999 Venice Biennale. Published on the occasion of the exhibition by Roman Signer at Camden Arts Centre 30 November 2001 3 February 2002 The exhibition and publication have been generously supported by The Henry Moore Foundation, Pro Helvetia, the Swiss Embassy and the Swiss Cultural Fund in Britain Camden Arts Centre and Roman Signer would like to thank Aleksandra Signer Tomek Rogowiez Aufdi Aufdermauer and Karin Wegmuller Galerie Hauser & Wirth, Zurich, particularly lwan Wirth, Esther Flury and Florian Berktold Alex Ritter & the Flick Collection Hermann Lelie & Stefania Bonelli Jeremy Millar Andy Keate and Sussie Ahlburg Paul Callaghan Thilo Hoffmann. Published by Camden Arts Centre Designed by Hermann Lelie Typset by Stefania Bonelli Edited by Heather Galbraith Printed by PJ Print 2001, Roman Signer, Jeremy Millar, Camden Arts Centre. This publication may not be reproduced in any manner, either in whole or part, without written permission from the publisher. All rights are reserved. Photographs on pages 2-3, 4, 7, 10, 12-13, 15 and back cover by Ahlburg Keate Photograph on page 11 by Stefan Rohner Video stills on cover & pages 4, 12-13 by Paul Callaghan Camden Arts Centre Registered Charity Number 1065829/0 Registered Company Number 2947191 Registered Office: Arkwright Road, London, NW3 6DG Registered in England and Wales

Preis(€): 7,90

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Bildtext: Selected Poems Donne (Crofts Classics) von M. A. Shaaber, John DonneBildtext: Selected Poems Donne (Crofts Classics) von M. A. Shaaber, John Donne

Selected Poems Donne (Crofts Classics)

M. A. Shaaber, John Donne
Verlag: Harlan Davidson Inc.
Jahr: 1993
Edition: Taschenbuch
ISBN: 9780882950327
Zustand: Gebraucht
Rich selection of 73 works from the Songs and Sonnets, Elegies, Holy Sonnets and other verse forms by foremost English "metaphysical" poet. Included are "The Good Morrow," "The Canonization," "The Relic," "A Valediction: Forbidding Mourning," "To His Mistress Going to Bed," "Death Be Not Proud," "Good Friday, 1613. Riding Westward," "Hymn to God My God, in My Sickness" and many more. Note. Alphabetical lists of titles and first lines. Includes 2 selections from the Common Core State Standards Initiative: "Song" and "A Valediction Forbidding Mourning."

Preis(€): 8,90

Versand(€): 2,10

Bildtext: Lonely Planet: Brazil - Special wildlife section, including Amazonia and the Pantanal von John Noble, Andrew Draffen, Robyn JonesBildtext: Lonely Planet: Brazil - Special wildlife section, including Amazonia and the Pantanal von John Noble, Andrew Draffen, Robyn Jones

Lonely Planet: Brazil - Special wildlife section, including Amazonia and the Pantanal

John Noble, Andrew Draffen, Robyn Jones
Verlag: Lonely Planet
Jahr: 1993
Edition: Taschenbuch
ISBN: 9781864501469
Zustand: Gebraucht
Here is the real Brazil: the people, the food, the architecture and the music. Features expanded coverage of ecotourism: where to go, where to stay and how to get there. New special section on wildlife and travellers' favourite spots: the Amazon and the Pantanal and a colourful section on the world's biggest party, Carnavale in Rio. Die neue Ausgabe des Brasilienreiseführers aus der Lonely-Planet-Reihe läßt keine Wünsche offen. Nicht nur Geschichte, Wirtschaft und Politik des Landes werden knapp aber informativ geschildert ebenso breiten Raum nimmt die Darstellung von Flora und Fauna des Regenwaldes und seiner Bedeutung für die Erde ein. Zwischendurch sind immer wieder amüsante und interessante Tipps, Geschichten und Kuriositäten eingestreut, die zum Schmunzeln und Nachmachen anregen. Unvergeßlich etwa die Passagen über den "Piranha-Lunch" (Motto: "It's eat or to be eaten"). All das weckt nicht nur Interesse, sondern auch Sympathie für das Reiseland, das im übrigen nach seinen Bundesstaaten geordnet dargestellt wird. Zu allen wichtigen Städten der jeweiligen Bundesstaaten finden sich eine Vielzahl von Übernatungs- und Ausflugstipps, freilich alles vorzugsweise zugeschnitten auf den jungen Individualreisenden mit wenig Geld. Abgerundet werden die Reisebschreibungen durch kleine Übersichtskarten, die die erste Orientierung vor Ort erheblich erleichtern. Eine vergleichbare Fülle an Informationen dürfte für den Preis schwerlich aufzutreiben sein. Das macht die im Vergleich zu anderen Reiseführern eher spartanische Aufmachung mit wenig Abbildungen allemal wieder wett!

Preis(€): 1,90

Versand(€): 4,80

Bildtext: Morocco: The Rough Guide von Mark Ellingham, Shaun MCVeigh, Don GrisbrookBildtext: Morocco: The Rough Guide von Mark Ellingham, Shaun MCVeigh, Don Grisbrook

Morocco: The Rough Guide

Mark Ellingham, Shaun MCVeigh, Don Grisbrook
Verlag: Rough Guides
Jahr: 1993
Edition: Taschenbuch
ISBN: 9781858281698
Zustand: Gebraucht
Cover angestossen, sonst gut Practical tips on everything from the best-value hotels and restaurants to transport and roads. Lively accounts of the monuments and sites with informed treatment of Moroccan culture, past and present. Evocative descriptions of the routes and landscapes from mountain pistes to age-old caravan trails across the desert. Comprehensive coverage of trekking in the high Atlas, windsurfing on the Atlantic coast and bird watching in the lakes and estuaries. Full colour photos and more than 70 maps.

Preis(€): 1,50

Versand(€): 4,80

Bildtext: Lonely Planet I von Christine Niven, Teresa Cannon, David Collins, Peter Davis, Paul Harding, Mark HonanBildtext: Lonely Planet I von Christine Niven, Teresa Cannon, David Collins, Peter Davis, Paul Harding, Mark Honan

Lonely Planet I

Christine Niven, Teresa Cannon, David Collins, Peter Davis, Paul Harding, Mark Honan
Verlag: Lonely Planet
Jahr: 1993
Edition: Taschenbuch
ISBN: 9780864424914
Zustand: Gebraucht
This guidebook includes the low-down on what makes India tick, politically and economically, and a 32 page colour section "Sacred India", highlighting the country's religious diversity. India promises travel on a grand scale: colorful, exciting, at times exasperating, but never dull. This bestselling and indispensable guide is revered for its practical information on the complexities of travel in India, exquisitely detailed maps, good-value listings for all budgets, and essential advice on Indian culture, solo travel, language, and bargaining. color. 200 maps.

Preis(€): 1,90

Versand(€): 4,80

Bildtext: Not for Tourists Guide to Chicago von Not for TouristsBildtext: Not for Tourists Guide to Chicago von Not for Tourists

Not for Tourists Guide to Chicago

Not for Tourists
Verlag: Not for Tourists
Jahr: 2011
Edition: Taschenbuch
ISBN: 9780979533969
Zustand: Gebraucht
Not for Tourists Guide to Chicago 2011, half anti-guidebook, half urban manual, is the ultimate little black book. Packing it all in and revealing where to get the best pizza, find charming architecture, catch a movie, find the best nightlife, or simply where to head for the best view of the Chicago city skyline. Whether you've called Chicago your home for decades or just arrived last night, you ignore at your peril this new 2011 edition with its caustic neighbourhood summaries and refreshing, politically incorrect descriptions. Meticulously researched and written by folks who actually live here, NFT presents the city along with its good, its bad and its downright hideous. In over 400 pages of glorious content, the pocket-sized survival handbook features simply everywhere, from The Loop and Prairie Shores to Logan Square and East Lakeview, as well as covering Parks, Colleges & Universities, Sports, Transit, and Arts & Entertainment. Designed for street-savvy locals, commuters, business travellers, and yes, tourists, NFT Chicago includes a highly graphical map for every neighbourhood featured. User-friendly map icons highlight everything from coffee shops, supermarkets, liquor stores and libraries, to hardware stores, gas stations, gyms and pharmacies. So if you're meeting friends in an unfamiliar part of the city or find yourself off the beaten track, NFT is a must-have resource. But NFT doesn't waste your time by serving up five zillion options just because they're in a database: contributors have gone back to eat, drink, dance and shop their way through last year's listings to check that they're still worth knowing. As a new arrival in Chicago, I carried this everywhere while exploring the city's neighborhoods. Not exactly a guidebook (and shouldn't substitute as one for the visitor), this book has good listings and maps, and makes a fantastic complement to Yelp and Google Maps on the smartphone. My daughter just moved to Chicago. This book was fabulous for helping her get oriented to her new neighborhood. The information on public transportation is amazing and very useful. I loved the section on attractions including parks and museums. The Guide has helpful information, but was not comprehensive enough. In my opinion, writers of guide books need to decide whether the book will be brief or comprehensive. If it is "in between," it does not appeal to me. Different strokes for different folks!

Preis(€): 4,90

Versand(€): 2,10

Bildtext: Insight Guides: Beijing Smart Guide (Insight Smart Guide) von Dinah Gardner, Jason MitchellBildtext: Insight Guides: Beijing Smart Guide (Insight Smart Guide) von Dinah Gardner, Jason Mitchell

Insight Guides: Beijing Smart Guide (Insight Smart Guide)

Dinah Gardner, Jason Mitchell
Verlag: Insight
Jahr: 2008
Edition: Taschenbuch
ISBN: 9789812589736
Zustand: Gebraucht
A brand new series from "Insight" brings you the "Smart Guide" for smart travelers. The unique and innovative A-Z format of "Smart Guides" allows you to plan your trip according to your own personal taste. Themed headings cover over 400 amazing things to see and do from architecture, bars, cafes, churches, fashion, history, hotels, museums, nightlife, restaurants, shopping, theater and much more for a truly tailor-made, individual travel experience.Area overviews conveniently highlight the best each district has to offer helping you to set priorities for your trip and the front-cover flap highlights all the top sights of the destination. The guide also contains a street atlas with full index and detailed mapping which is cross-referenced to the main text for ease of use and transport maps are provided to help you get around and explore. The back-cover flap provides useful phrases to help you get by, along with other useful contact information.

Preis(€): 4,90

Versand(€): 2,10

Bildtext: Wendepunkte deutscher Geschichte 1848-1990 von Carola Stern, Heinrich A. WinklerBildtext: Wendepunkte deutscher Geschichte 1848-1990 von Carola Stern, Heinrich A. Winkler

Wendepunkte deutscher Geschichte 1848-1990

Carola Stern, Heinrich A. Winkler
Verlag: FISCHER Taschenbuch
Jahr: 1994
Edition: Taschenbuch
ISBN: 9783596122349
Zustand: Gebraucht

Preis(€): 1,90

Versand(€): 2,10

Bildtext: Lonely Planet: Mexico von John Noble, Wayne Bernhardson, Tom BrosnahanBildtext: Lonely Planet: Mexico von John Noble, Wayne Bernhardson, Tom Brosnahan

Lonely Planet: Mexico

John Noble, Wayne Bernhardson, Tom Brosnahan
Verlag: Lonely Planet
Jahr: 1994
Edition: Taschenbuch
ISBN: 9781864500899
Zustand: Gebraucht
Contains truly extensive coverage, from Mexico City's bustling boulevardes to Baja's laid-back beaches special sections on Mexico's vibrant artesanias (handicrafts) and on the nation's diverse flora and fauna tips on climbing volcanoes and Aztec pyramids new listings of Internet cafes nationwide and a Spanish language

Preis(€): 1,90

Versand(€): 4,80

Bildtext: The Rough Guide to Sydney 3 (Rough Guide Mini Guides) von Margo DalyBildtext: The Rough Guide to Sydney 3 (Rough Guide Mini Guides) von Margo Daly

The Rough Guide to Sydney 3 (Rough Guide Mini Guides)

Margo Daly
Verlag: Rough Guides
Jahr: 1994
Edition: Taschenbuch
ISBN: 9781843531166
Zustand: Gebraucht
This edition features a colour section with photographs of Sydney's highlights. There is coverage of every attraction from catching a wave at Bondi to scaling the harbour bridge or watching a film under the stars. There are critical reviews of restaurants and accommodation plus the lowdown on the best places to drink, dance, swim and shop. It also covers the numerous day-trips that are possible from the city, including wine tasting in Hunter Valley, bushwalking in the Blue Mountains and cruising on the Hawkesbury River.

Preis(€): 1,90

Versand(€): 2,10

Bildtext: Een omgeving voor actuele kunst von Pascal Gielen, Rudi LaermansBildtext: Een omgeving voor actuele kunst von Pascal Gielen, Rudi Laermans

Een omgeving voor actuele kunst

Pascal Gielen, Rudi Laermans
Verlag: Lannoo Publishers
Jahr: 2004
Edition: Taschenbuch
ISBN: 9789020956436
Zustand: Gebraucht
Vlaanderen ligt in het centrum van Europa, maar bevindt zich in de periferie van de beeldende-kunstenwereld. Die vaststelling is voor Pascal Gielen en Rudi laermans de opmaat tot het toekomstscenario dat ze in opdracht van Initiatief Beeldende Kunsten (IBK) formuleerden. Een omgeving voor actuele kunst stoffeert de lopende discussie over tor met een schat aan feitenmateriaal. De auteurs staan eerst uitvoerig stil bij het gevoerde overheidsbeleid en de relatieve benadeling van de beeldende kunsten in vergelijking met de podiumkunsten. Vervolgens detecteren ze een drietal algemene spanningen binnen 'de sector': tussen tonen en collectioneren, tussen de eigen profilering van instellingen en netwerkvorming, en tussen private en publieke initiatieven. In het slotgedeelte brengen Gielen en Laermans hun voornaamste bevindingen eerst samen aan de hand van een handig diagram. Afrondend bepleiten ze voor de Vlaamse beeldende-kunstensector een ontwikkelingsgericht beleid op maat van de centrumperifere' positie van onze regio.

Preis(€): 9,90

Versand(€): 4,80

Bildtext: ROLAND BARTHES door von ROLAND BARTHESBildtext: ROLAND BARTHES door von ROLAND BARTHES

ROLAND BARTHES door

ROLAND BARTHES
Verlag: SUN
Jahr: 2001
Edition: kartoniert
ISBN: 9789061682974
Zustand: Gebraucht
Roland Barthes door Roland Barthes is een hyperindividuele en daardoor hyperware autobiografie in de vorm van een reeks foto's plus bijschrift, gevolgd door honderdvijftig bladzijden vol alfabetisch geordende stellingen en typeringen, die pedant, wijsgerig, vrijgevochten maar ordelijk als hun auteur zijn. Het gaat veelal om kleine essaytjes of lyrische stolseltjes, stimulerend en vermakelijk voor iedereen die van die genres houdt. 'Ik zie de taal', merkt Barthes (1915), taalkundige, structuralist, vooral bekend van 'De nulgraad van het schrijven', ergens op. Dat maakt de zijne misschien zo tastbaar en dwingend, en voorkomt de gedachte aan inwisselbaarheid, vanwege het schijnbaar willekeurige hier en daar, en aan ijdelheid, vanwege hetzelfde. (Biblion recensie, Barber van de Pol.)

Preis(€): 9,90

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Bildtext: Wat is literatuur von Jean-Paul SartreBildtext: Wat is literatuur von Jean-Paul Sartre

Wat is literatuur

Jean-Paul Sartre
Verlag: De Bezige Bij
Jahr: 1968
Edition: Taschenbuch
ISBN: 9789061682974
Zustand: Gebraucht
Als u zich ergens voor wilt inzetten,' schrijft een jonge idioot, 'waar wacht u nog op om u bij de communistische partij aan te sluiten?' Een groot schrijver, die vergeten is dat hij vaak verplichtingen aanging en er zich nog vaker van losmaakte, zei eens tegen mij: 'De slechtste kunstenaars, dat zijn de meest geëngageerden, kijk maar naar de Sovjet-schilders.' Een oude criticus klaagt zachtjes: 'U wilt de literatuur vermoorden de minachting voor de letteren wordt in uw tijdschrift op brutale wijze ten toon gespreid.' Een leeghoofd noemt mij vrijdenker, hetgeen voor hem kennelijk het ergste scheldwoord is een schrijver, die veel moeite had zich van de ene oorlog naar de andere te slepen en wiens naam soms kwijnende herinneringen bij grijsaards oproept, verwijt mij, dat ik me niet om onsterfelijkheid bekommer godzijdank kent hij nog talrijke eerlijke lieden wier voornaamste hoop ze is. In de ogen van een Amerikaanse pruljournalist heb ik de fout Bergson noch Freud te kennen en wat Flaubert betreft, die zich nergens voor inzette, wordt verteld, dat hij mij als een wroeging kwelt. Slimmeriken knipogen: 'En de dichtkunst? En de schilderkunst? En de muziek? Wilt u die ook engageren?' En de strijdvaardige geesten vragen: Waar gaat het over? Geëngageerde literatuur? Welnu, dat is het vroegere socialistisch realisme, als het geen herleving van het populisme is, in het meer vijandige.' Wat een dwaasheden! Het komt doordat men snel en slecht leest en doordat men oordeelt voordat men begrepen heeft. Laten we dus opnieuw beginnen. Dat vindt niemand plezierig, u noch ik. Maar de zaak moet uitgevochten morden. En daar de critici mij in naam der literatuur veroordelen, zonder ooit te zeggen wat ze daaronder verstaan, is het beste antwoord dat hierop kan morden gegeven, de kunst van het schrijven onbevooroordeeld te onderzoeken. Wat is schrijven? Waarom schrijft men? Voor wie? Het lijkt inderdaad wel, alsof niemand het zich ooit heeft afgevraagd.

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Bildtext: Nietzsche: een biografie van zijn denken von Rüdiger SafranskiBildtext: Nietzsche: een biografie van zijn denken von Rüdiger Safranski

Nietzsche: een biografie van zijn denken

Rüdiger Safranski
Verlag: Olympus
Jahr: 2002
Edition: Taschenbuch
ISBN: 9789025415334
Zustand: Gebraucht
Er is bijna niemand die ons denken zo sterk heeft beïnvloed als Nietzsche. Nadat de filosofen het misbruik van zijn geschriften hebben rechtgetrokken en de historici de feiten van zijn leven op een rijtje hebben gezet, presenteert Riidiger Safranski de biografie van Nietzsches denken. Friedrich Nietzsche (1844-1900), de grote filosoof van de negentiende eeuw en schrijver van een ijzersterke, gepolijste taal, wilde, zoals hij een keer heeft opgemerkt, door zijn denken de dichter van zijn leven worden. Hij heeft rollen gekozen en maskers opgezet, bijvoorbeeld die van vrije geest, psycholoog, moralist, profeet en nar, en toch is zijn denken existentieel, omdat het om de vormgeving van het eigen leven gaat. Zijn denken is experimenteel, omdat heel de traditie van de kennis en de moraal erin op de proefbank wordt gelegd. En het is exemplarisch in zijn antwoorden op het probleem van het nihilisme. 'Dit is de heldere Nietzsche-biografie die men van Safranski verwacht heeft [...] in een door Nietzsche geïnspireerde taal, die echter nooit met hem concurreert.' - Die Zeit 'Safranski is een meesterverteller voor werkelijk geïnteresseerde leken.' - Frankfurter Rundschau 'Een meesterwerk.' - Focus

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Bildtext: Een joodse jongen - Over de ontmoeting tussen Hitler en Wittgenstein die de loop van de geschiedenis zou veranren von Kimberley CornishBildtext: Een joodse jongen - Over de ontmoeting tussen Hitler en Wittgenstein die de loop van de geschiedenis zou veranren von Kimberley Cornish

Een joodse jongen - Over de ontmoeting tussen Hitler en Wittgenstein die de loop van de geschiedenis zou veranren

Kimberley Cornish
Verlag: Unieboek
Jahr: 1998
Edition: Hardcover/gebunden
ISBN: 9789041090843
Zustand: Gebraucht
Inhoud Inleiding DEEL I 1 De jood van Linz 2 De spionnen van Trinity DEEL 2 3 Wagner en het jodendom in de muziek 4 De wending in het onderzoek 125 5 De mystieke ervaring en het ik 135 6 Schopenhauer, Rosenberg en de rassentheorie 151 7 Magie, toverij en Hitler 163 DEEL 3 8 De sleutel tot de geest 201 9 Vereniging van de geest 217 Zo Wittgenstein en het mentaal-socialisme 227 n Avicenna en Averroës 247 Ia Tegenargumenten: Thomas van Aquino en Strawson 259 Conclusie 273 APPENDIX: Een aantekening bij Clausewitz, Hitler en vorst Ludwig Adolf Wittgenstein 277 Noten 283 Register 332

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Bildtext: IN DIALOOG MET LACAN - Psychiatrische, filosofische en literatuurtheoretische beschouwingen von Nathalie Kok, Kees NuijtenBildtext: IN DIALOOG MET LACAN - Psychiatrische, filosofische en literatuurtheoretische beschouwingen von Nathalie Kok, Kees Nuijten

IN DIALOOG MET LACAN - Psychiatrische, filosofische en literatuurtheoretische beschouwingen

Nathalie Kok, Kees Nuijten
Verlag: Boom uitgevers
Jahr: 1996
Edition: Taschenbuch
ISBN: 9789053522561
Zustand: Gebraucht
Samenvatting De invloed van het werk van de Franse psychiater en psychoanalyticus Jacques Lacan (1901-1981) groeit nog altijd. Een groei die met name in de psychoanalyse te zien is, waar onder andere de door Lacan voorgestelde slogan retour á Freud, zijn ideeën over het spiegelstadium en het belang van de taal goed ontvangen zijn. Dat het werk van Lacan ook filosofische implicaties heeft, wordt binnen het kader van de hedendaagse wijsbegeerte onderkend en leidt daar tot een levendige dialoog. Voorts blijken diverse begrippen afkomstig uit het werk van Lacan in de moderne literatuurwetenschap zeer vruchtbaar en worden zij in een steeds ruimer wordende kring van literatuurwetenschappers gewaardeerd. Steeds vaker duikt de naam van Lacan op in het werk van de feministisch georiënteerde tekst- en ideologiekritiek. In dit boek geven auteurs uit België en Nederland (als vertegenwoordigers van bovengenoemde academische disciplines) hun visie op het gedachtegoed van Lacan en zij laten zien op welke wijze dit van toepassing is gebleken binnen hun vakgebied: een kritische receptie, en zeker geen kritiekloze navolging van de meester. Recensie(s) Na Freud was de Franse psychoanalyticus Jacques Lacan (1901-1981) zowel binnen als buiten de psychoanalyse een zowel bewonderde als verguisde figuur die een ware schokgolf veroorzaakte. In tegenstelling tot in sommige landen, waaronder België, is zijn invloed in Nederland beperkt gebleven, deels door zijn hermetische schrijfstijl en de complexiteit van de door hem behandelde materie. Deze bundel artikelen probeert dat te verhelpen, niet door een inleiding op Lacans werk te brengen, maar door met hem in dialoog te treden, meer bepaald op het vlak van zijn filosofische en literatuurwetenschappelijke inspiraties. Zijn psychiatrische en psychotherapeutische inzichten komen slechts zijdelings aan bod. Zo komen de imaginaire, symbolische en reële orde, het 'onbewuste subject', de verhouding tot het 'Ding' in de naastenliefde, invloeden van Schopenbauer en Husserl op Lacans opvatting van het onbewuste en zijn verhouding tot Kant aan de orde. Ook wordt stilgestaan bij Lacans positie m.b.t. tekstinterpretatie en literatuurtheorie. Het ene artikel is kritischer of toegankelijker dan het andere. Als geheel een bundel van hoog niveau. Niet geschikt als eerste kennismaking. (Biblion recensie, Lic. Michel Thys.)

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Bildtext: Dialectiek van de Verlichting - filosofische fragmenten von Max Horkheimer, Theodor AdornoBildtext: Dialectiek van de Verlichting - filosofische fragmenten von Max Horkheimer, Theodor Adorno

Dialectiek van de Verlichting - filosofische fragmenten

Max Horkheimer, Theodor Adorno
Verlag: SUN
Jahr: 1987
Edition: kartoniert
ISBN: 9789061682363
Zustand: Gebraucht
BIJ DE NIEUWE EDITIE Dialektik der Aufklärung verscheen in 1947 bij Querido in Amsterdam. Sinds geruime tijd is het boek, dat pas geleidelijk zijn verspreiding vond, niet meer te krijgen. Wanneer wij deze bundel na meer dan twintig jaar nu opnieuw uitbrengen, is het niet alleen de herhaalde aandrang van buiten af die ons daartoe beweegt, maar tevens de indruk dat veel van de gedachten daarin ook vandaag nog actueel zijn en onze latere theoretische inspanningen in verregaande mate hebben bepaald. Geen buitenstaander zal er zich gemakkelijk een voorstelling van kunnen maken, in hoe grote mate wij tweeën voor elke zinsnede samen verantwoordelijk zijn. Uitgebreide passages hebben we samen gedicteerd de spanning tussen de beide intellectuele temperamenten die zich in de Dialectiek met elkaar verbonden, is er het levenselement van. Niet met alles wat in het boek gezegd wordt zijn wij het nog onveranderd eens. Dat zou onverenigbaar zijn met een theorie die aan de waarheid een historische kern toeschrijft, in plaats van haar als iets onveranderlijks tegenover de beweging van de geschiedenis te plaatsen. Het boek werd geschreven op een moment, dat het einde van de nationaal-socialistische terreur in zicht was. In niet weinig passages evenwel is de formulering niet meer adequaat aan de huidige realiteit. Nochtans hebben we de overgang naar de totaal gecontroleerde wereld toen al niet als een al te onschuldig iets beoordeeld. In de periode van de politieke scheiding in kolossale machtsblokken, die er objectief toe gedwongen worden met elkaar in botsing te komen, hebben de verschrikkingen zich voortgezet. De conflicten in de Derde Wereld, de hernieuwde opkomst van het totalitarisme zijn evenmin zomaar historische incidenten als, volgens de Dialectiek, het toenmalige fascisme dat was. Kritisch denken, dat ook voor de vooruitgang geen halt houdt, vraagt vandaag de dag een partijkiezen voor de residuen van vrijheid, voor tendensen in de richting van de reële humaniteit, zelfs wanneer zulke tendensen ten overstaan van de oppermachtige loop van de geschiedenis machteloos lijken. De in dit boek onderkende ontwikkeling naar de totale integratie werd onderbroken, niet afgebroken ze dreigt zich, via dictaturen en oorlogen, te voltrekken. De prognose van de daarmee verbonden omslag van verlichting in positivisme, de mythe van datgene wat het geval is, en tot slot de identiteit van intelligentie en vijandschap tegen de geest, heeft op overweldigende wijze haar bevestiging gevonden. Onze conceptie van de geschiedenis verkeert niet in de waan aan de geschiedenis ontheven te zijn, maar ze is ook niet positivistisch op jacht naar informatie. Als kritiek van de filosofie wenst zij de filosofie niet prijs te geven. Uit Amerika, waar het boek geschreven werd, keerden we naar Duitsland terug vanuit de overtuiging, dat we daar zowel in theoretisch als praktisch opzicht meer konden doen dan elders. Samen met Friedrich Pollock, aan wie het boek, net als destijds bij gelegenheid van zijn vijftigste, nu bij zijn vijfenzeventigste verjaardag is opgedragen, hebben wij het 'Institut fik Sozialforschung' opnieuw opgezet vanuit de gedachte om de in de Dialectiek geformuleerde conceptie verder te ontwikkelen. Bij de verdere ontwikkeling van onze theorie en de aansluitende gemeenschappelijke ervaringen heeft ons Gretel Adorno, zoals ze dat al bij de eerste versie deed, op de mooist denkbare manier geholpen. Met wijzigingen gingen we veel zuiniger om dan bij heruitgaven van al decennia terug verschenen boeken gebruik is. We wilden geen retoucheringen aanbrengen in wat we hadden geschreven, zelfs niet in de overduidelijk inadequate passages de tekst volledig met de huidige stand van zaken in overeenstemming willen brengen, zou in elk geval op niets minder zijn neergekomen dan het schrijven van een nieuw boek. Dat het er heden ten dage meer op aankomt vrijheid te behouden, haar uit te breiden en tot ontplooiing te laten komen, in plaats van, hoe indirect ook, de ontwikkelingsgang in de richting van de totaal gecontroleerde wereld te versnellen, hebben wij ook in onze latere geschriften tot uitdrukking gebracht. Wij zijn in wezen niet verder gegaan dan de verbetering van drukfouten en dat soort zaken. Door een dergelijke terughoudendheid wordt het een boek met documentair karakter we hopen dat het tegelijk meer is dan dat. Max Horkheimer, Theodor W. Adorno, Frankfurt am Main, april 1969

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Bildtext: HET WENEN VAN WITTGENSTEIN - Freud, Kokoschka, Klimt, Loos, Schönberg, Musil, Kraus  Zweig,Von Hofmannsthal en Wittgenstein ten tijde van  de ondergang van het Oostenrijks-Hongaarse keizerrijk von Allan Janik,StephenToulminBildtext: HET WENEN VAN WITTGENSTEIN - Freud, Kokoschka, Klimt, Loos, Schönberg, Musil, Kraus  Zweig,Von Hofmannsthal en Wittgenstein ten tijde van  de ondergang van het Oostenrijks-Hongaarse keizerrijk von Allan Janik,StephenToulmin

HET WENEN VAN WITTGENSTEIN - Freud, Kokoschka, Klimt, Loos, Schönberg, Musil, Kraus Zweig,Von Hofmannsthal en Wittgenstein ten tijde van de ondergang van het Oostenrijks-Hongaarse keizerrijk

Allan Janik,StephenToulmin
Verlag: Boom uitgevers
Jahr: 1988
Edition: kartoniert
ISBN: 9789060098400
Zustand: Gebraucht
Wenen walst zich naar het verval van een vergrijsd keizerrijk en schijnt geen benul te hebben van de reacties die het starre en corrupte bestel bij vele kunstenaars loswoelt. De satiricus en polemist Karl Kraus, de componist Arnold Schitinberg, de architect Adolf Loos, de schilders Oscar Kokoschka en Gustav Klimt, de taalcriticus Fritz Mauthner, de schrijvers Hugo von Hofmannsthal, Arthur Schnitzler, Stefan Zweig en Robert Musil gaan een ander cultureel leven in Wenen beheersen. Zij maken deze tijd (1890 Eerste Wereldoorlog) tot een unieke periode Janik en Toulmin geven een verrassend beeld van dit Ween-se leven, waarin een hoofdrol wordt toebedeeld aan de filosoof Ludwig Wittgenstein. In verzet tegen de ingeslapen en rigide bourgeoisie van het Habsburgse Rijk en met name Wenen, als 'proefstation voor de wereldondergang', komt een nieuwe cultuur op, doordrenkt van taal- en maatschappijkritiek.

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Bildtext: Het gebruik van de lust - Geschiedenis van de seksualiteit 2 von Michel FoucaultBildtext: Het gebruik van de lust - Geschiedenis van de seksualiteit 2 von Michel Foucault

Het gebruik van de lust - Geschiedenis van de seksualiteit 2

Michel Foucault
Verlag: Boom uitgevers
Jahr: 1996
Edition: kartoniert
ISBN: 9789061682288
Zustand: Gebraucht
Over de in 1984 verschenen delen 2 en 3 van zijn meerdelige Geschiedenis van de seksualiteit heeft Foucault gezegd: Deze boeken verschijnen later dan gepland en zijn ook nog heel anders uitgevallen dan ik had gedacht. Hij is teruggekeerd naar de wortels van de westerse beschaving om na te gaan hoe, waar en waardoor het 'seksuele' gedrag voorwerp van reflectie en zorg, van een moraal is geworden. Dit tweede deel, Het gebruik van de lust, heeft tot onderwerp het Griekeiiland van de vierde eeuw voor Christus, een tijd waarin de'ervaring van de seksualiteit nog niet was belast door het christendom met zijn experiment van vlees en zonde. Het juist gebruik van de lust stoelt voor de Grieken op zel4eheersing, op beteugeling van de hartstocht, op een levenskunst die een soevereiniteit van zichzelf mogelijk maakt. In een juist gebruik van de lust komt de wijsheid tot uiting, de vrucht van ee'n plktijk die er op uit is het eigen leven te stileren tot schoonheid. Recensie(s) Vertaling van het 2e deel van de 'Geschiedenis van de sexualiteit' (ij dln.) van de zeer belangrijke Franse structuralistische filosoof M. Foucault (1926-1984). In dit deel houdt de auteur zich uitgebreid bezig met de wijze waarop filosofen en medici de sexuele activiteit hebben opgevat ten tijde van het klassieke Griekenland (4e eeuw v.Chr.), dus voordat de christelijke traditie ontstond, die lichamelijkheid en zonde op één lijn ging stellen. Foucault heeft een enorme hoeveelheid praktische handleidingen met morele gedragsregels in zijn studie verwerkt. Zijn konklusie is dat voor de klassieke Griek het juiste gebruik van de lusten gebaseerd was op zelfbeheersing. Men streefde een levenskunst na, waarin de mens zijn hartstochten meester was. Het moeilijke Frans is goed vertaald. Een belangrijk boek voor ieder die zich interesseert voor Foucaults eigenzinnige geschiedenisopvattingen. (Biblion recensie, Drs. Th.J. de Looy.)

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Bildtext: Wittgenstein et la critique du monde moderne - essais - tradition et rupture von Christiane Chauviré, Jean-Pierre Cometti, Jacques Le Rider, Aldo G. Gargani, Jacques Bouveresse, Ignace VerhackBildtext: Wittgenstein et la critique du monde moderne - essais - tradition et rupture von Christiane Chauviré, Jean-Pierre Cometti, Jacques Le Rider, Aldo G. Gargani, Jacques Bouveresse, Ignace Verhack

Wittgenstein et la critique du monde moderne - essais - tradition et rupture

Christiane Chauviré, Jean-Pierre Cometti, Jacques Le Rider, Aldo G. Gargani, Jacques Bouveresse, Ignace Verhack
Verlag: LETTRE VOLEE LA KANAL 20
Jahr: 1996
Edition: kartoniert
ISBN: 9782873170035
Zustand: Gebraucht
Französisch / Niederländisch WITTGENSTEIN ET LA CRITIQUE DU MONDE MODERNE Je me demande souvent si mon idéal culturel est nouveau, c'est-à-dire s'il est contemporain, ou s'il remonte à l'époque de Schumann. Il me semble tout au moins qu'il est la continuation de cet idéal une autre continuation veux-je dire, que celle qu'il a eue effectivement dans l'histoire . Ludwig Wittgenstein, Remarques mêlées. La remise en question de la tradition, opérée à l'occasion des ruptures dans le domaine de la pensée et de la culture, se révèle être un thème des plus riches et pertinents pour aborder le rapport de Wittgenstein à son temps. Traiter ce thème, c'est interroger les symptômes de la crise de la culture moderne au sens large c'est poser le rapport entre la réflexion de Wittgenstein et le regard que portent plusieurs de ses contemporains sur les enjeux que sous-tend cette crise, notamment Freud, Musil, Weininger, Kraus, Klimt, Loos, etc., autant de noms et surtout d'oeuvres qui nourrissent notre modernité et sa critique. Contributions de: Christiane Chauviré Jean-Pierre Cometti Jacques Le Rider Aldo G. Gargani Jacques Bouveresse Ignace Verhack

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Bildtext: Het kwaad, of Het drama van de vrijheid von Rüdiger SafranskiBildtext: Het kwaad, of Het drama van de vrijheid von Rüdiger Safranski

Het kwaad, of Het drama van de vrijheid

Rüdiger Safranski
Verlag: Atlas-Contact
Jahr: 1998
Edition: Hardcover/gebunden
ISBN: 9789025420888
Zustand: Gebraucht
Van het kwaad kom je niet los, je moet het ondervragen om erachter te komen wat er met jezelf aan de hand is. Het blijft een permanente bedreiging voor het vertrouwen in de wereld. De bezinning daarop brengt je ook in aanraking met vragen waarop de religies eens het antwoord vormden. Safranski behoort tot de in Duitsland zeldzame soort filosofische essayisten, die moeilijke en ingewikkelde denkwijzen helder en spannend kunnen weergeven.' - Sud-deutsche Zeitung 'Safranski's nieuwe boek opent de vernauwde horizon, die onze dagelijkse discussies over maatschappij en moraal, over waarden en normen dikwijls zo vrijblijvend en onvruchtbaar doen zijn. Het boek is helemaal niet moeilijk om te lezen, maar begrijpelijk geschreven evenals zijn filosofenbio-grafieën.' - Berliner Zeitung 'Het voordeel van Safranski's speurtocht is dat deze een onstilbaar verlangen oproept om alle teksten waarnaar hij verwijst zelf te gaan lezen.' - Paul Scheffer, NRC Handelsblad

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Bildtext: Ludwig Wittgenstein - De filosoof van de anti-theorie - Biografie von Christiane ChauviréBildtext: Ludwig Wittgenstein - De filosoof van de anti-theorie - Biografie von Christiane Chauviré

Ludwig Wittgenstein - De filosoof van de anti-theorie - Biografie

Christiane Chauviré
Verlag: Tirion
Jahr: 1989
Edition: Hardcover/gebunden
ISBN: 9789051212310
Zustand: Gebraucht
TIRION CULTUUR Van de filosofen van de twintigste eeuw staat geen zo in de belangstelling als de in Oostenrijk geboren Ludwig Wittgenstein, een zeer oorspronkelijk maar moeilijk toegankelijk denker. Aangezien persoon en denken bij Wittgenstein niet te scheiden zijn, heeft Christiane Chauviré gekozen voor een afwisselende behandeling van biografie en filo- sofie. Uitgangspunt is telkens een citaat uit de Tractatus logico-philosophicus, de Vermischte Bemerkungen of een van de aantekenboeken. Door de veelheid van citaten weet zij de filosoof ook voor niet-Wittgenstein- kenners zeer goed toegankelijk te maken. In de bio- grafische gedeelten rekent de auteur afmet de legenden die de levensgeschiedenis van Wittgenstein hebben vertekend en die bekende ideeën van hem een verkeerd accent hebben gegeven. Op deze wijze is zij erin geslaagd achter de 'heilige' de mens in al zijn boeiende facetten zichtbaar te maken.

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Bildtext: De wil tot weten - Geschiedenis van de seksualiteit 1 von Michel FoucaultBildtext: De wil tot weten - Geschiedenis van de seksualiteit 1 von Michel Foucault

De wil tot weten - Geschiedenis van de seksualiteit 1

Michel Foucault
Verlag: Boom uitgevers
Jahr: 1996
Edition: Taschenbuch
ISBN: 9789061681724
Zustand: Gebraucht
Michel Foucault opende in 1976 zijn meerdelige Geschiedenis vaan de seksualiteit met De wil tot weten. De uitdagende stelling, die Foucault hier met verve verdedigt, is dat de seks in onze hedendaagse maatschappij niet, zoals een bepaalde onderzoekstraditie wil, het voorwerp van verboden en onderdrukking is, maar dat zij daarentegen door deze maatschappij als een nieuwe vorst op de troon is gezet. Vanaf de achttiende eeuw zijn de mensen onophoudelijk doende geweest de seksualiteit te ondervragen met de bedoeling dat zij de waarheid over hen zou vertellen. Rondom haar is een waarheidsspel georganiseerd waarin het gaat om de kennis van zichzelf en van de anderen: de scientia sexualis. Recensie(s) Vertaling van het eerste deel van de 'Geschiedenis van de sexualiteit' van de zeer belangrijke Franse filosoof Michel Foucault. Door diens plotselinge overlijden in juni 1984 zal dit projekt - dat oorspronkelijk 6 delen zou omvatten - niet voltooid kunnen worden. Dit inleidende deel kan min of meer als zelfstandige studie worden gelezen. Het bevat de theoretische basis van het historisch onderzoek. Foucault bestrijdt in dit fascinerende boek de mede onder invloed van Freud gevormde hypothese dat in het Westen de sexualiteit steeds méér zou zijn onderdrukt, waarbij religie, moraal en pedagogiek van grote invloed zijn geweest. Foucault legt uit dat zich juist omgekeerd een 'wil tot weten' m.b.t. de miniemste details van de menselijke sexualiteit ontwikkeld heeft, die men buiten onze kultuur nergens aantreft. De filosofisch geïnteresseerde lezer wordt middels deze goede vertaling in de gelegenheid gesteld met Foucaults rijke gedachtengang zelf kennis te maken. De delen 2 "Het gebruik van de lust" (zie a.i. 91-10-106-4) en ij "De zorg voor zichzelf" (a.i. 91-10-198-0) verschenen in resp. 1984 en 1985. (Biblion recensie, Drs. Th.J. de Looy.)

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Bildtext: Schuins beziend - Jacques Lacan geïntroduceerd vanuit de populaire cultuur von Slavoj Zizek, Henk MoerdijkBildtext: Schuins beziend - Jacques Lacan geïntroduceerd vanuit de populaire cultuur von Slavoj Zizek, Henk Moerdijk

Schuins beziend - Jacques Lacan geïntroduceerd vanuit de populaire cultuur

Slavoj Zizek, Henk Moerdijk
Verlag: Boom uitgevers
Jahr: 1996
Edition: Taschenbuch
ISBN: 9789053522417
Zustand: Gebraucht
Slavoj Zizek Slavoj Zizek laat zien dat Lacans gedachtegoed niet altijd hoeft te resulteren in eindeloze abstracties, maar daarentegen een theoretisch kader biedt om aspecten van onze moderne cultuur te verklaren. Hij legt de lacaniaanse theorie uit met de 'film noir' en met onder andere Hitchcocks films Vertigo en The birds. In navolging van Lacan neemt Zizek de fundamentele gespletenheid in de menselijke subjectiviteit - aangevuld met fantasie en ideologieën - als uitgangspunt (het 'reële' of 'object petit a') Samenvatting Slavoj Zikek geeft in Schuins beziend op originele en provocerende wijze een uitleg van de psychoanalytische theorie van Jacques Lacan. Hij laat zien dat Lacans gedachtengoed niet altijd hoeft resulteren in eindeloze abstracties, maar daarentegen een theoretisch kader biedt om aspecten van onze moderne cultuur te verklaren. Zizek legt de lacaniaanse theorie uit met de 'film noir' en met onder andere Hitchcocks films Vertigo en The birds ook Shakespeare, Kafka en de cultfilm Robocop komen ter sprake. Hij laat de beperkingen zien van het poststructuralisme en analyseert aspecten van de moderne bureaucratie en democratie. In navolging van Lacan neemt Zizek de fundamentele gespletenheid in de menselijke subjectiviteit - aangevuld met fantasie en ideologieën - als uitgangspunt (het 'reële' of 1 object petit a'). Recensie(s) De Sloveense filosoof en psychoanalyticus Zizek, ooit zelfs presidentskandidaat voor Slovenië, is een adept van de beroemde Franse psychoanalyticus Lacan (1901-1981). Deze laatste staat bekend als moeilijk en ondoorgrondelijk. Zizek probeert met behulp van de cultuuruitingen literatuur en film Lacan toegankelijker te maken. Voor een bepaald publiek is hij daarin geslaagd. Psychoanalytici en filosofen zullen dit boek met plezier lezen en inzoverre zij Lacan niet kennen goed kunnen gaan begrijpen welke posities Lacan in het intellectuele debat innam. Boeiend is te lezen hoe Zizek in zijn uitleg van Lacan soms een stap verder gaat (b.v. bij het onderwerp ideologiekritiek) en daarmee is dit boek meer dan een boek over Lacan. (Biblion recensie, Henk Hazenbosch.) Inleiding tot het werk van de Franse psychoanalyticus en cultuurfilosoof (1901-1981) aan de hand van onder meer de films van Hitchcock en werk van Kafka en Shakespeare.

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Bildtext: De verbeelding van de bibliotheek - essays over literatuur -   Essays over Flaubert, De Sade, Bataille, Klossowski, Blanchot en Roussel. von Michel FoucaultBildtext: De verbeelding van de bibliotheek - essays over literatuur -   Essays over Flaubert, De Sade, Bataille, Klossowski, Blanchot en Roussel. von Michel Foucault

De verbeelding van de bibliotheek - essays over literatuur - Essays over Flaubert, De Sade, Bataille, Klossowski, Blanchot en Roussel.

Michel Foucault
Verlag: SUN
Jahr: 1986
Edition: Taschenbuch
ISBN: 9789061682455
Zustand: Gebraucht
In de jaren zestig, toen hij tot de redactie van het door George Bataille opgerichte tijdschrift Critique behoorde en zich verwant voelde met de doelstellingen van de Franse literaire avantgarde van die dagen, zoals geformuleerd door Tel Quel, hield Michel Foucault zich intensief met de literatuur bezig. Hij deed dat vanuit het groeiende inzicht dat de belangrijkste problemen van de hedendaagse filosofie allereerst verwoord werden in de literatuur, door auteurs als Maurice Blanchot, Raymond Roussel, Georges Ba-taille en Pierre Klossowski. Daarbij figureerde op de achtergrond steeds het werk van Markies de Sade. Over deze interesse merkte hij zelf eens op: 'Lange tijd werd ik heen en weer geslingerd tussen de hartstocht voor Blanchot en Bataille enerzijds, en mijn belangstelling voor positieve studies als die van Dumézil en Levi-Strauss anderzijds. Maar goed beschouwd hebben beide richtingen waarvan het religieuze probleem de gemeenschappelijke noemer vormt, mij in gelijke mate gebracht tot het denkbeeld van het verdwijnen van het subject.' In deze bundel zijn acht essays bijeengebracht, waaronder die over Bataille, Klossowski, Blanchot, Roussel en Flaubert, auteurs voor wie de laatste tijd ook in Nederland de belangstelling sterk groeiend is.

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Bildtext: Of / OF von Sren Kierkegaard, Jan Marquart ScholtzBildtext: Of / OF von Sren Kierkegaard, Jan Marquart Scholtz

Of / OF

Sren Kierkegaard, Jan Marquart Scholtz
Verlag: Boom
Jahr: 1986
Edition: Hardcover/gebunden
ISBN: 9789053525746
Zustand: Gebraucht
Samenvatting Denk je een stuurman op zijn schip op het moment dat hij overstag moet gaan, dan zal hij misschien kunnen zeggen: ik kan dit doen of dat maar als hij geen al te slechte stuurman is, zal hij zich er tegelijk van bewust zijn dat het schip ondertussen zijn gewone vaart loopt en dat het daarom maar een ogenblik lang om het even is of hij het een doet of het ander. Zo is ht ook met een mens vergeet hij rekening te houden met die vaart, dan komt er uiteindelijk een moment waarop er van een of/of geen sprake meer is, niet omdat hij heeft gekozen maar omdat hij het kiezen achterwege heeft gelaten. Recensie(s) Eerste integrale vertaling van het boek waarmee Kierkegaard zich in 1843 presenteerde als filosoof en als auteur die een groot aantal literaire genres blijkt te beheersen. Nieuw was zijn opvatting dat filosofie er niet is om gedachten te produceren, maar om mensen tot keuzes te brengen, een opvatting die vooral in de existentie-filosofie van onder andere Heidegger en Sartre werd uitgewerkt. De levenshoudingen waartussen we volgens Kierkegaard moesten kiezen zijn een esthetische levensinstelling, die het van steeds nieuwe en voorbijgaande prikkels moet hebben en een ethische of morele houding waardoor mensen pas echt stabiel en betrouwbaar zijn. Aan het slot van het boek wijst Kierkegaard in de vorm van een preek nog op een derde levensvisie, de religieuze, die in staat stelt om het absurde het hoofd te bieden. Waarschijnlijk omdat hij in Kopenhagen niet bekend stond als voorbeeld van een morele of religieuze levenshouding gebruikt hij allerlei pseudoniemen, zoals Victor Eremita, A en B, Johannes (Don Juan?), assessor Vilhelm, enz. Pas in 1846 onthulde Kierkegaard dat hij de enige auteur was van het boek. Prachtige vertaling met verklarende noten, literatuurverwijzing en een namen- en zakenregister. Grotendeels toegankelijk voor een niet speciaal filosofisch geschoold publiek. (Biblion recensie, Drs. N. Versluis) Alhoewel de grootte van het boek in eerste instantie tegenvalt bij het zien van de prijs, maakt de inhoud het weer helemaal goed. In dit boek laat Kierkegaard door oa zijn "dagboek van een verleider" een hele andere kant van zijn werken zien. Het boek bevat een aantal behoorlijk deprimerende teksten, maar de manier waarop hij de lezer tegelijkertijd confronteert met intens leven is wonderbaarlijk. Het boek mag zeker de titel of/of dragen. Kierkegaard laat de lezer verschillende keuzemogelijkheden zien, terwijl hij zijn vingers er niet aan brand om zelf een duidelijke voorkeur te geven. Mijns inziens gaat er zo een wereld van mogelijkheden en overwegingen voor je open en zet het de lezer aan verder te lezen in zijn volgende boeken.

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Bildtext: Kritiek van de cynische rede von Peter SloterdijkBildtext: Kritiek van de cynische rede von Peter Sloterdijk

Kritiek van de cynische rede

Peter Sloterdijk
Verlag: De Arbeiderspers
Jahr: 1992
Edition: Taschenbuch
ISBN: 9789029546027
Zustand: Gebraucht
FOTO: EWOUD DE KAT Geen boek heeft in de jaren tachtig zoveel opzien gebaard als Peter Sloterdijks Kritiek van de cynische rede. De inmiddels wereldberoemde Sloterdijk onlangs in de Franse pers zelfs 'de nieuwe Nietzsche' genoemd maakt in zijn Kritiek de balans op van de moderne filosofie. Zijn bevindingen zijn weinig positief en hij stelt zich de vraag: 'Valt er nog iets te redden? Of zullen de oorspronkelijke denkbeelden van de verlichting onder de korenmaat van het cynische denken een zekere dood sterven ?' In zijn herijking van het klassieke begrip 'cynisme' stippelt hij nieuwe perspectie- ven uit. Zijn werk boort diep en zijn nieuwe inzichten vergen enige inzet van de lezer, maar het geheel is geschreven in zo'n heldere, persoonlijke, ludieke stijl dat het meedenken met deze moderne filosoof geen opgave is maar een voorrecht. Onze eerste uitgave in twee delen kreeg indertijd veel positieve reacties van de pers en leidde tot geregelde spreekbeurten van Sloterdijk in ons land. Gezien de nog steeds groeiende belangstelling voor Sloterdijk en voor de moderne filosofie in het algemeen mocht een heruitgave niet langer uitblijven. Ditmaal goedkoop en in één band. Dit is een boek dat zo niet het hart dan toch in ieder geval het verstand verwarmt en het zou mij niet verbazen als de lezers ervan elkaar herkennen aan hun manier van praten, denken en handelen. Spannend, erudiet, geestig en intelligent, kom daar vandaag de dag 's om. Gerda Meijerink in Vrij Nederland Dit boek verdient zijn snel verworven reputatie volkomen. Het is de literair schitterend geslaagde symbiose van filosofische essayistiek en eigentijdse kritiek. Jurgen Habermas Het boek van Sloterdijk [zal] tot de intelligentste en meest invloedrijke boeken uit deze jaren blijven behoren. Die Zeit

Preis(€): 15,60

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Bildtext: Sade, Fourier, Loyola von Roland BarthesBildtext: Sade, Fourier, Loyola von Roland Barthes

Sade, Fourier, Loyola

Roland Barthes
Verlag: Synopsis
Jahr: 1984
Edition: Taschenbuch
ISBN: 9783518073742
Zustand: Gebraucht
Wat uitvalt tussen Sade en Fou-rier,' schrijft Barthes in zijn voorwoord bij Sade, Fourier, Loyola, 'is het sadisme. Wat uitvalt tussen Loyola en Sade is het gesprek met God. Maar de schriftuur is eender: eenzelfde klassificeerlust, eenzelfde verdeelwoede, eenzelfde beeldgebruik, eenzelfde opbouw van het stelsel, hetzij maatschappelijk, erotisch of fantasmatisch. Geen enkele van deze drie auteurs laat ook maar de minste vrijheid alle drie maken ze het genot, het geluk, de communicatie afhankelijk van een onwrikbare orde of als we nog beledigender willen zijn, van een schema. Hier zijn ze dan gedrieën verenigd, de gedoemde schrijver, de grote utopist en de heilige Jezuïet.' Wat hij aan dit trio, de Jezuïet, de utopist en de libertijn als gemeenschappelijk kenmerk ziet is hun vermogen een nieuwe taal te produceren binnen de oude taal. Wat voor ieder literair werk geldt of zou moeten gelden: een hoge graad van onafhankelijkheid ten opzichte van de betekenis die eraan gehecht wordt, en nog meer ten opzichte van datgene waarnaar het verwijst, wordt in dit soort uitzonderlijke teksten pas goed duidelijk: de sexuele excessen, die Sade zijn personages laat bedrijven zijn een revolutie in wat men tot dan toe over sexualiteit durfde schrijven en ze zijn tegelijkertijd niet werkelijk uitvoerbaar. De uto pistische samenleving van Foutier is nog duidelijker een plezier van de verbeelding en schept eerder nieuwe werkelijkheid dan dat ze ernaar verwijst. Voor Ignatius van Loyola, die, aldus Barthes, net zoveel moeite doet om de geest van beeldvorming te verlossen, liggen de zaken op het eerste gezicht ingewikkelder. Maar ook hij schept een wereld van woorden die nog nooit vertoond is, zelfs niet in het Christendom. * De taal is voor Barthes iets heel fysieks, door en door erotisch. J.F. Vogelaar in De Groene * Barthes was een nomade. Hij was wel het bekendst door zijn semiolo-gische analyses van de literatuur maar hij schreef over alles. In de literatuur analyseerde hij de tekens: hij zocht naar de sociologische, psychoanalytische, de ideologische en de politieke betekenis van taal, de vorm en de inhoud van literatuur. En hij las zoals niemand voor hem had gelezen. Carel Peeters in Vrij Nederland * We zien in het werk van Barthes vooral een schrijver van het slag dat zijn onderwerp primair wil zien als de manifestatie van een idee. Daarin was hij de origineelste stilist van zijn tijd. Times Literary Supplement Wonderful! The best, most readable book I have read by Barthes, and the best work I have read on Sade. Full of humor and insight with lots of savory biographical tidbits. The startlingly *natural* juxtaposition of Loyola, Fourier and Sade is cool and casual, not at all forced, and all the more remarkable for that. I read this in one sitting. You should too.

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Bildtext: Wittgenstein - Monografieen von E.L.G.E. Kuypers, Etienne Kuypers, Vincent BrummerBildtext: Wittgenstein - Monografieen von E.L.G.E. Kuypers, Etienne Kuypers, Vincent Brummer

Wittgenstein - Monografieen

E.L.G.E. Kuypers, Etienne Kuypers, Vincent Brummer
Verlag: Kok Agora
Jahr: 1991
Edition: Taschenbuch
ISBN: 9789024277193
Zustand: Gebraucht
Ludwig Wittgenstein (1889-1951) geldt voor velen als de belangrijkste denker van de twintigste eeuw. In deze tijd is er nauwelijks nog een filosoof of een denkrichting te vinden die zich aan zijn invloed zou hebben onttrokken. Maar ook op andere terreinen zoals de sociale wetenschappen, de ethiek, de esthetica en de theologie is zijn invloed aanzienlijk. In dit boek wordt het werk van Wittgenstein vanuit diverse invalshoeken belicht, om zoveel mogelijk recht te doen aan zijn veelzijdigheid. Zo situeert prof.dr. W. de Pater Wittgenstein binnen de analytische filosofie, terwijl prof.dr. I. Verhack zich juist afvraagt of Wittgenstein wel een analytisch filosoof is prof.dr. P. Smeyers kiest de wetenschapsfilosofische invalshoek, terwijl dr. E. Kuypers opteert voor een wijsgerig-pedagogische benadering in verband met esthetische en morele vorming dr. T. Tak gaat in op Wittgensteins rol in het debat tussen 'modernen' en 'postmodernen' en prof.dr. A. van Haaften plaatst hem in relatie tot het maatschappijkritisch denken van met name Habermas tenslotte onderzoekt prof.dr. V. Brümmer Wittgensteins invloed op de moderne theologie en belicht prof.dr. W. Dupré diens betekenis voor het praktisch geloof. Recensie(s) De belangstelling voor Wittgenstein blijft groeien, niet alleen in het buitenland, maar ook in Nederland. Van dat laatste getuigt deze niet oninteressante bundel artikelen over Wittgenstein, geschreven door uitsluitend Nederlandstalige wetenschappers. Acht filosofen, theologen en wijsgerig pedagogen belichten aspecten van Wittgensteins werk op vier terreinen: taal, wetenschap, maatschappij en theologie. De lezer wordt verondersteld al enigszins met dat werk vertrouwd te zijn. (Biblion recensie, Drs. D.G. van der Steen.)

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Bildtext: Wereld die ik aantrof von Bruce Duffy, Eugène DabekaussenBildtext: Wereld die ik aantrof von Bruce Duffy, Eugène Dabekaussen

Wereld die ik aantrof

Bruce Duffy, Eugène Dabekaussen
Verlag: Wereldbibliotheek
Jahr: 1990
Edition: Paperback
ISBN: 9789028415669
Zustand: Gebraucht
Biografisch-filosofische roman over Ludwig Wittgenstein (1889-1951), die logica en ethiek probeerde te verzoenen. In De wereld die ik aantrofwordt de hoofdrol gespeeld door een van de belangrijkste, meest poëtische en tot de verbeelding sprekende denkers van onze eeuw: Ludwig Wittgenstein. Zijn getergde tegenspelers: de filosofen Bertrand Russell en G.E. Moore. Op de achtergrond tijdgenoten als Freud, D. H. Lawrence, Lady Ottoline Morrell en Karl Kraus. In deze magistrale roman speelt Bruce Duffy een vermetel spel op de grenzen van geschiedenis, filosofie en verbeelding. Arthur C. Danto (Times Literaty Supplement): 'Het lezen van Bruce Duf's schitterende roman De wereld die ik aantrof, overtuigde mij ervan dat eigenlijk alleen een roman recht kan doen aan Wittgensteins uitzonderlijke, imponerende leven met zijn felle morele schoonheid en meedogenloze artistieke elan.' Richard Eder (Los Angeles Book Review): 'Het valt moeilijk uit te maken wat van groter klasse is: het talent van Bruce Duffy of zijn lef... Duffy is een groot schrijver.' Anthony Burgess (Observer): Wat een heilloze onderneming mocht lijken, is op verbluffende wijze tot waarachtig menselijk leven gewekt.' Recensie(s) In deze omvangrijke biografische roman is de hoofdfiguur één van de belangrijkste filosofen van de 20e eeuw: Ludwig Wittgenstein (1889-1951). Deze denker heeft 2 hoofdwerken op zijn naam staan: Tractatus Logico-Philosophicus en Philosophische Untersuchungen, die tot op de dag van vandaag voorwerp van ontelbare studies zijn geweest. M.n. de ideeën uit dit eerste werk vormen een belangrijk inhoudelijk thema van dit boek. Opvallend is de vorm ervan: de verhalende hoofdlijn wordt regelmatig onderbroken door dagboeknotites, brieffragmenten, discussies. Hoewel het boek het leven en karakter van Wittgenstein in grote lijnen volgt, is het geen echt historisch portret. De ontmoetingen met belangrijke filosofen als Bertrand Russell en G.E. Moore zijn, ofschoon gebaseerd op historische feiten, sterk fictioneel. Het bijzondere van deze spirituele roman (een debuut) is dat de schrijver er volledig in geslaagd is het leven van de filosoof dat - in tegenstelling tot zijn werk - zo weinig belangwekkend leek, met grote verbeeldingskracht te schilderen. Het boek, dat in Amerika en Engeland reeds sterk de aandacht van de literaire kritiek trok, is uitstekend vertaald. Thematw.: Wittgenstein, Ludwig. (Biblion recensie, Drs. Th.J. de Looy.)

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Bildtext: Filosofische onderzoekingen - Wittgenstein editie von Ludwig Wittgenstein, Derksen, Maarten & TerweeBildtext: Filosofische onderzoekingen - Wittgenstein editie von Ludwig Wittgenstein, Derksen, Maarten & Terwee

Filosofische onderzoekingen - Wittgenstein editie

Ludwig Wittgenstein, Derksen, Maarten & Terwee
Verlag: Boom
Jahr: 1992
Edition: Hardcover/gebunden
ISBN: 9789053520130
Zustand: Gebraucht
Verzameling notities van de Oostenrijkse filosoof (1889-1951). Samenvatting In het volgende maak ik gedachten openbaar, de neerslag van filosofische onderzoekingen, die mij de laatste zestien jaar hebben beziggehouden. Ze hebben betrekking op vele onderwerpen: de begrippen betekenis, begrijpen, de zin, de logica, de grondslagen van de wiskunde, bewustzijnstoestanden, en nog andere zaken. Ik heb al deze gedachten genoteerd als opmerkingen, korte paragrafen. Soms in langere reeksen over hetzelfde onderwerp, soms ook in snelle afwisseling van het ene gebied naar het andere. - Van het begin af aan was het mijn bedoeling dit alles in een boek bijeen te brengen, een boek over de vorm waarvan ik mij op verschillende momenten verschillende voorstellingen maakte. Wezenlijk leek me dat de gedachten van het ene onderwerp naar het andere op een natuurlijke wijze zouden voortschrijden, zonder lacunes. Na vele vergeefse pogingen mijn resultaten in een dergelijk geheel samen te vatten zag ik in dat dit me nooit zou lukken. Dat het beste wat ik kon schrijven nooit meer dan filosofische opmerkingen zouden worden dat mijn gedachten al snel verlamden wanneer ik ze, tegen hun natuurlijke neiging in, in een bepaalde richting zou dwingen. - En dit hing uiteraard samen met de aard van het onderzoek zelf. Dit dwingt ons namelijk een breed gebied van gedachten, kris kras, naar alle richtingen door te reizen. - De filosofische opmerkingen in dit boek vormen als het ware een verzameling landschapsschetsen, die op die lange en ingewikkelde tochten zijn ontstaan. Dezelfde punten, of bijna dezelfde, worden steeds opnieuw vanuit verschillende richtingen aangeroerd, waarbij steeds nieuwe schetsen werden gemaakt. Een groot aantal hiervan was mislukt, of niet karakteristiek, en vertoonde alle gebreken van de zwakke tekenaar.wanneer deze worden verworpen. Recensie(s) Wittgenstein is de schepper van twee geheel verschillende wijsgerige denkwijzen de eerste is te vinden in zijn 'Tractatus logico-philosophicus', de tweede in de 'Filosofische onderzoekingen'. Beide boeken behoren tot de top van wat er in deze eeuw op wijsgerig gebied verschenen is. Het boek bestaat niet uit een doorlopend betoog, maar uit 1000 kernachtige notities in direct proza, vrijwel zonder jargon, en met voorbeelden die veelal aan het dagelijks leven ontleend zijn. Het zal daardoor een vrij ruim publiek tot filosoferen kunnen stimuleren. Van de 'Filosofische onderzoekingen' bestond al een goede vertaling van Hans W. Bakx (Meppel: Boom, 1976), maar die had de neiging de soms wat stugge zinnen van Wittgenstein soepeler te maken en offerde daar de precisie aan op. Deze nieuwe vertaling is uitermate strak en nauwgezet. De toegevoegde bibliografie is korter dan die van Bakx, maar daar staat tegenover dat in deze nieuwe vertaling het onmisbare register weer is opgenomen. (Biblion recensie, Drs. D.G. van der Steen.)

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Bildtext: Roland Barthes - een biografie von Louis-Jean CalvetBildtext: Roland Barthes - een biografie von Louis-Jean Calvet

Roland Barthes - een biografie

Louis-Jean Calvet
Verlag: Van Gennep
Jahr: 1995
Edition: Taschenbuch
ISBN: 9789060128800
Zustand: Gebraucht
Recensie(s) Ook in Nederland is Roland Barthes (1915-1980) door verscheidene vertalingen bekend geworden als een even veelzijdig als origineel theoreticus. Hoewel Barthes door een langdurig verblijf in het sanatorium laat begon te publiceren, is hij een van de sleutelfiguren in het intellectuele leven van Parijs geworden. Calvet geeft daarvan een gedetailleerd verslag dat bovendien de herkomst en de ogenschijnlijk grillige loopbaan van Barthes' ideeën inzichtelijk maakt. Er ontstaat een genuanceerd portret van een sensibel literator die voorzichtig afstand hield van het politiek gedruis, en toch geen steriel estheticus was. Het bewijs daarvan vindt men in zijn korte essays over allerlei tijdverschijnselen, zijn 'mythologieën', maar ook in zijn betrokkenheid bij personen - zijn leven draaide om vriendschappen. De grootste verdienste van deze biografie is dat de samenhang in het werk en de diverse bezigheden zichtbaar wordt. (Biblion recensie, J.F. Vogelaar.)

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Bildtext: The Rough Guide to Amsterdam von Martin Dunford, Jack HollandBildtext: The Rough Guide to Amsterdam von Martin Dunford, Jack Holland

The Rough Guide to Amsterdam

Martin Dunford, Jack Holland
Verlag: Rough Guides
Jahr: 2000
Edition: Taschenbuch
ISBN: 9781858285122
Zustand: Gebraucht
This guide offers coverage of Amsterdam's coffee shops and art collections, with listings of where to eat, drink and stay, from budget hostels to top hotels, cheap cafes to the best restaurants.

Preis(€): 1,50

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Bildtext: A Prior Magazine # 16 - Special Issue on Anouk de Clercq, Susan Philipsz, Renzo Martens von Monika Szewczyk, Andrea Wiarda,  Maaike Lauwaert, Pieter Van Bogaert, Peio Aguirre, Els Roelandt, Anders Kreuger, Charles Green, Anthony Gardner, Louise Cope, Jalal TouficBildtext: A Prior Magazine # 16 - Special Issue on Anouk de Clercq, Susan Philipsz, Renzo Martens von Monika Szewczyk, Andrea Wiarda,  Maaike Lauwaert, Pieter Van Bogaert, Peio Aguirre, Els Roelandt, Anders Kreuger, Charles Green, Anthony Gardner, Louise Cope, Jalal Toufic

A Prior Magazine # 16 - Special Issue on Anouk de Clercq, Susan Philipsz, Renzo Martens

Monika Szewczyk, Andrea Wiarda, Maaike Lauwaert, Pieter Van Bogaert, Peio Aguirre, Els Roelandt, Anders Kreuger, Charles Green, Anthony Gardner, Louise Cope, Jalal Toufic
Verlag: A prior
Jahr: 2008
Edition: Taschenbuch
ISBN: 9771376713009
Zustand: Gebraucht
#16 (page 001 Editorial Monika Szewczyk _ Andrea Wiarda ANOUK DE CLERCQ (page 007) "I can't just be a machine._ Maaike Lauwaert (page 038) Portfolio (page 116) The Art of -soaping Pieter Van Bogaert SUSAN PHILIPSZ (page 129) Artist's Project (page 147) When the Body Speaks Peio Aguirre RENZO MARTENS (page 160) Artist's Project (page 177) Renzo Martens' Episode 3: Analysis of a Film Process in Three Conversations Els Roelandt VISIONS (page 189) The Continental Unconscious Anders Kreuger (page 229) The Second Self A Hostage of Cultural Memory Charles Green and Anthony Gardner (page 249) Devising and Directing Collaborative Process in Theatre Louise Cope and Andrea Wiarda (page 263) Something I'm Dying to Tell You, Lyn Jalal Toufic (page 276) Biographies

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Bildtext: Contour 2009, 4th biennial of Moving Image - A prior magazine extra issue # 3 von Katarina Gregos, Marc Gloede, EIJA-LIISA AHTILA, HERMAN ASSELBERGHS, YAEL BARTANA, LENE BERG, MICHAEL BORREMANS, MATTHEW BUCKINGHAM, ANOREAS BUNTE, CHTO DELAT, MARYAM JAFRI, DAVID MAUKOVIC, VINCENT MEESSEN, NATHANIEL MELLORS, JULIAN ROSEFELDT, MIRA SANDERBildtext: Contour 2009, 4th biennial of Moving Image - A prior magazine extra issue # 3 von Katarina Gregos, Marc Gloede, EIJA-LIISA AHTILA, HERMAN ASSELBERGHS, YAEL BARTANA, LENE BERG, MICHAEL BORREMANS, MATTHEW BUCKINGHAM, ANOREAS BUNTE, CHTO DELAT, MARYAM JAFRI, DAVID MAUKOVIC, VINCENT MEESSEN, NATHANIEL MELLORS, JULIAN ROSEFELDT, MIRA SANDER

Contour 2009, 4th biennial of Moving Image - A prior magazine extra issue # 3

Katarina Gregos, Marc Gloede, EIJA-LIISA AHTILA, HERMAN ASSELBERGHS, YAEL BARTANA, LENE BERG, MICHAEL BORREMANS, MATTHEW BUCKINGHAM, ANOREAS BUNTE, CHTO DELAT, MARYAM JAFRI, DAVID MAUKOVIC, VINCENT MEESSEN, NATHANIEL MELLORS, JULIAN ROSEFELDT, MIRA SANDER
Verlag: A prior
Jahr: 2009
Edition: Paperback
ISBN: 9771376713009
Zustand: Gebraucht
Limitiert auf 1500 Hidden in Remembrance is the Silent Memory of our Future Contour 2009, 4th biennial of Moving Image Published and distributed by A prior The publication accompanying Contour 2009 the 4th biennial of moving image, with essays by Katarina Gregos and Marc Gloede. EIJA-LIISA AHTILA HERMAN ASSELBERGHS YAEL BARTANA LENE BERG MICHAEL BORREMANS MATTHEW BUCKINGHAM ANOREAS BUNTE CHTO DELAT MARYAM JAFRI DAVID MAUKOVIC VINCENT MEESSEN NATHANIEL MELLORS JULIAN ROSEFELDT MIRA SANDERS YORGOS SAPOUNTZIS WENDELIEN VAN OLDENBORGH ULLA VON BRANDENBURG T. J. WILCOX CONTOUR 2009 Fourth Biennial of Moving Image Hidden in Remembrance is the Silent Memory of our Future 2Is the Past Another Country? Katerina Gregos 12A Visual Particle Accelerator: Moving Images, Spaces and Attention Marc Diode ARTISTS 18Eija-Liisa Ahtila 26Herman Asselberghs 36Yael Bartana 42Lene Berg 54Michael Borremans 62Matthew Buckingham 70Andreas Bunte 82Chto Delat 92Maryam Jafri 100David Maljkovic noVincent Meessen 122Nathaniel Mellors 138Julian Rosefeldt 148Mira Sanders 156Yorgos Sapountzis 162Wendelien van Oldenborgh 172Ulla von Brandenburg 178T. J. Wilcox 190Biographies

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Bildtext: A Prior Magazine # 20 - Special Issue on research in the arts - Featuring special projects by: Ruth Buchanan Victor Burgin Mekhitar Garabedian Ian Kiaer Vincent Meessen von Els Roelandt, Katrin Mundt, Vincent Meessen, MEKHITAR GARABEDIAN, RUTH BUCHANAN, Victor Burgin, Hilde Van Gelder, IAN KIAER,Bildtext: A Prior Magazine # 20 - Special Issue on research in the arts - Featuring special projects by: Ruth Buchanan Victor Burgin Mekhitar Garabedian Ian Kiaer Vincent Meessen von Els Roelandt, Katrin Mundt, Vincent Meessen, MEKHITAR GARABEDIAN, RUTH BUCHANAN, Victor Burgin, Hilde Van Gelder, IAN KIAER,

A Prior Magazine # 20 - Special Issue on research in the arts - Featuring special projects by: Ruth Buchanan Victor Burgin Mekhitar Garabedian Ian Kiaer Vincent Meessen

Els Roelandt, Katrin Mundt, Vincent Meessen, MEKHITAR GARABEDIAN, RUTH BUCHANAN, Victor Burgin, Hilde Van Gelder, IAN KIAER,
Verlag: A prior
Jahr: 2010
Edition: Taschenbuch
ISBN: 9771376713009
Zustand: Gebraucht
(page 003) Editorial Els Roelandt VINCENT MEESSEN (page 011) Words have a second order memory which mysteriously persists in the midst of new meanings A conversation between Katrin Mundt and Vincent Meessen MEKHITAR GARABEDIAN (page 039) Artist's Project (page 072) Words are friends: In bad times they keep you company RUTH BUCHANAN (page 080) Artist's Project VICTOR BURGIN (page 093) Artistic Representation and Politics An Exchange between Victor Burgin and Hilde Van Gelder IAN KIAER (page 125) Endless House Models of Thought for Dwelling (page 138) Biographies A Prior selected five artists, each of whom in their own way write about and present their research. Mekhitar Garabedian and Ruth Buchanan do this in an associative, poetic manner that is also beautifully present in the visual images that they create. They offer a wealth of source material, which bears witness to great generosity and which allows visitors to cast a different eye on artistic production. Victor Burgin and Vincent Meessen decided on a dialogue. In conversation with Hilde Van Gelder and Katrin Mundt, they illuminate the fundamental concerns in their work and clarify the many theoretical influences and references that have helped shape their oeuvre. Finally, Ian Kiaer gives us insight into an art historical research produced within the strict rules of academic research. These three models of research are only a few variations in the ways that research in the arts is conducted today, by visual artists. It is an exceptional, enriching honour for us to be able to offer the artists this forum and indeed, to see how differently they approach its formal aspects. For four years now, A Prior Magazine has operated in association with the Royal Academy of Fine Arts (KASK) of the University College at Ghent. The privileged position of the magazine, based on autonomy and firmly anchored within the non-academic circuit in which it has its roots and currently also able to operate within an academic context, has for A Prior been a very special enrichment. The dialogue between the two hitherto largely divided academic and non-academic worlds gives not only artists, but also the magazine, new insights and possibilities that can function free from all formality or fear of constrictions or uniformity. We have set ourselves the goal in the next few years to publish regularly on research in the arts, without further exacerbating the divisions, but on the contrary, by giving the research a place within the wider context of artistic production. A Prior #20 is a first attempt in this direction.

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Bildtext: Deutsche Guggenheim Magazine - issue 17, fall 2011 von Sara Bernshausen, Britta Färber, Kamilah Foreman, Elizabeth Franzen, Achim Drucks, Oliver Koerner von Gustorf, Silke Hohmann, Karol Sienkiewicz, Monika Szewczyk, Oliver Wick, Achim Drucks, Benjamin Paloff, Andrea Scrima, Marcin Zastrozny, Pawel Althamer,Bildtext: Deutsche Guggenheim Magazine - issue 17, fall 2011 von Sara Bernshausen, Britta Färber, Kamilah Foreman, Elizabeth Franzen, Achim Drucks, Oliver Koerner von Gustorf, Silke Hohmann, Karol Sienkiewicz, Monika Szewczyk, Oliver Wick, Achim Drucks, Benjamin Paloff, Andrea Scrima, Marcin Zastrozny, Pawel Althamer,

Deutsche Guggenheim Magazine - issue 17, fall 2011

Sara Bernshausen, Britta Färber, Kamilah Foreman, Elizabeth Franzen, Achim Drucks, Oliver Koerner von Gustorf, Silke Hohmann, Karol Sienkiewicz, Monika Szewczyk, Oliver Wick, Achim Drucks, Benjamin Paloff, Andrea Scrima, Marcin Zastrozny, Pawel Althamer,
Verlag: Solomon R. Guggenheim Foundation / Deutsche Bank
Jahr: 2011
Edition: Paperback
ISBN: 9771376713009
Zustand: Gebraucht
Redaktion Editorial Deutsche Guggenheim, Berlin Sara Bernshausen Britta Färber Solomon R. Guggenheim Foundation, New York Kamilah Foreman Elizabeth Franzen Regarding Arts, Berlin Achim Drucks Oliver Koerner von Gustorf Falls nicht anders gekennzeichnet, alle Texte Regarding Arts. All texts by Regarding Arts unless otherwise indicated. Autoren Authors Silke Hohmann Karol Sienkiewicz Monika Szewczyk Oliver Wick Übersetzung Translation Achim Drucks Benjamin Paloff Andrea Scrima Marcin Zastrożny Grafische Gestaltung Design Kerstin Riedel Herausgeber Publisher Deutsche Bank AG, Frankfurt am Main Produktion Production Lidiya Anastasova Maria Ferreira Morais Suzana Greene Kerstin Riedel Melissa Secondino Steffen Zarutzki Lithografie Image processing max color, Berlin Druck Printing Medialis Offsetdruck, Berlin 2011 Deutsche Bank AG, Frankfurt am Main, artists, authors, and photo- graphers. All rights reserved deutsche-guggenheim.de rechte Seite opposite page: Arbeiter reinigen den Boden des Gasometer Schöneberg, Berlin. Workers cleaning the floor of the Schöneberg Gasometer, Berlin. Caro Fotoagentur / Christian Kruppa Close Up On View at the Deutsche Guggenheim Context What to See Guggenheim Foundation What to See Deutsche Bank Art Flashback What to Do Deutsche Guggenheim Magazine Issue 17 Fall 2011 2 Zeitgenössische Kunst und Kultur aus Polen Wunschraum: Workshop von Jugendlichen für Jugendliche 3 Deutsche Guggenheim Edition 57: Paweł Althamer Signierte Exemplare des Katalogs Paweł Althamer: Almech zu gewinnen 2 Celebrating Contemporary Polish Art and Culture in Berlin Room for Wishes: Workshop for Youth by Youth 3 Deutsche Guggenheim Edition 57: Paweł Althamer Get a signed copy of Paweł Althamers Almech catalogue 4 Blick hinter die Kulissen: Interview mit Paweł Althamer von Karol Sienkiewicz 4 A Glimpse Behind the Curtain: An Interview with Paweł Althamer by Karol Sienkiewicz 10 Eingebung, Inkarnation und der Traum eines inspirierten Unternehmens von Monika Szewczyk 10 Inspiration, Incarnation, and the Dream of an Inspired Corporation by Monika Szewczyk 15 My Things: Paweł Althamer 16 Kandinskys Painting with White Border in New York 17 Maurizio Cattelan: All in New York 18 Brancusi-Serra in Bilbao 19 Themes & Variations. Script and Space in Venedig 16 Kandinskys Painting with White Border in New York 17 Maurizio Cattelan: All in New York 18 Brancusi-Serra in Bilbao 19 Themes & Variations. Script and Space in Venice 20 Kunst des Alltags: Roman Ondák ist Artist of the Year 2012 der Deutschen Bank 22 Yto Barrada: Riffs im WIELS 23 Views 2011: Preis für junge polnische Kunst 20 Art of the Everyday: Roman Ondák Is Deutsche Banks Artist of the Year 2012 22 Yto Barrada: Riffs at WIELS 23 Views 2011: Prize for Young Polish Art 24 Once Upon a Time: Bildergalerie 24 Once Upon a Time: Photo Gallery 25 Information

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Bildtext: Time Out Guide Istanbul -  (Time Out Guides) von Andrew HumphreysBildtext: Time Out Guide Istanbul -  (Time Out Guides) von Andrew Humphreys

Time Out Guide Istanbul - (Time Out Guides)

Andrew Humphreys
Verlag: Penguin
Jahr: 2011
Edition: Taschenbuch
ISBN: 9780140274509
Zustand: Gebraucht
This guide features: all the sights that are fit to see, from Roman and Byzantine splendours to Ottoman architecture places to stay, including backpacker dorms a large section on eating and drinking, including budget dining trips out of town, including opening times, prices and transport. Well written and chock full of what appears to be some very recent photographs. The book starts off with twenty-some pages of Turkish history including several pages devoted to Istanbul for women--governmentally secular, Turkey is nonetheless 90% Islam. The travel section contains critiques of dozens of hotels and even lists web sites and email addresses. A rarity even in current travel books. Web search engines tend to overwhelm the senses with too much data, so finding a source that actually evaluates hotels on an individual basis is a revelation. Likewise the section on dining, drinking and shopping covers a wide range of price choices with many recommendations that have the ring of authority to them. With 5,000 of years of history, Istanbul would require several lifetimes to investigate properly. Sightseeing is arranged in neighborhood fashion and gives the armchair traveler an opportunity to plot a variety of routes depending on time and inclination. The more you read, the more time you want to spend peeling back the layers of archeological wonder. Time Out includes almost 50 pages devoted to arts and entertainment and provides a comprehensive guide to adult night life in Istanbul. The factual style of writing lends an air of believability and authenticity. One of the off putting elements in the book is the inclusion of magazine style advertising throughout the text. And, the map section leaves a great deal to be desired. Ten pages at the back of the book split into areas of the city, without hotel indexes, and only identifying major streets. All in all, if you have only one guidebook for Istanbul, this is the one. There is a small section on Turkish language and vocabulary, and where to go to get instructions in Turkish. Covering virtually every aspect of the city the editors have created a concise yet detailed guide to what used to be Constantinople.

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Bildtext: David Schutter - 'Rendition' at the Logan Center Feb 15 - Mar 31 2013 von David SchutterBildtext: David Schutter - 'Rendition' at the Logan Center Feb 15 - Mar 31 2013 von David Schutter

David Schutter - 'Rendition' at the Logan Center Feb 15 - Mar 31 2013

David Schutter
Verlag: Logan Center
Jahr: 2013
Edition: Heft/Zeitschrift
ISBN: 9780140274509
Zustand: Gebraucht
David Schutter: The Lingua Franca of Painterliness Josephine Halvorson Reviews / 18.09.2014 Print David Schutters quasi-monochromatic oil paintings are both luminous and grey, a deft riposte to Wittgensteins claim that the two cannot co-exist.1 Viewed close-up, his canvasses are like mirrors, seeming to represent space more vast and airy than four corners allow. But seen at a few steps away from the wall, the illusion dissolves and the paintings solidify into minimal, leaden blocks of material. Schutter challenges many formal and conceptual expectations in his rigorous pursuit of painting as both a noun and a verb. His work since 2009 has recently been the subject of two exhibitions in Chicago, the conventional installation of which modestly-sized paintings made with traditional techniques, hung at eye level on white walls might have belied his subversive inventiveness.2 David_Schutter_GSMB_W_21_2014-05 David Schutter, GSMB W 21, 2014, oil on canvas, 37 x 48cm. Courtesy the artist and Rhona Hoffman Gallery, Chicago Convention is a subject of Schutters work. He interrogates paintings from the past, spending long periods of time in close proximity to them. Later, returning to his Chicago studio, Schutter re-enacts on a like-sized canvas of his own the original painting he has since internalised. A selection of Dutch and French paintings from the seventeenth to nineteenth centuries, held in collections in Chicago, Edinburgh, Copenhagen and Berlin, provided the starting point for the work in Rendition at the Logan Center Gallery (2013) and What Is Not Clear Is Not French at Rhona Hoffman Gallery (2014). These paintings are both the product and performance of a phenomenological working process through which Schutter explores the perceptible archeology of art objects while also charting his own changing condition as viewer and practitioner. The direct correspondence with art history might suggest either homage or annihilation, but it is neither. Rather, Schutters practice is a relational one, in which multiple agencies convene at the site of his painting: the referent object, the evidence of the historical artist, the institutional context and the artists own presence. With this dense gathering, in which so many marks and remarks are exchanged, it is little wonder that the paintings themselves are thick and grey. Through his use of colour, rendition, and painting-as-paintings subject, Schutter finds himself in the lineage of Jasper Johns, whose current exhibition at the Museum of Modern Art, New York, Regrets,3 is based on a 1964 photograph of Lucien Freud, taken by John Deakin and referenced by Francis Bacon in his own work.4 Both Johns and Schutter find vital fellowship with painters from the past and, through their artistic practices, offer new ways to commune with them. Schutters exhibition title, What Is Not Clear Is Not French, offered a linguistic analogy for the communicative possibilities of painting. The use of this quote from the eighteenth-century French writer Antoine de Rivarol, who argued that the French language should stand as the lingua franca for all of Europe, suggests that a parallel syntax of French painterliness the descriptive, material touch found in the works of Watteau, Chardin, Corot, Manet, et al forms an equivalent common language in the visual arts.5 De Rivarols claim is ridiculous in its hubris and chauvinism, but perhaps finds its saving grace in its hope for an enlightened universality of communication. In the twenty-first century, where we find ourselves beyond universalisms of any kind, what currency remains in the shared, though complex, language of painterliness? "A painting of a painting could swiftly cancel itself out in becoming jokey, solipsistic, or boring, especially one that eschews spectacle, narrative and chroma." A painting of a painting could swiftly cancel itself out in becoming jokey, solipsistic or boring, especially one that eschews spectacle, narrative and chroma. Schutters grey tableaux escape this fate by, perhaps inadvertently, appearing found rather than made. In their refusal to be understood as either a copy of an original, or a subjective expression from Schutter himself, they are independent of the process that made them, and resemble everyday objects that could have been pictured inside the original works: a mercury-backed mirror, a sooty chimney, a seaside mudflat, a slab of slate. This is surprising for many reasons. The discourse around Schutters practice focuses on questions of contemporaneity and historicity, and sometimes outweighs the materiality of the paintings themselves. The artist, too, directs us away from their facture through the titles he ascribes to them, acronyms that identify the original referent art object through the names of its artist and home institution, as well as the room number in which it can be located. The impulse to decode a titles taxonomy distracts from the sensual experience of looking at the painting that hangs before our own bodies. David_Schutter_AIC_224_3_2013-01 David Schutter, AIC C 224 3, 2013, oil on linen, 98 x 132cm. Courtesy the artist and Rhona Hoffman Gallery, Chicago The oil on linen AIC C 224 3 (2013) is oriented horizontally and connotes a landscape. Several brushstrokes appear to sit on the surface of the painting, but even with ones nose close enough to breathe in the cool, damp oil, it is unclear which strokes are on top of which, as all the layers are alloyed together. A shimmery bluish area in the top left could indicate a sky at dusk, or a darker diagonal swath could represent the trunk of a tree. However, there is no pictorial confirmation. Naming the scale and aspect of the scene is like a Rorschach test, but with no analyst at hand. Perhaps it is through the sensitive, tenuous hard-looking required in the search for landscape that one can begin to feel the effects of outside air on their own body. It is not only that the surfaces themselves suggest the luminosity and sheen of human skin, or that the brushstrokes feel as if they were swept into position by a gust of wind. One is reminded of Robert Bordos brushy atmospheres. In his work, and in Schutters, there is an odd experience of being both inside the scene a participant in its greater ecology of climate and matter while still cognisant of ones real-time presence within the white walls of the gallery. In another painting, GSMB W 21 (2014), a dark, curtain-like shadow drapes over the top and side regions of the painting, framing a narrow smudge in its centre. In its shape, scale, and compositional placement, the specificity of this painterly mark breaks ties with its original referent to rhyme with a buoy in a Turner storm, a hole bored through the fibers of a Merlin James painting, the scratched and sutured flesh of Bianca Becks surfaces or even the greasy trail left by a finger swipe on an electronic tablet. In all of these instances, the surface elicits a desire to reach out and touch, while at the same time to recoil in defence of ones own body, creating a visceral connection between viewer, artist, object and depicted space. Perhaps this acute awareness of our own bodies through the material trace of anothers is how we can define painterliness. Schutter gives an abundance of attention to the paintings he studies, observing the speed and placement of their marks and compositions, as a way to commune with an historical artist through the shared language of paint, inhabiting anothers mind and time while occupying his own. His foggy greys do not conceal the original referent any more than they reveal his own interpretation rather, they represent an account of their own making, a script of Schutters elaborated grammar of looking.

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Bildtext: Le Phare Journal No 9 - Centre Culturel suisse - Paris von Jean-Paul Felley, Olivier Kaeser, Lionel Baier, Frédéric Plazy,  Silvia Buonvicini, Urs Lüthi, Alexandra Bachzetsis, Grégoire Maret, Gramazio & Kohler, Philippe Saire, Pierre Vadi, Yann Gross, Ruedi Baur, Herzog & de Meuron, Thierry RomanensBildtext: Le Phare Journal No 9 - Centre Culturel suisse - Paris von Jean-Paul Felley, Olivier Kaeser, Lionel Baier, Frédéric Plazy,  Silvia Buonvicini, Urs Lüthi, Alexandra Bachzetsis, Grégoire Maret, Gramazio & Kohler, Philippe Saire, Pierre Vadi, Yann Gross, Ruedi Baur, Herzog & de Meuron, Thierry Romanens

Le Phare Journal No 9 - Centre Culturel suisse - Paris

Jean-Paul Felley, Olivier Kaeser, Lionel Baier, Frédéric Plazy, Silvia Buonvicini, Urs Lüthi, Alexandra Bachzetsis, Grégoire Maret, Gramazio & Kohler, Philippe Saire, Pierre Vadi, Yann Gross, Ruedi Baur, Herzog & de Meuron, Thierry Romanens
Verlag: Centre culturel suisse
Jahr: 2011
Edition: Heft/Zeitschrift
ISBN: 21018170
Zustand: Gebraucht
septembre-décembre 2011 / le phare n 9 03 Sommaire 4 / EXPOSITION Planète Chapuisat Entretien avec les artistes 8 / EXPOSITION Élucider le dessin Silvia Buonvicini 9 / EXPOSITION Legrand livre des espaces Urs Lüthi 1D / CINÉMA Locarno, un festival en phase avec le monde d'hier et de demain Carte blanche au Festival del film Locarno 12 / DANSE Le paradoxe de l'autonomie Alexandra Bachzetsis 13 / MUSIQUE Grégoire Maret, le goût du métal 14 / CINÉMA/THÉÂTRE Action !!! Rencontre avec Lionel Baier et Frédéric Plazy 17 / CONFÉRENCE /ARCHITECTURE Gramazio & Kohler, chercheurs en architecture la / DANSE Noir sur blanc, un tableau vivant Compagnie Philippe Saire 19 / INSERT Pierre Vadi 23 / MUSIQUE/LITTÉRATURE Césures, clam enflammé et voix d'émeri Thierry Romanens et Format A'3 24 / CONFÉRENCE /ARCHITECTURE I: objet, le territoire, l'image Herzog & de Meuron 26 / ÉVÉNEMENTS DIVERS Planche contact Yann Gross What Else? Else (quoi de neuf depuis 2000? FICEP Un bon cru Les plus beaux livres suisses 2010 Lntrée de secours Plonk & Replonk 28 / PORTRAIT Â contresens Entretien avec Ruedi Baur 33 / LONGUE VUE L'actualité culturelle suisse en France Expos /Scènes /Musique 35 / MADE IN CH L'actualité éditoriale suisse Littérature /Arts /Musique /Cinéma 38 / CA S'EST PASSÉ AU CCS 39 / INFOS PRATIQUES Édito Art et politique :aller-retour Chaque été pendant son festival du film, Locarno devient une capitale internationale du septième art, où cinéphiles, amateurs et touristes côtoient les professionnels dans une ambiance conviviale. Mais derrière les écrans, se joue un autre type de scénario. En effet, le Festival del film Locarno est la seule manifestation culturelle suisse où la classe politique se retrouve, se montre, s'exprime et prépare les e jeux à venir, qui sont particulièrement importants en cette année d'élections fédérales. Mais revenons au cinéma. Ce cru 2011 a fait la part belle au cinéma suisse, tant par le nombre des films sélectionnés que par le palmarès, puisque c'est Abrir puertas y ventanas, une coproduction helvetico-argentine réalisée par Milagros Mumenthaler, qui a reçu le Léopard d'or du concours international. Un autre film suisse a aussi beaucoup fait parler. Le documentaire Vol spécial de Fernand Melgar a autant été ovationné par le public et salué par la critique, que vivement critiqué. En cause, le sujet délicat et d'actualité qu'est la détention de requérants d'asile en attente d'un renvoi du territoire helvétique. Un sujet éminemment politique et plus que jamais au centre des débats en Suisse. Uol spécial nous a touchés et nous considérons que sa présentation au CCS est essentielle, de par sa pertinence à être vu et débattu dans un contexte français tout aussi sulfureux. Ce film poignant viendra clôturer cette carte. blanche au Festival del film Locarno dont la sélection de fictions, de documentaires, de courts métrages et de films est ambitieuse. Et parce que le cinéma est un miroir formidable de notre actualité, nous vous proposons de découvrir, en première française, un film consacré à la campagne des élections fédérales. Ce docùmentaire qui dévoile les arcanes de la politique suisse, est réalisé par de jeunes cinéastes encadrés par Jean-Stéphane Bron, réalisateur du percutant Cleveland contre Wall Stréet (2010). Vous l'aurez compris, cet automne, le CCS donne une place de choix au cinéma comme nous l'aimons: engagé, fort, puissant, beau, sensible, novateur... Les proximités du réel et de la fiction, des acteurs et des politiciens, des auteurs en devenir et d'autres reconnus, confirment une nouvelle fois que art et société sont intimement liés. L'art implique une vision la plus personnelle possible, une distance clairement différente de celle du commentaire ou de l'analyse ou encore des possibilités de production. Ces caractéristiques sont, entre autres, concentrées dans des films qui contribueront à nourrir le débat de manière constructive sur les consëquences au quotidien de décisions politiques parfois arbitraires. Jean-Paul Felley et Olivier Kaeser Auteur(s) : Centre culturel suisse (Paris) Voir les notices liées en tant qu'auteur Titre clé : Le Phare (Paris) Titre(s) : Le Phare [Texte imprimé] : journal / Centre culturel suisse de Paris [directeurs de la publication Jean-Paul Felley et Olivier Kaeser] Publication : Paris (32 rue des Francs-Bourgeois 75003) : Centre culturel suisse Description matérielle : n 33 cm Périodicité : 3 fois par an

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Bildtext: Fillip #2 THE FILLIP REVIEW: volume one, number two (winter 2006) von Monika Szewczyk, Judy Radul, LORNA BROWN, LANCE BLOMGREN, SEAMUS KEALY,Lu Jie, LAWRENCE RINDER, Aaron Peck, Brady Cranfield, Andrew Power, Linsay Brown, Donato Mancini, Eleanor MorganBildtext: Fillip #2 THE FILLIP REVIEW: volume one, number two (winter 2006) von Monika Szewczyk, Judy Radul, LORNA BROWN, LANCE BLOMGREN, SEAMUS KEALY,Lu Jie, LAWRENCE RINDER, Aaron Peck, Brady Cranfield, Andrew Power, Linsay Brown, Donato Mancini, Eleanor Morgan

Fillip #2 THE FILLIP REVIEW: volume one, number two (winter 2006)

Monika Szewczyk, Judy Radul, LORNA BROWN, LANCE BLOMGREN, SEAMUS KEALY,Lu Jie, LAWRENCE RINDER, Aaron Peck, Brady Cranfield, Andrew Power, Linsay Brown, Donato Mancini, Eleanor Morgan
Verlag: Fillip
Jahr: 2006
Edition: Heft/Zeitschrift
ISBN: 17153212
Zustand: Gebraucht
Contents BLOMGREN :: Catastrophic Narratives BROWN :: Now We Collect Situations BROWN :: To Live Real Boredom, One Must Have Style CRANFIELD :: By All Means Listen By All Means JIE :: The Long March Project KEALY :: The Number One Galleries in the Number One City MANCINI :: The Bondo Between Word and Image MORGAN : : Dettida 'S Garden PAUWELS :: Adding Up To A Few Columns PECK :: Farm Arugula with Figs POWER :: Termini RINDER :: Richard Tuttle SZEWCZYK :: Departures from Death Departures from Death MONIKA SZEWCZYK Judy Radul: Downes Point and So Departed (Again) at the Presentation House Gallery September 17 - October 30, 2005 It could be said that contemporary art lives off deaththe death of painting, the avant-garde, irony, and (doubtlessly soon) relational aestheticsto name a few of the current preoccupations. Or I should specify, that it is the ghosts of paintings' past, the unfinished avant-gardes, and their furtive, regicidal ironies that continue to haunt current art production. Judy Radul's two multiple-projection video works, on view at Presentation House Gallery in North Vancouver, could be seen as paradigmatic in this respect as they deal so clearly with death and the departed. But to stop there, with the fact of Radul's dealing with death and afterlife, could miss the unique aspect of her practice namely, a notion of experimenting with the world that seems in short supply today.' This notion of experiment, an open encounter with the world I detect in Radul's practice, is often foreclosed by the all too melancholy death drives of contemporary. The Long March Project: Lu Jie in Conversation with Hsingyuan Tsao and Shengtian Zheng On the evening of October 12, 2005 the Vancouver Art Gallery presented "Dialogues on Art: Lu Jie in Conversation with Shengtian Zheng and Hsingyuan Tsao. "The presentation was organized in conjunction with the exhibition Classified Materials: Accumulations, Archives, Artists. LU JIE: The Long March Project was initiated in 1999 when I was a cu-ratorial studies student at London University. During that time I devel-oped a critique of the representation of politics in the context of interna-tional Chinese art exhibitions. I was thinking about the ways that contemporary art practice could connect with social development and social change. I developed the Long March Project as an organic structure that could parallel the grand narrative of the historical Long March initiated by Mao Zedong. I developed the idea that a number of sites could be created according to this historical Long Marchthis search for utopia, this sharing of resources, this going beyond the limits of body and ideology To Live Real Boredom, One Must Have Styles LORNA BROWN Lars Svendsen,A Philosophy of Boredom Reaktion Books, 2005 In A Philosophy of Boredom, as in the work of many other writers who are fascinated by boredom, there is a rather sheepish preface to the main text. Svendsen confesses to having been deeply bored while making an attempt to do nothing, a doomed experiment that resulted in his extended essay. He rationalizes his inquiry into boredom by framing the phenomenon as an important problemsocial, existential, theological or psychologicalwhich characterizes modernity. He frames his argument within a "contemporary philosophy where almost everything has become a variation on the theme of epistemology" and carves out his turf since "boredom would seem to be a phenomenon that falls outside the framework of philosophy as a discipline." Seeking to spend some time in this vacant arena, he takes with him examples of literature, art, popular culture and philosophy, but not the works of Patricia Spacks or Giorgio Agamben, nor the many Catastrophic Narratives: The Textual Works of Fred Douglas LANCE BLOMGREN If I told you that-what you are about to read is not a story, but only appears to be a story, and if you then continued and read through the artifact that only appears to be a story, but in fact is not, and you understood it as a story, then in your mind it would be lodged as a story and nothing you or I could say to the contrary would change that. Once it is a story it remains. one or fades. It could be a series of lies or mistakes, but nevertheless it is a story or it doesn't exist. Fred Douglas I. Recently I was able to re-watch Leonard Forest's film In Search of Innocence (1964), the National Film Board documentary on the Vancouver art scene. I last saw it about twelve years ago. In the film there is a scene of Fred Douglas reading his poetry, and minutes later, arguing with artist Roy Kiyooka about the nature of creative improvisation, mainly as it pertains to painting.The film is more associative than linear, more about capturing the pensive cultural mood of the period than recording the various personalities for posterity The Number One Galleries in the Number One City SEAMUS KEALY Vancouver's meteorological climate is not always an inviting feature, being notoriously grim in the winter months.Yet, it was still voted the best place to live this year, and has scored high in recent years.The city must then offer, presumably, a vivid cultural climate. One sees instead Vancouver's public events marinating in killjoy policies originating from the archaic morals of the city's forefathers. Recently, a parade of people dressed as zombies dominated the downtown area, mirroring the city's fusty social gatheringsunless one is up for yang drinking culture.There must be something going on. For one,Vancouver is the city ofTV culture. Film crews abound such as that for the hit series Battlestar Galactica, a remake of the 1970s sci-fi show, apropos for this city which had its urban centre gutted in the 1970s to make way for the spaceship malls and high-end hotels of big business. The film industry has produced an odd mix of working-class, petit bourgeois and petite celebre aspirations

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Bildtext: Notion of Nothing von Jerry Pethick, Barbara Fischer, Faux TerrainBildtext: Notion of Nothing von Jerry Pethick, Barbara Fischer, Faux Terrain

Notion of Nothing

Jerry Pethick, Barbara Fischer, Faux Terrain
Verlag: Stadtgalerie Saarbrücken
Jahr: 1995
Edition: kartoniert
ISBN: 9783925303937
Zustand: Gebraucht
Deutsch & Englisch VORWORT Auf einem der Notizbücher von Jerry Pethick klebt eine Spiegelfolie, aus der Silhouetten eines Propellers ausgeschnitten sind. Man findet die silberglänzenden Ausschnitte im Katalog zu einer Ausstellung der Vancouver Art Gallery im Jahre 1984 mit dem Titel Traces of Discovery (Spuren einer Entdeckung). Der Propeller verbindet zwei Abbildungen. Die eine zeigt Marcel Duchamp hinter einer seiner Glasarbeiten, fotografiert von Man Ray*). Die andere Abbildung zeigt eine von Pethicks Arbeiten. In der erwähnten Ausstellung breitete Pethick Spuren einer faszinierenden Recherche aus. Da ist z. B. der Bericht von Leger über einen Besuch der Pariser Luftfahrtschau zusammen mit Duchamp und Brancusi im Jahre 1909. Danach soll Duchamp sinngemäß zu Brancusi gesagt haben: Die Malerei ist tot. Welcher Künstler kann schon etwas Besseres machen als diesen Propeller?". Pethick war fasziniert von dem Gedanken, daß die drei Künstler womöglich vor jenem Propeller gestanden haben könnten, den Wittgenstein als Student der Ingenieurwissen-schaften 1908 in Manchester entworfen hat. Vieles spricht dafür, daß Duchamp durch die Vorstellung des rotierenden Propellers zum Begriff der Transparenz geführt wurde, der in seinem Werk eine große Rolle spielt. Der Propeller wurde für Pethick so zum programmatischen Zeichen eines Brückenschlages zwischen Philosophie, Wissenschaft und Kunst. Pethick greift die multimedialen Visionen der frühen künstlerischen Avantgarde dieses Jahr-hunderts auf ohne deren oft blinde Technikverehrung (man denke nur an die Futuristen Boccioni und Marinetti) zu teilen. Immer bestens vertraut mit dem jeweils aktuellen Stand der Wahrnehmungsforschung und der Medientechnologie (1970 ist er Mitbegründer der Schule für Holographie in San Francisco) bleibt Pethick skeptisch gegenüber der Idee des linearen Fortschritts der Moderne. Neugierig bewegte er sich immer wie ein Archäologe im Recyclingdepot" der Geschichte. Ihn interessiert vor allem die Phase der Moderne, in der sich am Anfang dieses Jahrhunderts die Wahrnehmung von Zeit und Raum verändert hat (die Zeit, in der auch die Wandlung der Ästhetik von der Theorie der Schönen Künste zur Theorie der Medien begann). Die Auseinandersetzung mit der frühen Geschichte der Fotografie hat Jerry Pethick zu Daniel Lippmann geführt, einem Pionier der Farbfotografie, der heute nur noch wenigen Spezialisten bekannt ist. Durch eine Weiterentwicklung der Integralfotografie von Lippmann gelingt es Pethick, eine wesentliche Veränderung im medialen Verhältnis des Menschen zur Welt erfahrbar zu machen: Die in der Renaissance begründete Distanz der Anschauung löst sich auf. Die Bilder stehen nicht mehr vor uns, wir sind Teil derselben. Pethick setzt damit den Schein, über den die *) Marcel Duchamp with Rotary Glass Plates (Precision Optics), in Motion, New York, 1920 Aufklärung ein Tabu verhängte, wieder in sein Recht als Schnittstelle zwischen Sinnlichkeit und Verstand. Das Kunstwerk wird zum Aggregat der Erfahrung, daß Wahrnehmung der sogenannten Realität ein produktiver Prozeß ist, der aus einem Spiel mit Projektionen, Entwürfen und Erinnerungen besteht. Pethick geht es jedoch nicht um die bloße Faszination virtueller Bilder. Die Transparenz des Sehvorgangs selbst bleibt erhalten. Das den modernen Bildtechniken innewohnende Potential der Überwältigung vermeidet er durch die Verwendung einfacher Materialien. Keine aufwendige Computerelektronik produziert hier die Virtual Reality", sondern die produktive Einbildungskraft. Die großen Fotoraster, die eine dreidimensionale Wahrnehmung erzeugen, sind mit realen skulpturalen Objekten und Materialcollagen verbunden, vergleichbar dem Faux Terrain in den Panoramen des 18. und 19. Jahrhunderts. Damit verbindet Pethick die Erfahrung des virtuellen Bildes mit der sinnlichen Erfahrung konkreter Objekthaftigkeit. So tritt der Doppelcharakter der Dinge deutlich zutage: Einerseits gehören sie zur materiellen Welt, die uns umgibt, andererseits sind sie Zeichen, die auf die äußere Welt ebenso verweisen wie auf die innere Welt der Imagination. In einer Zeit, in der die mediale Wirklichkeit immer mehr die authentisch erfahrene Realität ersetzt und das Individuum in der digitalen Bilderflut von Erfahrungsverlust bedroht ist, zeigt Jerry Pethick, wie die Differenz von Schein und Sein neu ausgelotet werden kann, ohne die Lust am Bild als Ikonomanie zu verdammen oder dem alten Realitätswahn der Moderne zu unterliegen. Bernd Schulz

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Bildtext: Research and Reverie: A Study of the Gabriel Lippmann Cigarette Photo von Jerry PethickBildtext: Research and Reverie: A Study of the Gabriel Lippmann Cigarette Photo von Jerry Pethick

Research and Reverie: A Study of the Gabriel Lippmann Cigarette Photo

Jerry Pethick
Verlag: Presentation House Gallery
Jahr: 1994
Edition: Softcover
ISBN: 9780920293348
Zustand: Gebraucht
This book was produced in conjunction with an exhibition entitled "The Composite Image: New Work by Jerry Pethick". Here the artist continues to examine the thought processes and research of Gabriel Lippmann, inventor of the color photo process, by interpreting photos of Mr. Lippmann in his lab, with a cigarette.

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Bildtext: The Metropolitan Complex - This is Paper No. 16 in a series published by The Metropolitan Complex von Sarah Pierce, Monika Szewczyk, Charles Henri Ford, Parker Tyler, tuin, Grant Watson, Yael Davids, Colm Tóibín, Willy Van de Vijver, Matthew Buckingham, Maurice BlanchotBildtext: The Metropolitan Complex - This is Paper No. 16 in a series published by The Metropolitan Complex von Sarah Pierce, Monika Szewczyk, Charles Henri Ford, Parker Tyler, tuin, Grant Watson, Yael Davids, Colm Tóibín, Willy Van de Vijver, Matthew Buckingham, Maurice Blanchot

The Metropolitan Complex - This is Paper No. 16 in a series published by The Metropolitan Complex

Sarah Pierce, Monika Szewczyk, Charles Henri Ford, Parker Tyler, tuin, Grant Watson, Yael Davids, Colm Tóibín, Willy Van de Vijver, Matthew Buckingham, Maurice Blanchot
Verlag: The Metropolitan Complex
Jahr: 2009
Edition: Heft/Zeitschrift
ISBN: 20090455
Zustand: Gebraucht
Englisch & Niederländisch Limited edition of 1000 This is Paper No. 16 in a series published by The Metropolitan Complex that circulate as free publications. ISSN 2009-0455 Contents / Inhoud 04 Introduction / Inleiding Sarah Pierce 06 Transit Gallery garden / tuin 07 The Transit Group extracts (complete and incomplete) / De Transit Groep fragmenten (volledig en onvolledig) 10 Art of Conversation, Part I / De kunst van het gesprek, Deel I Monika Szewczyk 16 The Young And The Evil Charles Henri Ford / Parker Tyler 17 Transit Gallery garden / tuin 18 Interview with Prisoner / Interview met een gevangene Grant Watson 20 The hand is quicker than the eye / De hand is sneller dan het oog Yael Davids 24 Bad Blood Colm Tóibín 28 Transit Gallery garden / tuin 29 The Archivist. Interview with Willy Van de Vijver / De Archivaris. Interview met Willy Van de Vijver Sarah Pierce 31 Het proces van Geel 32 Interviews in Mechelen City Archive / Interviews in het Archief van Mechelen 34 Archives Are Where You Find Them Matthew Buckingham 36 Unavowable Community Maurice Blanchot Printed on the occasion of All That is Solid Melts Into Air (21 March 21 September 2009) for City Visions 2009. The Metropolitan Complex is a Dublin-based project by Sarah Pierce. It uses archives, exhibitions and papers often opening these structures to the personal and the incidental. info@themetropolitancomplex.com www.themetropolitancomplex.com Editor: Sarah Pierce Curator: Grant Watson Managing editor: Maja Lozic Production: Robrecht Ghesquière Translation: Gregory Ball, Steven Tallon Graphic Design: Michaël Bussaer Photography: Christine Clinckx, Emmanuel Lambion, Herman Van Ingelgem, Stadsarchief Mechelen www.beeldbankmechelen.be Front cover:The Moon Extinguishers, Stadsarchief Mechelen www.beeldbankmechelen.be The Transit Group: Bert De Leenheer and Dirk Vanhecke of Transit Gallery, Herman Van Ingelgem (commissioned artist), Vaast Colson, Anne Daems, Emmanuel Lambion, Ivo Provoost and Simona Denicolai, Koen Van Synghel, Frank Herman, An Volckaert. Mechelen City Prison:Yael Davids (commissioned artist), prison inmates and guards, Einat Tuchman, Ghani Minne, Miguel Cordoba, Adrien Husser, Quintijn Ketels, Christina Clar, Andre Van Bergen, Wim Adriaenssen, Fons Van Den Broeck. City Archives of Mechelen: Sarah Pierce (commissioned artist), Willy Van de Vijver, visitors of the archive. Book Credits: Maurice Blanchot, The Unavowable Community, Station Hill Press: Barrytown 1988. Reprinted with permission, all rights reserved Charles Henri Ford and Parker Tyler, The Young and The Evil, Metronome Press: Paris 2005. First published in 1933 by Obelisk Press, Paris. Reprinted with permission, all rights reserved Colm Tóibín, Bad Blood, Picador (MACM): London 2001. Every attempt was made to contact the publishers, all rights reserved. Texts: Matthew Buckingham, Yael Davids, Monika Szewczyk. Roundtable: Herman Van Ingelgem, Vaast Colson, Anne Daems, Emmanuel Lambion, Ivo Provoost and Simona Denicolai, Koen Van Synghel. Interviews: Mechelen City Prison inmates by Grant Watson Willy Van de Vijver by Sarah Pierce Visitors to the City Archive of Mechelen by Maja Lozic, Vincent Indekeu and Karen De Doncker. Printed in Belgium by Sintjoris. Edition: 1000 copies Printed in Dutch and English. Published by MuHKA and The Metropolitan Complex in partnership with MMMechelen vzw Stadvisioenen.

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Bildtext: Zivildienst - Kunstprojekt - social service - art project von Althea Thauberger, Adina Popescu, Axel Wieder, Jan Eller, Thomas Friedrick, Martin Harms, Ingo Kabus, Garane Leyli, Alexander McLarren, Matthias Obenaus, Dennis vom BergBildtext: Zivildienst - Kunstprojekt - social service - art project von Althea Thauberger, Adina Popescu, Axel Wieder, Jan Eller, Thomas Friedrick, Martin Harms, Ingo Kabus, Garane Leyli, Alexander McLarren, Matthias Obenaus, Dennis vom Berg

Zivildienst - Kunstprojekt - social service - art project

Althea Thauberger, Adina Popescu, Axel Wieder, Jan Eller, Thomas Friedrick, Martin Harms, Ingo Kabus, Garane Leyli, Alexander McLarren, Matthias Obenaus, Dennis vom Berg
Verlag: Künstlerhaus Bethanien
Jahr: 2006
Edition: kartoniert
ISBN: 9783932754760
Zustand: Gebraucht
Deutsch und Englisch book is new IM DIENST DER KUNSTVor schwarzem Hintergrund sind acht junge Männer, die pantomimisch unterschiedliche Arbeiten ausführen, von der LAURA SCHLEUSSNERTaille aufwärts zu sehen. Es sind die Zivildienstleistenden in Althea Thaubergers Werk Zivildienst Kunstprojekt, deutsche junge Männer um die Zwanzig, die ihren obligatorischen Zivildienst in verschiedenen sozialen Institutionen ableisten. Vereint durch das Schwarz, in dem sie fast verschwinden, scheinen die jungen Männer das Funktionieren einer Maschine zu verkörpern, den menschlichen Korpus des deutschen Sozialstaates, für den sie ihre Pflichten in untergeordneten Jobs und durch körperliche Arbeit in Altersheimen, Krankenhäusern und Kindergärten erfüllen. Das Bild, die Einladungskarte zur ersten öffentlichen Präsentation des Projektes, entstand in der ehemaligen Kapelle eines Krankenhauses aus dem 19. Jahrhundert, die heute eine Galerie im Künstlerhaus Bethanien ist. In einer 40-minütigen Performance, die in der symbolisch flexiblen Architektur eines Baugerüstes statt fand (aufgebaut im überwölbten Raum) nahmen die jungen Männer Posen ein, in denen sie mehrere Minuten verharrten. Gruppenkompositionen, die abwechselnd emotionsgeladene Konflikte und gemeinsame Lösungen andeuteten, wurden durchsetzt von Positionen, in denen die Körper der Darsteller die Architektur definierten. Indem ein wirkliches Gerüst für kollektiven Ausdruck geschaffen wurde, der auf das kreative Potential gemeinsamen Experimentierens verwies, betonte die Choreographie auch die Spannung zwischen Individuum und Gruppe und die Momente subjektiver Selbstbestimmung, die man als junger Erwachsener so oft spürt. Durch das Foto auf der Karte mag man an die wimmelnde Masse der Körper erinnert werden, aus denen der herrschende Riese auf der Titelseite von Hobbes' Leviathan besteht ein wegweisendes Bild des uralten und langlebigen Konzepts eines Staatskörpers. Thaubergers gemeinsame Arbeit mit der Gruppe geht jedoch über den Themenkomplex von Unterwerfung und Kontrolle der Individuen durch den Staat und zum Nutzen des Staates hinaus - und in diesem Geiste gemeinsamer Erkundung hat Thauberger die Autoren Adina Popescu und Axel Wieder eingeladen, aus ihren jeweiligen Bereichen der politischen Philoso-phie und sozialen Architektur dazu beizutragen. Durch den langwierigen Prozess, in dem sich die Kommunikation zwischen der Künstlerin und den jungen Männern stetig intensivierte, wurde aus dem Projekt eine Erforschung des kreativen Potentials des Zivildienstes. In diesem Zusammenhang ist die Geschichte des Zivildienstes als Einrichtung Nachkriegs-deutschlands und seine Rolle als Sammelpunkt der Protestbewegung der 1968er wichtig - ebenso wie die aktuellen strategischen Veränderungen in der Aufstellung des deutschen Militärs. Diese Entwicklungen werden im Essay des Soziologen Andreas Ringer detailliert nachgezeichnet. Wie an den Texten der am Projekt Beteiligten deutlich wird, ist das Gefühl der Isolation von den Altersgenossen zwar ein wichtiges Element der Zivi"-Erfahrung, diese Zeit wird jedoch oft als Periode verstärkter generationsübergreifender Kommunikation erlebt, in der junge Erwachsene in Kontakt mit Kindern und älteren Menschen kommen. Thauberger hat konsequent Interesse an zeitgenössischen Ritualen des Erwachsen-werdens, am Potential der Mikrogesellschaften und kollektiver Kreativität gezeigt. Sie ging dieses Projekt an, indem sie sich an die staatliche Zivildienstbehörde wandte, um über eine offizielle Zusammenarbeit zu sprechen. Daraufhin erhielten die Teilnehmer die Erlaubnis, als Bestandteil ihres Zivildienstes an dieser künstlerischen Arbeit teilzunehmen. Vom ersten Treffen an waren die Künstlerin und die jungen Männer an einem äußerst gemeinschaftlichen Prozess beteiligt. Am Anfang standen Gruppengespräche und Fotoaufnahmen, dann erarbeiteten sie gemeinsam die körperliche und visuelle Sprache, wobei sie sich selbst in eine isolierte Gemeinschaft hinein versetzten. Das Ergebnis war dann eine öffentliche Performance und ein performatives Video, das am selben Ort aufgenommen wurde. Thauberger bat außerdem jeden Zivildienstleistenden, eine fiktionale Autobiographie zu schreiben, und fand gemeinsam mit der Gruppe Settings für typische Fotoportraits des jeweiligen Zivis. Sowohl die Performance als auch das Video erzeugen einen so plastischen Effekt von Tableaux Vivants, dass sogleich Beuys'sche Vorstellungen von der sozialen Skulptur wach werden. Andererseits wird durch die Ermutigung der jungen Männer, eine Projektion ihrer selbst zu entwickeln, hier eine individualisiertere Auffassung von Kreativität angesprochen, in der die Einflüsse der Massenkultur deutlich werden. Es existiert außerdem ein gewisse Dichotomie zwischen der scharfen, klaren Ästhetik der Bilder Thaubergers mit der Inszenierung der eingefrorenen Posen und der Beteiligung von Amateuren am Entwicklungsprozess des Projektes mit seinem offenen Ende. Diese Elemente scheinen im Zentrum einiger Fragestellungen zu stehen, die in Thaubergers Arbeit auftauchen. Was ist das kreative Potential innerhalb der vorgegebenen Strukturen einer sozialen Einrichtung? Inwieweit ist es möglich, diese Strukturen im Kontext von Kunst zu erweitern? Wie können sich Individuen definieren durch potentiell einschränkende kollektive Rahmenbedingungen? Die an diesem Projekt Beteiligten zeigen klar, dass kein Mangel an politischem Bewusstsein in Deutschlands heranwachsender Bürgerschaft besteht. Während sich Hobbes' unverwüstlicher Regent Leviathan in das Gerüst eines leer stehenden städtischen Gebäudes verwandelt haben mag, so ist ein anderer politischer Körper gesund und munter, wenn er auch noch, wie Thaubergers Arbeit andeutet, das Potential dieser riesigen Gehäuse, die ihm vererbt wurden, erforscht. CREDITS Regie Director Althea Thauberger Verfasser/Darsteller Writers/Performers Jan Eller Thomas Friedrick Martin Harms Ingo Kabus Garane Leyli Alexander McLarren Matthias Obenaus Dennis vom Berg Projekt-, Produktionsleitung Project and Production Co-ordinator Helena Klitzsch Projekt Beratung Project Consultants Andreas Ringer - Kate Greenslade Regie Assistenz Direction Assistance Kerry Tribe Fotoregie Director of Photography Nadja Kurtz Schwenker Camera Operator Caro Krugmann Oberbeleuchter Lighting Designer Siri Klug Zweiter Beleuchter Lighting Assistant Anne Pöhlmann Ton Audio Kenji Tanaka Kerry Tribe ProduktionsstiLls Production Stifts Althea Thauberger Helena Klitzsch Fotos Production Photography Helena Klitzsch Kerry Tribe Germaine Koh Mungo Thomson John Connelly Althea Thauberger David Brandt Herausgeber Editors Althea Thauberger Frank Kater Brendan Wollard Architektur Scaffolding Architects Yuima Kaneko Andreas Otto Gerüstbau Scaffolding Construction Gerüstbau Tisch GmbH, Berlin Kino-Verleih Cinema Rentals Cine-Service, Berlin Lebensmittel Sponsoren Food Sponsors Pizza a Pezzi Kreuzburger KFC Produziert mit Unterstützung von Produced with the Support of: The Canada Councit for the Arts - Philip and Shelley Aarons John Connelly Presents Künstlerhaus Bethanien Bundesamt für den Zivildienst National Zivildienst Authorities The Canadian Embassy in Berlin Dank Thank you: Axel Wieder Adina Popescu Michael Zephang Catherine Nichols Daryush Gahdimi Uwe Tisch Andreas Eberlein Jeremy Woodruff Werner Neumann Larry Tribe Germaine Koh Anne Pöhlmann Nadja Kurtz Caro Krugmann Siri Klug Sonja Lau Anna Klitzsch Valeria Schulte-Fischedick Christoph Tannen Toni Lebkücher Christina Sickert Peter Rosemann Erica Claus Svea Bräunert Rüdiger Löhle Binna Choi Am Johal Amie Seigel An die Familien und Arbeitsstellen der Zivildienstleistenden, die an dem Projekt beteiligt waren The families and workplaces of the Zivis who worked an this project Bundesamt für den Zivildienst Zivildienst authorities An die Mitarbeiter des Künstlerhaus Bethanien Staff of the Künstlerhaus Bethanien The Canada Council for the Arts The Canadian Embassy in Berlin Besonderen Dank an The Artist would especially like to thank Jan Eller Thomas Friedrick Martin Harms Ingo Kabus Garane Leyli Alexander McLarren Matthias Obenaus Dennis vom Berg Andreas Ringer- Georg Dombrowski Kate Greenstade Vanessa Ohlraun Laura Schleussner Sibylle Malt Kerry Tribe Philip and Shelley Aarons John Connelly Andreas Otto Yuima Kaneko Gabriele Spindler Mungo Thomson - Bijan Dawallu und ein ganz besonderer Dank für die große Unterstützung und den vitalen Einsatz von Helena Klitzsch. and acknowledge with gratitude the enormous support and vital Input of Helena Klitzsch.

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Bildtext: Zeitraum # 9 Für Wladyslaw Strzeminski - Katja Strunz: Anlässlich der Ausstellung Bildtext: Zeitraum # 9 Für Wladyslaw Strzeminski - Katja Strunz: Anlässlich der Ausstellung

Zeitraum # 9 Für Wladyslaw Strzeminski - Katja Strunz: Anlässlich der Ausstellung "Nachbilder des Lebens, Wladyslaw Strzeminski und Rechte für die Kunst" - Afterimages of Life - Wladyslaw Strzeminski and Rights for Art

Katja Strunz, Jaroslaw Lubiak
Verlag: Muzeum Sztuki und König books
Jahr: 2011
Edition: Leinen
ISBN: 9788387937928
Zustand: Gebraucht
Buch ist neu Deutsch und Englisch und Polnisch Katja StrunzEINFÜHRUNG Im Jahr 2007 besuchte ich zum ersten Mal das Muzeum Sztuki in Lödi. Es ist sehr beeindruckend, diese außergewöhnliche Museumssammlung, insbesondere das Werk von Wladyslaw Strzeminski und Katarzyna Kobro kennenzulernen. Der Konstruktivi-smus nimmt innerhalb meiner künstlerischen Arbeit eine besondere Rolle ein. Gegen Ende meines Studiums im Jahr 1997 war eine erste Collage mit Referenz auf diese Strömung entstanden. Seitdem ist dieser Dialog nicht mehr abgebrochen. Es war für mich eine ganz besondere Ehre, das Ausstellungsdesign für diese Strzeminski-Retro-spektive zu entwerfen und damit die Möglichkeit zu haben, in einen direkten Dialog mit Strzeminskis Werk zu treten. Ein wesentliches Anliegen war mir, für die Werke einen Raum der Gegenwart zu schaffen. Das Konzept der Kuratoren sah vor, die Arbeiten nicht chronologisch, sondern thematisch zu erfassen. Ich suchte daher nach einem Raumgefüge, das keine Hierarchien entstehen lässt, kein zeitliches Nacheinander der Räume hervorbringt. Alle Elemente sollten im Raum gleich notwendig und gleichzeitig sein. Diese Voraussetzung erfüllte der für die Ausstellung vorgesehene 600 Quadratmeter große Raum für Wechselausstellungen des Museums perfekt, denn er ist lediglich durch zwei Säulenreihen strukturiert. Es konnte eine Ausstellungsarchitektur entstehen, die von inhaltlichen Bezügen und einer speziellen Formensprache bestimmt ist. Den Grundriss bildet das Wort ZEITTRAUM, das in einer von Strzeminski entworfenen Typographie verräumlicht ist. Schrift und Raum führen die Formensprache seiner Werke fort - sie verwirklicht sich im Ausstellungsraum. Walter Benjamin entwickelte den Neologismus ZEITTRAUM innerhalb seiner geschichtsphilosophi-schen Betrachtungen. Benjamin hatte darüber nach-gedacht, wie Vergangenheit im Jetzt gegenwärtig werden kann. Zentral wurde für ihn hierbei der Traum, denn im Traum ist die Chronologie der Ereignisse aufgehoben und Vergangenes wird unmittel-bar erlebbar. Grundlage für den Begriff ZEITTRAUM ist das zusammengesetzte Wort Zeitraum. Durch die Verdoppelung des Buchstabens t tritt zu den Ursprungswörtern Zeit und Raum das Wort Traum hinzu. Beim Betreten der Räume werden Sie sich an mancher Stelle, vielleicht aufgrund des laby-rinthischen Charakters, buchstäblich verloren fühlen. Erst in der Aufsicht - oder unter Zu-hilfenahme des Raumplanes - werden die Buchstaben sichtbar, die sich zu Benjamins Neologismus zusammenfügen. So habe ich auch die Begegnung mit den Werken Strzeminiskis verstanden: So wie im Traum, wenn man eine unlogische, suggestive und vielleicht sogar haltlose Gleichzeitigkeit der Bilder, der Nachbilder der Vergangenheit (im Jetzt) erlebt, so sind auch Strzeminiskis Werke ihrer Zeit entrissen und treten aus ihrer chronologischen Entstehungsgeschichte heraus in einen neuen Zeitraum. Ich möchte mich ganz herzlich bei Jaroslaw Suchan, dem Direktor des Muzeum Sztuki, und den Kuratoren Paulina Kurc-Maj und Jaroslaw Lubiak bedanken, insbesondere für das große Vertrauen und die mir eingeräumte Gestaltungsfreiheit. Dass es nun zur Realisierung dieses Katalogs gekommen ist, erfüllt mich ein weiteres Mal mit großer Freude. Hier gilt mein besonderer Dank Barbara Kuon und Jaroslaw Lubiak für ihre Text-beiträge, dem Verlag Koenig Books und dem Heraus-geber, dem Muzeum Sztuki in Lödi. Dieser Text basiert auf einem Vortrag von Katja Strunz zur Eröffnung der Ausstellung Nachbilder des Lebens. Wladyslaw Strzeminiski und Rechte für die Kunst am 30.11.2010 in Lodz.

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Bildtext: Sharjah Mini Map von ExplorerBildtext: Sharjah Mini Map von Explorer

Sharjah Mini Map

Explorer
Verlag: Muzeum Sztuki und König books
Jahr: 2011
Edition: kartoniert
ISBN: 9789948450153
Zustand: Gebraucht
Country: United Arab Emirates City: Sharjah The Sharjah Mini Map is small enough to fit in a shirt pocket, but once unfolded it provides all the detail you need to find your way around the city. With a clean, easy-to-read design, theres a Sharjah overview map on one side and detailed close-up views of the citys main areas on the other, making this miniature marvel a must for tourists, residents and visitors. Area names, road names, key landmarks and major attractions are all marked on the maps, plus theres a directory giving the locations of shopping malls, five-star hotels, beaches, parks, museums and heritage sites, and hospitals. An invaluable addition to any pocket, handbag, backpack or glove box, grab a copy of the Sharjah Mini Map and make sure you never get lost again. This Sharjah Mini Map is just one in a series of handy map products that are making navigation a whole lot easier look out for more Mini Maps for Dubai, Abu Dhabi, Muscat, Doha, Kuwait City, and Manama.

Preis(€): 3,00

Versand(€): 2,10

Bildtext: 500 Ways to Experience Brazil Around the World - Time Out von Claire Rigby, Dominic Earle, Edoardo AlbertBildtext: 500 Ways to Experience Brazil Around the World - Time Out von Claire Rigby, Dominic Earle, Edoardo Albert

500 Ways to Experience Brazil Around the World - Time Out

Claire Rigby, Dominic Earle, Edoardo Albert
Verlag: Time Out Guides
Jahr: 2011
Edition: Taschenbuch
ISBN: 9789948450153
Zustand: Gebraucht
'500 Ways to Experience Brazil Around the World', Time Out guide to Brazilian culture where you are, published by Time Out guides. from fine art to cuisine, from language and literature to dance, street arts and all forms of music.

Preis(€): 1,90

Versand(€): 2,10

Bildtext: The Rough Guide to Hong Kong & Macau (Rough Guide Travel Guides) von Jules BrownBildtext: The Rough Guide to Hong Kong & Macau (Rough Guide Travel Guides) von Jules Brown

The Rough Guide to Hong Kong & Macau (Rough Guide Travel Guides)

Jules Brown
Verlag: Rough Guides
Jahr: 2012
Edition: Taschenbuch
ISBN: 9781858288727
Zustand: Gebraucht
The Rough Guide to Hong Kong & Macau is the comprehensive guide to this region, taking into account the vast rate of change and giving a clear focus from both a Western and Chinese perspective. Packed with information and clear maps of old buildings and local historical sites, it also has detailed accounts of outdoor activities and revised restaurant listings, from world cuisine to local Chinese dim sum lunch. The guide caters to all visitors whatever their budget. For shopping, there are comprehensive listings on where to find clothing, jewellery, electronics, art or simply souvenirs, plus advice on how to avoid getting ripped off. For those on a budget, the guide is packed with tips on how to stay, travel, eat and enjoy yourself cheaply (including a list of all the free things to do in town). Anyone in Hong Kong with more time to explore will find coverage of everything from taking the Star Ferry Ride to shopping at Temple Street market, with in-depth coverage of downtown bars, remote villages, stunning mountains and the best beaches. Make the most of your holiday with The Rough Guide to Hong Kong & Macau.

Preis(€): 1,90

Versand(€): 2,10

Bildtext: Time Out: New York von diverseBildtext: Time Out: New York von diverse

Time Out: New York

diverse
Verlag: Time Out Guides
Jahr: 2012
Edition: Taschenbuch
ISBN: 9780140230390
Zustand: Gebraucht
Time Out New York helps visitors select the best of what’s new in this famously fast-paced destination whilst reserving space for well-loved classics. Each year, more than 50 million visitors from around the globe arrive to experience its renowned museums and cultural institutions, its incredible range of retail and one of the world's most dynamic dining scenes. As the five boroughs of NYC have become more culturally unified, coverage extends to must-visit neighborhoods in Brooklyn and Queens, which now rival (and, some would say surpass) Manhattan for hot restaurants, bars, arts and nightlife. It's the best reference for anyone visiting New York. Key features Written by an unrivalled network of local experts to give visitors the very best city experience Chapters are arranged by area with colour coding and a local map for each section, helping readers navigate the guide and the city with ease Hundreds of hand-picked restaurants, cafes and bars that have been visited and reviewed anonymously by critics who pay their own way A range of magazine-style feature articles really help readers get a feel for the local vibe, main attractions and brilliant itineraries Includes a pull-out city map to help visitors navigate their way between the sights

Preis(€): 1,90

Versand(€): 2,10

Bildtext: Time Out: London von diverseBildtext: Time Out: London von diverse

Time Out: London

diverse
Verlag: Time Out Guides
Jahr: 2012
Edition: Taschenbuch
ISBN: 9780140289374
Zustand: Gebraucht
Time Out London will help visitors to navigate the 2000-year-old city, from the many must visits through to the eccentricities and particularities that give London its flavor. Time Out London keeps you abreast of the latest in terms of cultural events, entertainment, restaurants, shopping, bar and pub scene, as well as taking you to the out-of-the-way neighborhoods in the throes of gentrification. Day trips and local excursions are also recommended, as rolling hills, seaside walks and ancient cities are all within your grasp. Whether your stay is brief or lengthy, Time Out London will help you make the most of your time.

Preis(€): 4,90

Versand(€): 2,10

Bildtext: Time Out: Berlin von diverseBildtext: Time Out: Berlin von diverse

Time Out: Berlin

diverse
Verlag: Time Out Guides
Jahr: 2012
Edition: Taschenbuch
ISBN: 9780140257182
Zustand: Gebraucht
No other European city is changing as quickly and completely as Berlin. "Time Out Berlin Guide" has been reshuffled, rewritten and revised by a team of resident experts, giving you an up-to-date overview of Germany's capital city.

Preis(€): 2,90

Versand(€): 2,10

Bildtext: Time Out Brussels: Antwerp, Ghent, and Bruges (Time Out Guides) von Bildtext: Time Out Brussels: Antwerp, Ghent, and Bruges (Time Out Guides) von

Time Out Brussels: Antwerp, Ghent, and Bruges (Time Out Guides)

diverse
Verlag: Time Out Guides
Jahr: 2011
Edition: Taschenbuch
ISBN: 9781904978152
Zustand: Gebraucht
A high-speed hop from London, Paris, Amsterdam and Cologne, the city at Europe's crossroads is as distinguished, diverse and distinctive as any continental capital. Home to the Surrealists and the Breughels, this living monument to art nouveau enjoys a gastronomic reputation second to none - complemented by boundless bar crawls and style-conscious shopping sprees. Using local journalists, writers and experts, the Time Out Brussels Guide offers an informed and detailed excursion around the city and its attractions, from the Gothic and Guildhouse past of the Grand Place to Brussels' present-day role as Europe's capital, taking in its beers and its boutiques, its markets and its mussels, and its comics and its chocolates along the way. Beyond Brussels, the guide also delves deep into the three main metropoli of Flanders: fashion-conscious Antwerp, celebrating 2004 as the year of Rubens medieval Ghent, unsung and underrated and Bruges, Belgium's biggest tourist draw. Day trips dip each side of the French/Flemish divide, from the coast around Ostend to Liege nestling on the Dutch and German borders.'Time Out has the best written city guides.' Sunday Telegraph

Preis(€): 4,90

Versand(€): 2,10

Bildtext: A Man Called Love: Reading Xavier - Book for reading in your next life and then for remembering you had already read it von Tamar GuimarãesBildtext: A Man Called Love: Reading Xavier - Book for reading in your next life and then for remembering you had already read it von Tamar Guimarães

A Man Called Love: Reading Xavier - Book for reading in your next life and then for remembering you had already read it

Tamar Guimarães
Verlag: Capacete Producoes and Forlaget *
Jahr: 2010
Edition: Taschenbuch
ISBN: 9788563537010
Zustand: Gebraucht
Tamar Guimarães: A Man Called Love: Reading Xavier. A Man Called Love: Reading Xavier is based on the story of Francisco Candido Xavier (1910 - 2002). Xavier was a celebrated psychic medium and psychographer - a technique of channeling spirits in order to write - who dedicated his life to notating the words spoken to him by disembodied spirits. To speak of Xavier is also the speak of race, class and gender relations in Brazil and the military dictatorship which lasted from 1964 to 1985 - the period of Xavier's greatest popularity. His version of Spiritism was at once deeply utopian and deeply conservative, and A Man Called Love: Reading Xavier brings out the societal fault lines underlying his practice, intertwining Xavier, the military dictatorship and its resistance. A must read book if you are interested in Francisco Candida Xavier, psychic medium and psychograph. The Author Tamar Guimarães great project about Xavier made through books, photos, exhibitions, movie, where the book is part of the project is great writing for a little book and you will sense how her writing reflects knowledge from her study of Xaviers work. Her writing compile Xavier's work and life in a fine ensemble and how to be a psychograph in the contemporary political and cultural Brazil. Tamar Guimaries A Man Called Love: Reading Xavier Book for reading in your next life and then for remembering you had already read it. Edited by Avi Alpern Published by Capacete Producoes and Forlaget * [asterisk] 2010 Layout by Tamar Guimardes and *[asterisk] Printed by Aldgate Press, London ISBN 978-85-63537-01-0 www.capacete.net www.forlagetasterisk.dk Images sources Arquivo do Estado de Sao Paulo_Fundo Jomal Ultima Hora Arquivo Nacional, Rio de Janeiro_Fundo Correio da Manha Maestro Ettore Bosio's photographic work for N.Faria's 0 Trabalho dos Mortos (The Work of the Dead), Rio de Janeiro: Livraria da Federacao Espirita do Brasil, 1921. Jose Goes' photographic work for Chico Xavier - Mandato de Amor, Una. Espirita Mineira, Brasil, 1992. Thank you to the unknown photographers of both the Jornal Ultima Hora and the Correio da Manila - I wish I could have credited you by name. Thank you also to Carsten Juhl, Ron Clark, Eliana Guimardes Farhat, Salvio Penna, Una Chung, Daniel Hegarty, Unian Espirita Mineira, Johanne Nissen and Kasper Aldioj.

Preis(€): 14,20

Versand(€): 2,10

Bildtext: The Rough Guide to Moscow von Dan RichardsonBildtext: The Rough Guide to Moscow von Dan Richardson

The Rough Guide to Moscow

Dan Richardson
Verlag: Rough Guides
Jahr: 2010
Edition: Taschenbuch
ISBN: 9781858287003
Zustand: Gebraucht
The Rough Guide to Moscow is the definitive guide to one of Europe's most fascinating and rewarding cities. The full-colour introduction covers the awe-inspiring Kremlin and The Red Square and includes the essential list of "what not to miss". There are lively explorations of all the sights, from Moscow's lavish palaces to world-class museums, as well as detailed accounts of Russian history and politics that have formed this intriguing city. You'll find two full-colour sections that highlight the New Moscow Style contemporary art, design, fashion, galleries, boutiques, bars and clubs and the magnificent art-deco metro, famous for its arts, murals, mosaics and ornate chandeliers. With updated and easy-to-use maps, expanded listings of nightlife, restaurants and hotels in Moscow for all budgets, The Rough Guide to Moscow is the must-have item to this colourful and spirited city. Make the most of your time with The Rough Guide to Moscow.

Preis(€): 2,90

Versand(€): 2,10

Bildtext: Greece: The Rough Guide von Mark Ellingham, Marc Dubin, Natania JanszBildtext: Greece: The Rough Guide von Mark Ellingham, Marc Dubin, Natania Jansz

Greece: The Rough Guide

Mark Ellingham, Marc Dubin, Natania Jansz
Verlag: Rough Guides
Jahr: 2010
Edition: Taschenbuch
ISBN: 9781858283005
Zustand: Gebraucht
Travelers to Greece are becoming more demanding as the country gets more developed. This guide is the first to investigate the really off-the-beaten-track destinations. But the established sites and attractions are far from ignored, from superb coverage of Athens to the best in beach and island hopping, big city clubbing, mountain walking, and historical touring. of color photos. 120 maps and plans. A terrific guide to both the Greek mainland and the islands. Spent several months trawling around the country, at first with several guide books, Fodors, Rough Guide, Lonely Planet, etc., but finally found that the Rough Guide knew the country best, and made for a more entertaining travel companion, so I ditched the other books about three weeks into the trip. Absolutely the only book for Greece if you (a) like good food and nightlife and (b) have a serious interest in the cultural context of Ancient Greece. Plus their commentary on modern Greek history was very helpful, must admit I didn't know much about it until I arrived. You can't go wrong with this book.

Preis(€): 1,90

Versand(€): 4,80

Bildtext: Clemencia Echeverri : sin respuesta / unanswered. von Clemencia EcheverriBildtext: Clemencia Echeverri : sin respuesta / unanswered. von Clemencia Echeverri

Clemencia Echeverri : sin respuesta / unanswered.

Clemencia Echeverri
Verlag: Universidad Nacional de Colombia, Villegas Editores
Jahr: 2009
Edition: kartoniert
ISBN: 9789587192032
Zustand: Gebraucht
Englisch und Spanisch Acknowledgements by Clemencia Echeverri To my son Alejandro and to Isaac Unanswered is a book that examines the hesitant process of creation when it occurs during times of difficulty and horror. It is a process that starts from the everyday experiences regarding the traumatic dislocation of culture and the attempt to translate into audiovisual art the effort at remembering. This text has been possible thanks to the support of the Cultural Divulgation Office, directed by Maria Belen Saez de Ibarra, and the Institute Taller de Creation, directed by Gustavo Zalamea, Fatultad de Artes Universidad Nacional de Colombia. I am most grateful for the intellectual generosity of the art critics and researchers Maria Beien Saez de lbarra, Gustavo Chirolla, Maria Victoria Uribe, Marta Rodriguez, Jose Ignacio Roca, Piedad Bonnett, and Gustavo Gomez. Since 1996 my art work has been kindly supported by fellowships of The Arts Council, London The Daniel Langlois Foundation, Canada The Institute Distrital de Cultura, Bogota The Minis-terio de Cultura, Colombia the Division de Investigaciones de la Universidad Nacional, DIB, and the Facultad de Aries de la Universidad Nacional de Colombia, Bogota. I also deeply appreciate the dissemination of my work by the Museo de Arte Moderno de Bogota, el Museo Nacional de Colombia, el Museo de Arte de la Universidad Nacional, the Alonso Garces Gallery, Bogota, and the Daros-Latinamerica Collection in Switzerland. My unbounded thanks go to artist Barbara Santos, whose rigorous and creative design produced a unique book rooted in the structure of each work. I sincerely value the team that has participated in the development of this project: Boris Teran, Diego Lean, Daniel Prieto, Freddy Arias, Pierre Heron, Gustavo Fernandez, Nicolas Guarin, Susana Montoya, Jesas Maria Amaya, Andres Guzman, Marta Patricia Nino, Piedad Montoya, Mauricio Beltran, Oscar Moreno, Victor Garces and Benjamin Villegas for distribution of the book in collaboration with the Universidad Nacional de Colombia During the realization of the artwork I bring together in this book, I have been inspired, moved, and supported by the special company of artists, scholars, and friends, Miguel Angel Rojas, Antanas Mockus, Trixi Allina, Humberto Giangrandi, Rolf Abderhalden, Cecilia Maria Velez, Natalia Gutierrez, Maria Tabares, Reinaldo Annichiarico, Ana Maria Rueda, Marianne Ponsford, Daniel Winograd, Carmen Maria Jaramillo, Alvaro Marin, Jaime Caron, Eduardo Pelaez, Jorge Jaramillo, Patricia Gomez, Eduardo Serrano, Ana Patricia Palacios, Himelda Ramirez, Carlos Gaviria, Ana Maria Lozano, and Consuelo Gaitan. Finally, my deepest thanks to my family, who have supported me with unquestioning love and patience, particularly Luis Echeverri, Isaac Dyner, Pablo Echeverri, Tulio Rabinovich, Marco Echeverri, Rebeca Oyner, Camila Echeverri, and Alejandro Arizmendi.

Preis(€): 99,00

Versand(€): 4,80

Bildtext: Roman Signer esculturas e instalacions (Centro Gallego de Arte Contemporáneo) 21 xaneiro/20 marzo 2006 von Angelo CapassoBildtext: Roman Signer esculturas e instalacions (Centro Gallego de Arte Contemporáneo) 21 xaneiro/20 marzo 2006 von Angelo Capasso

Roman Signer esculturas e instalacions (Centro Gallego de Arte Contemporáneo) 21 xaneiro/20 marzo 2006

Angelo Capasso
Verlag: Centro Gallego de Arte Contemporáneo
Jahr: 2006
Edition: kartoniert
ISBN: 9788445344125
Zustand: Gebraucht
Buch ist neu Roman Signer. Esculturas e instalacións CGAC Centro Galego de Arte Contemporánea, Santiago de Compostela/ES http://www.cgac.org/ Roman Signer: Zeitschmied Rachel Withers Man hat Signers Werken mit dem Etikett Zeitskulptur versehen. Das Anliegen, das sie mit der traditionellen Skulptur teilen, ist die handwerkliche Gestaltung physischer Materialien in drei Dimensionen doch sie erweitern dieses Anliegen zu dem, was man als die vierte Dimension bezeichnen könnte oder auch nicht , die Dimension der Zeit. Zeitskulptur untersucht die Verwandlung der Materialien durch die Zeit, lenkt das Augenmerk des Betrachters auf die Erfahrung des Ereignisses, die dadurch geschaffenen Veränderungen und die daran beteiligten Kräfte. Mit ihrer abwechslungsreichen Kombination von dreidimensionalen Objekten, Live-Action, Standbildfotografie und filmischer Dokumentation umrahmen Signers Zeitskulpturen Episoden, die von der Eindämmung und Freisetzung von Energie handeln, stets mit Raffinesse, häufig mit fesselnder, epigrammatischer Rasanz und unwiderstehlichem Humor. In Mütze mit Rakete (1983) etwa verbindet eine Schnur ein Feuerwerk mit einer Strickmütze, die Signer sich übergezogen hat. Das Feuerwerk wird gezündet, schießt in die Luft, reißt dabei die Mütze mit und gibt so den Blick auf das Gesicht des Künstlers frei. In Hocker Kurhaus Weissbad (1992) sorgt eine kleine Explosion dafür, dass ein vierbeiniger Hocker aus einem Fenster katapultiert wird der Hocker segelt durch die Luft und landet krachend auf der Erde. In Kamor (1986) erzeugt eine Pulverexplosion auf dem Gipfel eines kleinen Berges im Schweizer Kanton Appenzell einen Flammenschein und eine Rauchwolke und lässt den Gipfel so einen Moment lang wie einen aktiven Vulkan erscheinen. In Aktenkoffer (1989/2001) geht ein mit Beton gefüllter Aktenkoffer auf eine kurze Reise in einer schnellen Maschine, einem Hubschrauber, um genau zu sein. In einer Höhe von etwa hundert Metern wird sie abgeworfen. Wie ein Meteorit plumpst sie auf ein grasbewachsenes Feld und hinterlässt dort einen tiefen Krater im Rasen. So einfach! Und tatsächlich ist der Schritt von der Skulptur zur Zeitskulptur in mancher Hinsicht erfreulich einfach: elementar, um mich eines Begriffs zu bedienen, den der Künstler im Hinblick auf sein Werk häufig gebraucht. Angesichts der verblüffenden Unmittelbarkeit und poetischen Anschaulichkeit von Signers Werken können kritische Kommentare mitunter überflüssig wirken, wie die stumpfsinnige, beckmesserische Erläuterung eines perfekt getimten, wunderbar treffsicheren Witzes. Den Kritiker lässt der Verdacht nicht los, eine erklärte Zeitskulptur könnte eine missverstandene Zeitskulptur sein, um eine Formulierung Simon Critchleys aufzugreifen. Ausgehend von einer anscheinend beschränkten Palette von Prozessen und Materialien gelingt Signer eine Poetik, deren Bandbreite vom Melancholischen zum Aufregenden, vom Liebenswürdigen zum Gewaltsamen, vom Ernsthaften zum unwiderstehlich Albernen reicht, und zu vielen Punkten nördlich, südlich, östlich und westlich dieser Gefühlskoordinaten. Rachel Withers 2007, Auszug aus: Withers, Rachel, 'Collectors Choice. Roman Signer (engl.). Volume 07', Cologne: Dumont Literatur und Kunst Verlag, 2007

Preis(€): 139,90

Versand(€): 2,10

Bildtext: Ballary Marvels von Lynne Warren, Ellen LanyonBildtext: Ballary Marvels von Lynne Warren, Ellen Lanyon

Ballary Marvels

Lynne Warren, Ellen Lanyon
Verlag: Index Press
Jahr: 2009
Edition: kartoniert
ISBN: 9788445344125
Zustand: Gebraucht
Buch ist neu Ballary Marvels was published in a limited edition of 1,000 copies. http://www.jerzcreative.com/section/sectionview/236 their recently published collaborative book, Ballary Marvels. The book features pen-and-ink drawings from Lanyons Index project, which records over 300 of her quirky collectables, and poems by Warren written in nonsense verse and in response to Lanyons collectables. The collaborative effort, inspired by the unique objects collected by the distinguished painter, draftsman, and printmaker Ellen Lanyon juxtaposes her drawings of these objects with Lynne Warren's poems written in the "nonsense" tradition. Lanyon's delightful pen-and-ink drawings are from her Herculean project "index" which records over 300 of her quirky collectibles that range from ashtray bulldogs to zippered frogs. Warren's poems were written in response to her viewings of the objects and evoke such beloved writers as Lewis Carroll, Edward Lear, Ogden Nash, and Roald Dahl.

Preis(€): 29,90

Versand(€): 2,10

Bildtext: Ellen Moffat: BLOW von Ellen MoffatBildtext: Ellen Moffat: BLOW von Ellen Moffat

Ellen Moffat: BLOW

Ellen Moffat
Verlag: Mendel Art Gallery
Jahr: 2004
Edition: kartoniert
ISBN: 9781896359410
Zustand: Gebraucht
Buch ist neu Buch mit CD FOREWORD The Mendel Art Gallery plays a mediating role in the presentation of contemporary art that challenges traditional demarcations between artistic disciplines, and that privileges the personal vision and experience of the artist. A particular emphasis is placed on work that encourages reflection on how art and technology shape the way in which we interact with the everyday world. Blow is a multimedia installation created by Saskatoon-based artist Ellen Moffat. Presented in a darkened space, it offers a sensory experience to gallery visitors through relational play between its audio and visual components: a pre-recorded sound/text, a projected image, diffused light, and a specific spatial arrangement of audio cables and speakers. The cables do not simply serve a functional purpose, but extend horizontally across the floor in a visual pattern suggesting the nervous or arterial system of the body or a root system. A cryptic diagram projected on one of the walls reinforces this analogy. Electronic units of sound, of voice and noise, circulate through the cables like blood vessels to punctuate the space inter-mittantly from strategically placed speakers attached to the cables. If the critical discussion to which art gives rise constitutes its special function or social value, then Blow offers a possible model for exploring the conditions all art has to face the complexity and slippery terrain of the signifying process. Detaching language from its semantic context and linear unity, Moffat's poetic deconstructions of the spoken word, along with her intermixing of media, proposes an acentred, nonhierarchal system of communication. Her work, which can be experienced from any starting point to any ending point, simultaneously speaks of both displacement and recovery of somatic experience in the construction of meaning. On behalf of the Mendel Art Gallery, I wish to thank Ellen Moffat for her commitment to this thoughtful and vital project. Gratitude is also extended to curator Alexandra Stratulat, Head of Public and Professional Programs, for its realization, and for her insightful perspective on the artist's concern for the properties and problems of language. I would also like to thank guest writer Betsy Warland for contributing an essay that elucidates her personal experience of Blow, enhancing our appreciation and understanding of the work. Finally, I wish to gratefully acknowledge The Canada Council for the Arts and the Saskatchewan Arts Board for their valued support. Terry Graff, Director Mendel Art Gallery

Preis(€): 24,90

Versand(€): 2,10

Bildtext: Georg Kargl Fine Arts since 1998 - Box since 2005 von Georg KarglBildtext: Georg Kargl Fine Arts since 1998 - Box since 2005 von Georg Kargl

Georg Kargl Fine Arts since 1998 - Box since 2005

Georg Kargl
Verlag: Walther König
Jahr: 2006
Edition: Taschenbuch
ISBN: 9783865600639
Zustand: Gebraucht
Deutsch / Englisch Georg Kargl founded the respected Galerie Metropol in Vienna in 1978, and in 1998 he opened Kargl Fine Arts, now called BOX. This history of Kargl's visionary take on contemporary art over the years includes John Baldessari, Dan Flavin, Christopher Williams, Collier Schorr, Raymond Pettibon and John Waters to name just a few. 6*I still like the 20th century Joachim Kreibohm in conversation with Georg Kargl 21*Frisch Gesellen, seid zur Handl Richard Artschwager's Facade Design for Georg Kargl BOX 34Richard Artschwager *Gegenwartig aber ungenau, 5.11.05-14.1.0642Franz Graf *LOVEMYDREAMS, 11.11.05-14.1.06240 Elke Krystufek *Like nothing you've ever seen, 5.2.99-13.3.99 38Gabi Trinkaus *girl's gotta have it, 9.9.05-5.11.0548Martin Dammann *Vanishing Point, 9.9.05-5.11.05246 Rudolf Stingel, 13.12.98-10.2.99 250 Elizabeth Peyton, 14.11.98-9.12.98 40Koenraad Dedobbeleer *Bad Timing,52*Good Timing, 30.6.05-20.8.05256 Raymond Pettibon *Zeichnungen der 30.6.05-20.8.0558Clegg & Guttmann *Social Sculptures, Community Portraits and Spontaneous Operas 1990-2005, 23.4.05-22.6.0580er Jahre, 15.10.98-14.11.98 262 Chuck Close *Prints 1978-1997, 11.9.98-10.10.98 266 *Review, 14.6.98-31.8.98 66Ina Weber *Desperanto, 4.3.05-16.4.05 70 76*Waters and Watercolours, 20.1.05-26.2.05 Angus Fairhurst *Dysuniversal, 11.11.04-9.1.05275 In Conversation Monika Faber, Gerard Goodrow, Martin Guttmann, Georg Kargl, Thomas Locher, Hans Ulrich Obrist 82From Above.", 9.9.04-30.10.04and Roland Schony. 88Muntean/Rosenblum *How Soon Is Now, 26.5.04-15.8.04305 Appendix 92Elke Krystufek *Needs, 26.3.04-16.5.04 98Herbert Hinteregger *Get the picture, 16.1.04-26.2.04 102 Markus Schinwald, 7.11.03-3.1.04 108 Lisa Ruyter, 12.9.03-25.10.03 112 Chris Johanson *This is where you are, 5.6.03-23.8.03 118 Franz Ackermann, Harald Klingelholler, Meuser, Andreas Slominski, 4.5.03-31.5.03 124 *Re-Produktion 2, curated by Thomas Locher, 30.1.03-29.3.03 130 Gerwald Rockenschaub *no red tape, 21.11.02-18.1.03 134 Ines Lombardi *an approximation, 13.9.02-2.11.02 140 Thomas Locher, 5.7.02-24.8.02 146 Rudolf Stingel, 16.5.02-22.6.02 150 Ketty La Rocca, 15.3.02-11.5.02 154 *Waiting for the Ice Age, curated by Michael Hall, 19.1.02-9.3.02 160 Vera Frenkel *Body Missing, 16.11.01-15.1.02 164 Muntean/Rosenblum *Lost in the savage wilderness of civil life, 12.9.01-10.11.01 170 Mark Dion, 28.6.01-20.8.01 176 Lisa Ruyter, 9.5.01-20.6.01 178 Cerith Wyn Evans, 23.3.01-30.4.01 182 Herbert Hinteregger, 17.1.01-10.3.01 186 Julia Scher Wonderland, 1.11.00-15.12.00 190 Elke Krystufek, 8.9.00-25.10.00 194 John Waters, 11.6.00-31.7.00 200 Paul de Reus, 30.3.00-27.5.00 206 Matt Mullican, 4.2.00-31.3.00 210 *Prepared, 10.12,99-15.1.00 212 Thomas Locher, 21.10.99-4.12.99 216 Gerwald Rockenschaub, 4.9.99-16.10.99 220 *Weg aus dem Bicurated by Martin Prinzhorn, 9.7.99-21.8.99 228 Herbert Hinteregger, 30.5.99-7.7.99 232 Collier Schorr, 30.4.99-25.5.99 234 Muntean/Rosenblum *Needless To Say, 18.3.99-24.4.99

Preis(€): 9,90

Versand(€): 4,80

Bildtext: Marissa Lee Benedict: Multiplices - threewalls von Marissa Lee Benedict, Pat ElifritzBildtext: Marissa Lee Benedict: Multiplices - threewalls von Marissa Lee Benedict, Pat Elifritz

Marissa Lee Benedict: Multiplices - threewalls

Marissa Lee Benedict, Pat Elifritz
Verlag: Threewalls
Jahr: 2013
Edition: Pappe
ISBN: 9783865600639
Zustand: Gebraucht
Buch ist neu Special thanks to: threewalls Pat Elifritz David Allan Rueter Andrew Barco Nina Barnett Erin Washington Claire Pentecost A. Laurie Palmer Patricia and John Peter Lee Harry Holmes Benedict Ill Allyson Benedict Alex/andra Benedict Juan Luis Olvera MULTIPLEX adj. 1. consisting of many elements in a complex relationship 2. manifold multiple. 3. of, pertaining to, or using equipment permitting the simultaneous transmission of two or more trains of signals or messages over a single channel. n. 1. a system or signal involving simultaneous transmission of several messages along a single channel of communication. 2. (in map making) a stereoscopic device that makes it possible to view pairs of aerial photographs in three dimensions. 3. a building containing a number of motion-picture theaters or, sometimes, a cluster of adjoining theaters on the same site. v.i. 1. to send several messages or signals simultaneously, as by multiplex telegraphy. [from Latin: having many folds, from MULTI- + plicāre to fold] pl. multiplices ________________________________________________________________________ How much of philosophical, scientific, and political thought is caught up with the idea of continuity? What if it were otherwise? [if there was] a way of thinking with and through dis/continuity a dis/orienting experience of the dis/jointedness of time and space, entanglements of here and there, now and then, that is, a ghostly sense of dis/continuity, a quantum dis/continuity differentiations that cut together/apart not separate consecutive activities, but a single event that is not one. Quantum Entanglements and Hauntological Realtions of Inheritance: Dis/continuities, SpaceTime Enfoldings, and Justice-to-Come, Karen Barad (Derrida Today 3.2 (2010):240-268 Edinburgh University Press): ________________________________________________________________________ As someone deeply curious about the way our world worksfrom the simple clarity of infinitesimally small micro reactions to the infinite complexity of macro interactionsMarissa Lee Benedicts practice is deeply rooted in research and experimentation. Growing out of a four year investigation into algaeand its potential to transform our food, pharmaceutical, science, and fuel industriesMULTIPLICES is an exploration by Benedict into processes of thinking, making, researching, assembling, transforming: processes of making dis/connections. For MULTIPLICES, Benedict has collected algal samples from 5 sets of sites in the Chicago metropolitan area, taking these sites as a series of coordinates from which to draw spiraling connections between personal, social, material and theoretical histories. Installed in threewalls main space, MULTIPLICES pairs written text with sculptural objects assemblages which put forward the experience of the exhibition as a multiplex, as a way in which messages and transmissions can be packaged together and sent simultaneously along a single telephone line. Building upon Deleuze and Guattaris proposition of the book as a space where there are lines of articulation or segmentarity, strata and territories but also lines of flight, movements of deterritorialization and destratification, Benedict encircles the gallery space with a single shelf a ledge prepared to hold a multitude of textbooks which serve as a road maps for the sculptural assemblages occupying the gallery walls and floors. Traveling to Wolf Lake, Belmont Harbor, the offices of SAIC/SAIC (the Art Institute and the sience/technology company), Jean Baptiste Point Du Sable Homesite/Dusable Park and threewalls itself, Benedict dis/connects these 5 sets of coordinates through a process similar to that of felting of generating a nonwoven fabric through the multiple, random interlocking of spiral strands (fibers) under heat, friction and pressure. Utilizing this process of felting as a metaphor for describing the synthesis of a four year body of research, Benedict takes up the exhibition as a moment to embarks on a discussion of MULTIPLICES: of simultaneities and separations iteration and reiteration sampling and searching and researching cutting apart and together certainty and curiosity and uncertainty chance and intention and proposition moments of hope and failure loss and transformation everything and nothing. A native of Southern California, Marissa Lee Benedict is a sculptor, researcher, writer, explorer, teacher, student and avid amateur of many fields and disciplines (coming from the French lover of). Motivated by a sense of critical wonder, Benedicts practice is an ongoing investigation the complex and ever evolving relationship between humans and the material world. Whether communicating via sculpture, installation, performance, video or the written word or a hybridization thereof she seek to articulate Jane Bennetts philosophy of vibrant matter, fore-fronting the force of materiality to create both a physical and intellectual understanding of networked interconnectivity. Benedict is interested in participating in processes which reinvest material with agency processes which allow equal space for planned human action and uncontrollable biological, chemical and physical reaction. Currently based in Chicago, IL, Marissa Lee Benedict received a BFA from the Rhode Island School of Design (RISD) in 2007 and an MFA in Sculpture from the School of the Art Institute of Chicago (SAIC), where she teaches part-time in the Sculpture Department. On MULTIPLICES - Pat Elifritz

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Bildtext: Diango Hernández - The New Man and the New Woman von Diango Hernández, Andrew Renton, Astrid WegeBildtext: Diango Hernández - The New Man and the New Woman von Diango Hernández, Andrew Renton, Astrid Wege

Diango Hernández - The New Man and the New Woman

Diango Hernández, Andrew Renton, Astrid Wege
Verlag: Marlborough Contemporary
Jahr: 2013
Edition: kartoniert
ISBN: 9781909693043
Zustand: Gebraucht
Buch ist neu Limitiert auf 500 The perspective of the viewer is the only element that defines the present of an artwork. In this sense the graphite drawings give an important clue to the viewer because their appearance changes in relation to his standing point: sometimes the drawing is visible and sometimes what you can see is just a graphite surface that has apparently swallowed the lines DH Dialogue I havent found a better way to go back in time Diango Hernández, Astrid Wege and Andrew Renton in conversation Astrid Wege The New Man (or Woman) is a recurrent topos of the 20th century, both in the arts (for example in Expressionism) and in politics. It is often charged with religious connotations and ideologically exploited. In your exhibition you bring together heterogeneous elements referring to some aspects of the development of such a new man: your personal recollection of a morning ritual in the Cuban socialist education system, as well as allusions to fascist architecture and to German porcelain produced with forced labour provided by the Dachau concentration camp. These everyday objects were meant to contribute to the education of the National Socialist man. One could think of the concept of the new man as a projection and apotheosis, in a way a placeholder, however, you link it to the very institutions where it becomes concrete: education, architecture and design. Diango, can you tell us a bit more about your thoughts on this and also how you came across the specific references in the exhibition? Diango Hernández Memory is all weve got, so to remember is an essential task. Facts get recorded in us via individual experiences of all kinds, but it doesnt mean that anyone else but us will remember these facts. I have assumed, for my practice and myself, that art is nothing more than transforming and exposing individual memories. Art as the reassembling of personal experiences that can be delivered to people in a new form of reality, and which is nothing other than fiction. The new man (el hombre nuevo) is, first of all, a very familiar phrase to me, something that was written on my memories without using a pencil but as a never-ending repetition, or, better to say, as a tedious litany. I cant precisely recall when I heard of it for the first time, I guess I was too young I guess I was too far from here, very far from this precise moment in time. All the references I have collected and relocated for this exhibition were the result not of premeditation but of accident (assuming that accidental discoveries happen by chance and not by the guidance of our obsessions). The starting point, the first accidental discovery, was a 1930s catalogue of Allach porcelain. The strange circumstances that surrounded this discovery proved a vague thought I had years ago I will only find things that make me complete. In order to define the relevance of this catalogue I have had it with me for more than three years, I have flipped through it hundreds of times and I have taken it with me to Havana, the city where everything started for me. It was only in Havana that I found one important answer that awoke me to the need of making something else out of it. There is no need to unfold or to explain this further, because it is very simple: Why can an object only reveal its essential purpose when it is relocated? Only with the help of the Allach catalogue in Havana, hundreds of miles away from where I found it, could I see my entire education as a mass-produced object. I took the catalogue with me back to Germany and I started thinking about how to translate these porcelain figures into drawings. Until now, I havent found a better way to go back in time, it is only by transforming an image into a drawing that I can access the past. Andrew Renton What is it about that specific medium of drawing that is so productive for you in terms of accessing the past? The series of works may well be drawings, technically, but formally they reveal strong contrasts between an image that is barely there black on black outlines and the materiality of the board which supports the image. For me this materiality is important, emphatically present. Its not just about images, but the space of the gallery has been transformed into a progression of physical encounters for the viewer. You work with such a broad vocabulary of materials, could you talk about some of them at work here? DH If we understand a photograph as a mirror of reality we can assume that the photographed object exists or has existed. The drawing that forms the basis of any specific object the plan or blueprint? is rarely visible, the drawing is, in most cases, irrelevant. The drawing was just the beginning, the medium used to produce the object and it usually remains hidden in the past. If we present the drawing of an object instead of a photograph of it, we cant really prove that the object existed. Where are the original drawings of the Allach porcelain? I believe that by making these drawings I can access a source, and maybe history can be reversed. Graphite is the material I have struggled with since I was a kid. To keep a page of my notebooks clean was a big issue for me. On the first day of school, I got a pencil, a couple of notebooks and a surgical blade. There was no pencil sharpener and so we used this extremely sharp blade we had to ask teachers permission to go to the front of the classroom, sharpening our pencils into a trash basket in the corner. But many of us would sharpen the pencils at our school desk, the graphite powder mixing with our sweaty tropical hands the white pages of our notebooks became very dirty as well as our white shirts. Graphite is the material that I have used for making the series of drawings for The New Man and The New Woman exhibition. I have used a very particular technique in which a very dense layer of graphite covers the entire surface. The lines that I have drawn are only visible because I have used a pencil made out of metal that polishes the graphite. In this way the lines reflect the light and can be seen. Materials and techniques can be only relevant if they help complete a particular story. Here I quote Sebald: It was Cornelis de Jong who drew my attention to the fact that many important museums, such as the Mauritshuis in The Hague or the Tate Gallery in London, were originally endowed by the sugar dynasties or were in some other way connected with the sugar trade. The capital amassed in the eighteenth and nineteenth centuries through various forms of slave economy is still in circulation, said de Jong, still bearing interest, increasing many times over and continually burgeoning anew. One of the most tried and tested ways of legitimizing this kind of money has always been patronage of the arts, the purchase and exhibiting of paintings and sculptures, a practice which today, said de Jong, was leading to a relentless escalation of prices paid at major auctions. Within a few years, the hundred million mark for half a square yard of painted canvas will have been passed. At times it seems to me, said de Jong, as if all works of art were coated with a sugar glaze or indeed made completely of sugar, like the model of the battle of Esztergom created by a confectioner to the Viennese court, which Empress Maria Theresia, so it is said, devoured in one of her recurrent bouts of melancholy. W. G. Sebald, The Rings of Saturn. The graphite drawings shown in The New Man and The New Woman cant be linked to a form of tradition in art but to a particular story of mine. This is a very important notion in my practice I cant follow or directly support art history since I believe art history is only serving the interest of value. AW I would like you to dwell a little longer on the question of materiality. The choice of material can also imply a moment of critique, as is indicated in your reference to the Italian architect Castiglioni who made a maquette of a fascist building out of cheese. You transferred this DH Materials definitely play an important role in this exhibition their suggestive connotations can lead us to very precise meanings and can awaken particular stories. In Castiglionis architectural model made out of cheese, the material becomes very poignant it plays with our senses, particularly smell. On the other hand, it unfolds a mocking moment, which is a very important critical tool. Humour is like a whip with jingle bells attached to its popper. José Martí. The Castiglioni model could have many associations, one of them can be found, for example, in the 1940 film The Eternal Jew, in which Jewish people are compared to rats. But in his model Castiglioni subverts who is attracted to cheese by giving the model this title: Model for a Fascist Cultural Centre. I dont have a particular interest in the architecture of the schools I instead focus on its connotations and my subjective interpretation of Castiglionis model. The schools were also cultural/formative centres where architecture couldnt be seen as a form of construction but rather as a designed system where mechanisms such as isolation, indoctrination, collectivism, exploitation and control were more relevant than the reinforced concrete that was used to build the schools. It is easier for me to see and to understand this architecture typology reading Foucaults interpretation and analysis of the Panopticon. For Foucault, the Panopticon is an architectural design or plan that signals a convergence of a historically- situated political and social ideology, a socio-material epistemology, and a pragmatic of social control and resistance. In its most concrete form, the Panopticon is a socio-material template for institutional orders of all kinds ranging from prisons, to schools, to factories, to hospitals. In its abstract form, the Panopticon is a diagram of a mechanism of power reduced to its ideal form. I cant lead nor control the viewers interpretations, therefore I have never wanted the viewer to have a handbook in which all my references are explained and exposed. Every artwork has multiple important moments in its past and many others in its future which means that an artwork has a story behind it and another beyond it. The perspective of the viewer is the only element that defines the present of an artwork. In this sense the graphite drawings give an important clue to the viewer because their appearance changes in relation to his standing point: sometimes the drawing is visible and sometimes what you can see is just a graphite surface that has apparently swallowed the lines. AR Perspective, yes... Stepping back from the individual drawings, there is a cumulative effect that the viewer experiences while moving through the series. It is another type of perspective. Your processes of making and your exhibitions often seem structured with this experience in mind single works that combine in series. Not bound up in a recognisable style, theres something of a process of working through an idea. So it is hard to pinpoint the look of your work. As much as weve focused on the material and formal concerns of the work, is there another starting point? Ethical, conceptual, autobiographical? And, if so, how do these translate into the stuff of art? Do you impose limits or criteria on yourself when you are working? DH Changes are dialectic forces behind curiosity. Hurricanes have always fascinated me when I was a kid together with a couple of friends we used to look forward to the hurricane season. I have seen quite a lot of hurricanes and I have been right there inside the eye of many. There is hardly any rain inside the hurricane eye. In fact it is kind of peaceful and sometimes even sunny. Their eyes are powerful and generate huge amounts of energy around them. The day after a hurricane is what we enjoyed the most. The landscape, usually revealed to us as a photograph, was violently changed every time, the tall and elegant palm trees looked like huge naked columns. Big, heavy objects were moved from point A to a totally random place. Hurricanes gave us change probably the change that wasnt delivered by a society that was committed to a static social process paradoxically called revolution. Making art, and most importantly thinking, must be for me moments of transformation in which dialectics are permanently in command. Special stories challenge me to redefine my language and, in most cases, push me to enter unexplored aesthetic territories where specific tools must be used. I have a particular attraction to artists moments of change. In many cases artists trajectories are defined by particular contents or formal themes and sometimes these trajectories are broken by introducing a new body of work. In these moments, artists are totally vulnerable and at risk. They have liberated themselves from coherency and linearity they have jumped into what could be understood as a mistake. Mistakes are, after all, the foundations of truth, and if a man does not know what a thing is, it is at least an increase in knowledge if he knows what it is not. C.G. Jung Once I have started to think and shape a body of work, there are no limits imposed. I am only following a series of links that constantly appear while the story develops. To synchronise these links is often the most challenging process because rules have been abandoned from the beginning. I am aware of the dif ficulties that such processes carry but I cant help it.Disconnected thinking is a concept of increasing appeal if an artist cant disconnect himself from the actual circumstances of artistic perception then we must stop using the word Art and maybe just call it Market. September 2013

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Bildtext: All That is Solid Melts into Air - Notes on Tourism von Delphine Bedel, Francesco Bernardelli, Rachel Esner, Bruno Latour, Marco Pasi, Olivier Rolin, Thibaut de RuyterBildtext: All That is Solid Melts into Air - Notes on Tourism von Delphine Bedel, Francesco Bernardelli, Rachel Esner, Bruno Latour, Marco Pasi, Olivier Rolin, Thibaut de Ruyter

All That is Solid Melts into Air - Notes on Tourism

Delphine Bedel, Francesco Bernardelli, Rachel Esner, Bruno Latour, Marco Pasi, Olivier Rolin, Thibaut de Ruyter
Verlag: Episode Publishers
Jahr: 2007
Edition: kartoniert
ISBN: 9789059730724
Zustand: Gebraucht
Buch ist neu Autoren: Delphine Bedel Francesco Bernardelli Rachel Esner Bruno Latour Marco Pasi Olivier Rolin Thibaut de Ruyter All that is solid melts into air Notes on Tourism All that is solid melts into air - Notes on Tourism is a reflection on the work of artist and writer Delphine Bedel. From amusement parks and monuments, to camping and beach resorts, her photographs and writings document sites of tourism in diverse contexts. She brings into-question the visual representation of leisure, architecture, and cultural artefacts. This book explores three complex and controversial tourist destinations and cultural heritages whose identity, use, and meaning have shifted radically over time: a giant Lenin statue buried in a forest of Berlin, the monumental Nazi holiday resort in Prora, and the nearby landscape of the Chalk Cliffs on Rügen as painted by Caspar David Friedrich, all located in Germany. As one of today's largest world industries, tourism and leisure influence our way of life and reflect upon shifting cultural, economic, social, and historical realities. The process of constructing meaning and interpretation through images takes centre stage in the experience of tourism. What is the relationship between architecture and identity? Who owns the past? What is the Romantic imagination of nature in relation to tourism today? Using her photographic research as a starting point, Delphine Bedel invited writers from diverse disciplines to contribute to the book, resulting in original and unexpected historical and critical perspectives on the relations between visual culture, tourism, and memory politics.

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Bildtext: World Question Center (Reloaded) von Hlavajova, Marina Winder, JillBildtext: World Question Center (Reloaded) von Hlavajova, Marina Winder, Jill

World Question Center (Reloaded)

Hlavajova, Marina Winder, Jill
Verlag: Basis voor actuele Kunst
Jahr: 2005
Edition: Hardcover/gebunden
ISBN: 9783865882202
Zustand: Gebraucht
Buch ist neu The book began in 2003, with a four-hour performance when artists, theorists, scientists and brilliant minds from many disciplines were reached on the telephone and asked several questions, such as, "What could be the task of art today?" "Can we wake up?" "Considering the situation in the world today, what can we do together to construct a horizon of hope?" and "What does it mean to be a blond woman?" Since then, the conversations have been a source of inspiration, encouragement and stimulus for the participants now, by being included in this book, they are sure to inspire, encourage and stimulate the readers. BAK basis voor actuele kunst, Utrecht with contributions by Marina Abramivic, Daniel Buren, Manuel DeLanda, Hans Ulrich Obrist, Jacques Ranciere, Martha Rosler, Gayatri Spivak, Lawrence Weiner, Carey Young, and many more.

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Bildtext: Susanne Kriemann von Susanne KriemannBildtext: Susanne Kriemann von Susanne Kriemann

Susanne Kriemann

Susanne Kriemann
Verlag: Sternberg Press
Jahr: 2014
Edition: kartoniert
ISBN: 9783943365696
Zustand: Gebraucht
Buch ist neu Deutsch und Englisch Die vorliegende Publikation entstand im Rahmen der Einzelausstellungen Cold Time im Kunstverein Braunschweig und Modelling (Construction School) bei Arnolfini in Bristol. Sind beide Ausstellungen auch gänzlich unabhängig voneinander entstanden, so ermöglichte die Katalogkooperation über eine reine Ausstellungsdokumentation hinauszugehen und einen weitergehenden Einblick in das Werk Susanne Kriemanns zu geben. In gewisser Weise schließt die Publikation an die vorhergehende Veröffentlichung der Künstlerin an, die unter dem Titel Reading Susanne Kriemann (Sternberg Press, 2011) ausschließlich Texte beinhaltete, während diese Publikation vor allem die Bilder sprechen lässt. In ihren fotografischen Projekten verfolgt Susanne Kriemann (geb. 1972 in Erlangen, lebt in Berlin und Rotterdam) einen rechercheorientierten Ansatz: Ein zentraler Aspekt in ihrem Schaffen stellt die Auseinandersetzung mit archivierten, insbesondere in Vergessenheit geratenen Dokumenten dar. Das gefundene Fotomaterial fungiert dann häufig als Ausgangspunkt für eigene Aufnahmen. Durch formale oder inhaltliche Analogien ergeben sich vielschichtige Assoziationsgeflechte, die sowohl die Entstehungsgeschichte der historischen Bilder, deren Bewahrung als auch deren Bezug zur Gegenwart thematisieren und stets auch das eigene Medium, die Fotografie, untersuchen. Der Ausstellungstitel der Braunschweiger Ausstellung (16. Juni 26. August 2012) lässt so nicht nur an die Zeit des Kalten Krieges, sondern gleichermaßen an den gefrorenen Augenblick" in der Fotografie denken. Im Zentrum der Ausstellung Cold Time stehen zwei Werkkomplexe: A silent crazy jungle under glass (2011/2012) im Erdgeschoss der Villa Salve Hospes sowie im Obergeschoss Ashes and broken brickwork of a logical theory (2010), die jeweils aus verschiedenen Bildgruppen bestehen. Die Braunschweiger Ausstellung wurde unterstützt durch das Land Niedersachsen, die Braunschweigische Landessparkasse und die Niedersächsische Sparkassenstiftung. Für diese Förderung gilt den drei Partnern unser herzlichster Dank. Die Ausstellung in Bristol (4. Mai 7. Juli 2013) geht von Recherchen zur Construction School aus, die 1964-1979 als Teil des West of England College of Art and Design in Bristol existierte. Die Schule war ein Versuch, eine experimentelle Designausbildung, angelehnt an das Bauhaus und die Ulmer Hochschule für Gestaltung, in einer regionalen englischen Stadt zu etablieren. Gemeinsam mit dem Designer James Langdon, der seit längerem die Geschichte dieser Schule erforscht, interessiert sich Kriemann für das Potential der Dokumente, die von der Schule geblieben sind. Sie dienen einerseits als Bruchstücke eines Gestaltungsdiskurses, andererseits aber auch für eine grundlegendere Reflektion unseres Verhältnisses zur Vergangenheit und über die Macht der Archive. Für die Unterstützung der Ausstellung in Bristol danken wir unseren langfristigen Partnern, dem Arts Council England und dem City Council Bristol. Texts by Steve Rushton, Yvonne Scheja, Axel Wieder with a foreword by Tom Trevor and Hilke Wagner In her photographic projects, Susanne Kriemann takes a research-oriented approach: dealing with archival and forgotten documents in particular is a central aspect to her work. The found photo material then frequently serves as a starting point for her own images. Formal or thematic analogies generate multifaceted layers of association, which address the circumstances in which the historical images were produced, their preservation, as well as their link to the present day and always also examine her own medium of photography. This publication was created as part of the solo exhibitions Cold Time at the Kunstverein Braunschweig and Modelling (Construction School) at Arnolfini in Bristol. Even if the exhibitions were organized entirely independently of one another, the joint effort in producing this catalogue made it possible to go beyond simple exhibition documentation and provide a more in-depth view into the work of Kriemann. In a certain sense, this catalogue is connected to the artist s earlier publication entitled Reading Susanne Kriemann (Sternberg Press, 2011), consisting exclusively of texts. Here, however, the main point of the publication is to let the images speak for themselves. Design by Sandra Kastl Published by Sternberg Press, Berlin Kunstverein Braunschweig, Germany and Arnolfini, Bristol

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Bildtext: Mark Lewis von Yilmaz DziewiorBildtext: Mark Lewis von Yilmaz Dziewior

Mark Lewis

Yilmaz Dziewior
Verlag: Hatje Cantz Verlag
Jahr: 2006
Edition: Taschenbuch
ISBN: 9783775716246
Zustand: Gebraucht
Buch ist neu Mark Lewis' films are remarkable, not only for their rich and highly seductive use of light and colour, but also for the way in which they pay homage to both classical Hollywood cinema and the avant-garde while remaining outside of both traditions. Mark Lewis is the first book to explore this acclaimed Canadian's art, and it features lush images from several of his works, including his most recent piece, Rear Projection. This film, in particular, documents a significant shift in Lewis' practice. Actress Molly Parker, known for her roles in Six Feet Under and Deadwood, is superimposed against the bleak, rural landscape of Ontario using the classic Hollywood technique of rear projection. Lewis takes what was, for old Hollywood, a tool meant to convey seamless realism, and foregrounds its essential trickery. Another piece incorporates the dreary backdrops of concrete council flats in the same way. In both settings the film takes on a painterly quality, referencing and restaging traditional portraiture to startling effect. Rush that place Lewis' work next to that of his contemporaries, Mark Lewis reaches insightful conclusions about the evolving relationship between film, technology, painting, and photography.

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Bildtext: PSYCHOPOMP COUNSEL - De Ateliers - Offspring 2011 von Tirdad ZolghadrBildtext: PSYCHOPOMP COUNSEL - De Ateliers - Offspring 2011 von Tirdad Zolghadr

PSYCHOPOMP COUNSEL - De Ateliers - Offspring 2011

Tirdad Zolghadr
Verlag: Stichting Ateliers 63
Jahr: 2011
Edition: kartoniert
ISBN: 9789080731882
Zustand: Gebraucht
Buch ist neu This book is published in the Offspring series to coincide with the exhibition PSYCHOPOMP COUNSEL at De Ateliers, Amsterdam, May 11 May 22, 2011. mit 10 Ausklapp - Drucken Coen Vunderink Patrizio Di Massimo Heiko Rapple Alex Dordoy Cristobal Leon Stefan Ruitenbeek Jasmijn Visser Sarah De Vos Stephen Rhodes Marion Verboom When Chris Evans first mentionel Psychopomp Counsel, I assumed I was referring to studio visits. Afte as the name itself suggests, De Ate amounts to one big institutional r to the teleology of the studio. This hard to underestimate. Condition of production are never much fur and in the case of, say, the factory-commodity, it's blissfully easy to any traces thereof, as greasy or gr as they may be. But studio produc is a different case, for the psychop scenarios and paraphernalia that it will always indelibly and incont predetermine any exhibitionary Very much in the same way uncle' graduate programs, corporate gra Scandinavian residencies or then-road trips reproduce particular fl with strange precision.

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Bildtext: Dictionary of Art and Artists von Peter Murray, Linda MurrayBildtext: Dictionary of Art and Artists von Peter Murray, Linda Murray

Dictionary of Art and Artists

Peter Murray, Linda Murray
Verlag: Penguin
Jahr: 1991
Edition: Taschenbuch
ISBN: 9780140512106
Zustand: Gebraucht
'A vast amount of information intelligently presented, carefully detailed, abreast of current thought and scholarship and easy to read' The Times Literary Supplement This sixth edition has been thoroughly revised and updated and includes short biographies of over 1,200 painters, sculptors and engravers. These contain dates and information about the artists' careers, a note of galleries exhibiting their work and an estimate of their style. The dictionary also defines artistic movements, terms applied to periods and ideas and technical expressions and processes. 'A thorough, well-documented ... and at the same time imaginative opus' Dr J. P. Hodin in the College Art Journal The cover shows details from The Painter in His Studio by Jan Vermeer in the Kunsthistorisches Museum. Vienna (photo. Bridgeman Art Library). Portrait of Sodring by Christen Kobke in the Statens Museum for Kunst, Copenhagen and St Luke Painting the Virgin by Roger van der Weyden in the Museum of Fine Arts, Boston

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Bildtext: LocusFocus - Sonsbeek 9 - educatieve gids von Angeline Bremer-Cox, Joke AlkemaBildtext: LocusFocus - Sonsbeek 9 - educatieve gids von Angeline Bremer-Cox, Joke Alkema

LocusFocus - Sonsbeek 9 - educatieve gids

Angeline Bremer-Cox, Joke Alkema
Verlag: Hogeschool voor de kunsten Arnhei Sonsbeek 93, en de Gemeenschap Beeldende Kunstenaars Gelderlanij Arnhem
Jahr: 2001
Edition: Softcover
ISBN: 9789080643819
Zustand: Gebraucht
Voorwoord Deze beknopte educatieve gids kan voor docent en leerling, maar ook voor alle andere geïnteresseerden, een handleiding zijn voor de tentoonstelling Sonsbeek 9: LocusFocus. In deze gids beschrijven we kort de geschiedenis van de Sonsbeektentoonstellingen, geven een toelichting op het thema LocusFocus en beschrijven het werk van een aantal kunstenaars. Niet alle kunstenaars komen aan bod. Jan Hoet, de artistiek directeur van Sonsbeek 9 en directeur van het SMAK te Gent, heeft er namelijk ruim zeventig geselecteerd. Wij hebben ervoor geko- zen om zeventien kunstwerken te beschrijven. In de educatieve gids zijn ook een aantal prachtige foto's, gedichten en verhalen opgenomen. Deze zijn gemaakt door leerlingen van het Olympus College te Arnhem. De leerlingen hebben met hun foto's en gedichten gefocust op plaatsen, personen en dingen die voor hen bijzonder zijn: LocusFocus. Voor uitgebreide informatie, ook over de andere kunstenaars, verwij- zen wij u naar de catalogus. Naast de catalogus en de educatieve uitgave zijn voor het voortgezet onderwijs een CKV-wijzer en voor het basis- onderwijs een Kijkwijzer geschreven. Sonsbeek 9: LocusFocus vindt van 3 juni tot en met 23 september 2001 plaats op drie locaties in de stad Arnhem: het Sonsbeekpark, de Eusebiuskerk en het winkelcentrum Kronenburg. Arnhem, mei 2001 Angeline Bremer-Cox Joke Alkema Inhoud03 Voorwoord Inleiding04 Sonsbeekpark/Kronenburg Mark Manders18 Kronenburg Justine Kurland26 Simone Decker28 Sergio Vega30 Elske Neus32 D'Ette Nogle34 Sonsbeekpark/Eusebiuskerk 41 Peter Otto20 Overige locaties Atelier van Lieshout36 Jeroen Allart38 Hans Eijkelboom Peter Spaans40 Gert Robijns42 usebiuskerk Maria Roosen Bruna Esposito Scholierenproject44 Colofon46 Zonder de steun van de volgende organisaties en personen, hadden wij deze gids en de educatieve projecten die wij organi-seerden in het kader van Sonsbeek 9: LocusFocus, niet kunnen realiseren. Educatieve Projecten Jeroen Allart Hans Eijkelboom Mark Manders Peter Otto Suzanne Tunn Roger Willems Wij zijn allen hiervoor zeer erkentelijk: Het Burger- en Nieuwe Weeshuis De Dullertsstichting Sint Nicolai Broederschap De winkeliers van winkelcentrum Kronenburg De scholen voor basis- en voortgezet onderwijs in Arnhem: Arnhemse Schoolvereniging Burgermeester de Monchyschool De ParcivalschoolJoke Alkema De Arnhemse Montessorischool De HuifkarOntwerp: De Aletta JacobsschoolThonik Heijenoordschool Mozaïek CollegeDruk en uitgave: Olympus CollegeVeenman drukkers Stedelijk Gymnasium SG Guido de Bres Lorentz College et Domein, de Mariënburg Het Domein, de Muziekschool Jennifer Arah Iwan Boverhof Kevin ten Braak Jaap Bremer Susan Corthals Lowieke van der Heide Merel van Heusden Jeroen Voskuilen Redactie: Het MozaïekAngeline Bremer-Cox

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Bildtext: The Roberta Breitmore Series (1974-1978) von Lynn Hershman LeesonBildtext: The Roberta Breitmore Series (1974-1978) von Lynn Hershman Leeson

The Roberta Breitmore Series (1974-1978)

Lynn Hershman Leeson
Verlag: Galerie Waldburger Brüssel
Jahr: 2011
Edition: Softcover
ISBN: 9789080643819
Zustand: Gebraucht
Buch ist neu page 8:Roberta's Construction Chart #1, 1975 page 9:Roberta's Construction Chart #2, 1975 page 10: Before and after Roberta's Construction Chart, 1978 page 11: Roberta at Mirror, 1974-1979 Kristine Stile, First Roberta Multiple becoming Roberta Multiple and Lynn becoming Multiple, 1978 page 13: Roberta's Body Language Chart, 1978 page 14: Want Ad, S.F, Progress, 1974 page 15: Union & Evening Tribune, Dec. 25, 1975 page 16: Roberta in an Adventure Riding Elevator, 1978 page 17: Roberta meets Sydney at Del Coronado Hotel (San Diego), 1976 Roberta and Irwin meet for the First Time in Union Square Park, 1975 page 19: (clockwise) Roberta on her way to Work, 1978 Roberta contemplating Suicide on the Golden Gate Bridge, 1978 Roberta's Replacement at her Temp Job after she was fired, 1978 Roberta Multiple is exorcised with Flaming Vase (Michelle Larson), 1978 page 20: Description of how Roberta wrote in her Diary, 1976 page 21: Roberta's Diary, 1976 page 22: Roberta's Driver's License, 1976 Roberta's Cheque, 1974 page 23: Roberta's Dress, 1976 page 24: Comic (Spain Rodriguez), page 1, Roberta Transformation, 1975 page 25: Comic (Spain Rodriguez), page 3, Amusement Park, 1975 973-1979 With a practice spanning more than forty years, Hershman Leeson has worked in performance, moving image, drawing, collage, text-based work, site-specific interventions, and later new media / digital technologies, and interactive net-based works, making her one of the first truly multi-disciplinary artists. In the pantheon of feminist artists, she also holds a special place, having investigated the question of gender, identity politics, and selfhood a key field of interest in her practice in-depth, over time and with a complexity that far surpasses many of her peers. This complexity is best manifested in Hershman Leesons seminal project The Roberta Breitmore Series (1974-1978). Nearly forty years on, the importance of The Roberta Breitmore Series cannot be over-estimated. The questions it raised about the ungraspable, fluid state of identity, about truth and authenticity, the difficulty to often draw the line between fact and fiction, biography and autobiography, the impossibility perhaps of entirely achieving that ancient Greek dictum of knowing thyself, the question of how appearances deceive, and the fundamental constructedness of identity remain perhaps now stronger than ever given the advent of the internet and the emergence of virtual identities and of course the increased importance attached to image and self-styling in our lifestyle conscious culture of appearances. From 1974 until 1978, the artist conceived of, constructed and developed a fictional persona and alter ego: that of Roberta Breitmore. The creation of Roberta Breitmore consisted not only of a physical self-transformation through make-up, clothing, and wigs which enabled the occasional role-playing, but a fully-fledged, complete personality who existed over an extended period of time and whose existence could be proven in the world through physical evidence: from a drivers license and credit card to letters from her psychiatrist. Katerina Gregos, October 2011

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Bildtext: The Pocket Canons series 1 - the words of the wise - box set of the 12 books - authorised King James version von Steven Rose, E. L. Doctorow, David Grossman, Louis de Bernières, Charles Frazier, Charles Johnson, A. S. Byatt, Doris Lessing, A. N. Wilson, Francisco Goldman, Nick Cave, Barry Hannah, Richard Holloway, The Bishop of Edinburgh, Thomas Cahill, Blake MorrisBildtext: The Pocket Canons series 1 - the words of the wise - box set of the 12 books - authorised King James version von Steven Rose, E. L. Doctorow, David Grossman, Louis de Bernières, Charles Frazier, Charles Johnson, A. S. Byatt, Doris Lessing, A. N. Wilson, Francisco Goldman, Nick Cave, Barry Hannah, Richard Holloway, The Bishop of Edinburgh, Thomas Cahill, Blake Morris

The Pocket Canons series 1 - the words of the wise - box set of the 12 books - authorised King James version

Steven Rose, E. L. Doctorow, David Grossman, Louis de Bernières, Charles Frazier, Charles Johnson, A. S. Byatt, Doris Lessing, A. N. Wilson, Francisco Goldman, Nick Cave, Barry Hannah, Richard Holloway, The Bishop of Edinburgh, Thomas Cahill, Blake Morris
Verlag: Grove Press
Jahr: 2000
Edition: Hardcover/gebunden
ISBN: 9780862418618
Zustand: Gebraucht
12 Bücher in Box A box set of the 12 books of the series, this Bible comes with introductions written by a range of both secular and religious writers, giving their diverse views on the attributes of each book. 1. Series The single books: Genesis Genesis Steven RoseE. L. Doctorow ISBN 0-86241-789-9 ISBN 0-8021-3610-9 ExodusExodusDavid GrossmanISBN 0-8021-3611-7ISBN 0-8021-3611-7 Job JobLouis de BernièresCharles Frazier ISBN 0-86241-791-0 ISBN 0-8021-3612-5 ProverbsProverbsCharles JohnsonISBN 0-86241-792-9ISBN 0-8021-3613-3 Song of SolomonSong of Solomon A. S. Byatt ISBN 0-86241-793-7 ISBN 0-8021-3615-X EcclesiastesEcclesiastesDoris LessingISBN 0-86241-794-5ISBN 0-8021-3614-1 Matthew Matthew A. N. WilsonFrancisco Goldman ISBN 0-86241-795-3 ISBN 0-8021-3616-8 MarkMarkNick CaveBarry HannahISBN 0-86241-796-1ISBN 0-8021-3617-6 Luke LukeRichard Holloway, The Bishop of Edinburgh Thomas Cahill ISBN 0-86241-797-X ISBN 0-8021-3616-8 John JohnBlake MorrisonDarcey Steinke ISBN 0-86241-798-8 ISBN 0-8021-3619-2 Corinthians (1 & 2)First Corinthians Second Corint hians Fay Weldon ISBN 0-86241-799-6 ISBN 0-8021-3620-6 Revelation Revelation Will SelfKathleen Norris ISBN 0-86241-800-3 ISBN 0-8021-3621-4

Preis(€): 49,90

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Bildtext: The Undiscovered Antique von Shana Moulton, Anne J. BarlowBildtext: The Undiscovered Antique von Shana Moulton, Anne J. Barlow

The Undiscovered Antique

Shana Moulton, Anne J. Barlow
Verlag: Art in general
Jahr: 2009
Edition: Taschenbuch
ISBN: 9781934890257
Zustand: Gebraucht
17 FOREWORD Anne J. Barlow 25 MIRROR OF THE MATERIAL WORLD Nina Horisaki-Christens 65 THE CALGON IMPERATIVE James Merle Thomas 95 BIOGRAPHIES The Undiscovered Antique - Published similtaneously with the exhibition held Oct 29 - Jan 29,, 2010 - New Commissions Program Shana Moulton's project The Undiscovered Antique was commissioned by Art in General and exhibited in its sixth floor galleries from October 29, 2009 to January 9, 2010. This project was one of three New Commissions that were collectively titled Erratic Anthro-pologies and organized as Art in General's contribution to Performa 09, the 2009 iteration of New York's performance biennial. Investigating the visual culture of suburbia and the commune in aquasi-anthropological fashion, the artists each created narratives into which they inserted themselves, literally and metaphorically. Guy Ben-field transformed Art in General's Storefront Gallery into Night Store, a studio, pottery showroom, storage space, and site for his performances Shana Moulton's multi-channel video installation and performance The Undiscovered Antique presented an episode in the life of her alter-ego, Cynthia, desperately seeking the Antiques Roadshow while Rancourt/Yatsuk enacted the story of fictitious star realtor Don Donavucci and his attempts to construct a model home during the height of the housing market crash in Phase IV. The three exhibitions transformed Art in General into sites that were immersive, fantastical, and at times chaotic. Supporting the presentation of new work such as this has always been at the core of Art in General's mission. Founded in 1981, by a group of artists led by Martin Weinstein and Teresa Liszka in the General Hardware building that supplied its nameArt in General aimed to provide a space in which artists could exhibit unconventional work and exchange ideas with their peers. Over the years, the organization became known for its diverse group exhibitions, such as American Gothic (1993) and the performance-based Explosion LF1R: Practice More Failure (2004), as well as for presenting projects by then-emerging artists such as Paul Pfeiffer, Glenn Ligon, and Tania Bruguera. In 2005, Art in General transitioned from a program that was centered around such group exhibitions to one that focused on the working process of the individual artist, with the creation of a commissioning program. The New Commissions program offers artists in-depth support to produce and present new work that will have a lasting impact on their practice as well as on the nature of Art in General's program itself. Since the program's launch, Art in General has commissioned major works from between four and six artists each year. These artists are selected through an annual open callin which hundreds of submissions are reviewed by an invited Advisory Panel of artists and curatorsand through direct invitation. Following extensive research and studio visits undertaken by Art in General's staff, the organization works with artists to provide curatorial and logistical support to realize artworks that range from web projects to artists' books, gallery installations to public art projects. Commissioning has changed the way in which Art in General works with artists. Relationships are closer, more discursive, and sustained, sometimes lasting over two years from inception to final presentation. This high level of engagement means that the process can involve an extended phase of research and development for the artists and Art in General. Artists are challenged to extend beyond the scope of their customary practice and encouraged to take risks, away from the marketplace, in a supportive environment that allows primarily non-commercial projects to thrive. In turn, Art in General has become more flexible and responsive to artists' needs, often changing the way it functions as an organization. Once completed, the commissions remain the property of the artist. On several occasions, commissions have traveled or have appeared in different iterations in other venues in the United States and internationally. Producing books for each commission is a vital part of the program and the 2009 2010 series of New Comis-sion books marks an exciting moment in our publication history. Mylinh Trieu, our inaugural designer-in-residence has worked closely with each artist to produce a cohesive series of books that deeply engages with each artist's individual project. For most artists, a New Commissions catalogue is their first publication. The books reflect the unique nature of the projects: while each one contains curatorial statements and guest essays, their formats vary, ranging from artists' travelogues to screenplays, to documentation of performances or the actual installation process, to an inventory of objects that were part of a larger project. The New Commissions Program demands the full involvement of all those who participate, and I would like to thank all the artists, as well as the staff and Board of Art in General, for their passionate commitment to this initiative. We are also grateful to the dedicated publications team who have skillfully guided this series of books throughout the production process: editor Eugenia Bell, design mentor Rob Giampietro, curator and program manager Andria Hickey, communications coordinator Claire Sexton, and designer Mylinh Trieu. Enormous credit goes to our key funders, without whom the program would not exist their belief in the need for such an initiative ensures that such groundbreaking projects come to fruition. Anne J. Barlow Executive Director Art in General

Preis(€): 39,90

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Bildtext: life in the forest - irregular fanzine von Joanna Sokolowska, Laura Garbstiene, Villu Plink, Silja Saarepuu, Sener Özmen, Kiwa, Pawel Grzes, Agnieszka Kozak, Tina Gverovic, Sinisa, Ben Cain, Tanja Murayskaja & R.E.P. group, Kaspars Podnieks, Katrina Teivane-Korpa, Rael ArtelBildtext: life in the forest - irregular fanzine von Joanna Sokolowska, Laura Garbstiene, Villu Plink, Silja Saarepuu, Sener Özmen, Kiwa, Pawel Grzes, Agnieszka Kozak, Tina Gverovic, Sinisa, Ben Cain, Tanja Murayskaja & R.E.P. group, Kaspars Podnieks, Katrina Teivane-Korpa, Rael Artel

life in the forest - irregular fanzine

Joanna Sokolowska, Laura Garbstiene, Villu Plink, Silja Saarepuu, Sener Özmen, Kiwa, Pawel Grzes, Agnieszka Kozak, Tina Gverovic, Sinisa, Ben Cain, Tanja Murayskaja & R.E.P. group, Kaspars Podnieks, Katrina Teivane-Korpa, Rael Artel
Verlag: Art in general
Jahr: 2009
Edition: Paperback
ISBN: 9788389778321
Zustand: Gebraucht
Englisch und Polnisch Joanna Sokolowska, Laura Garbstiene, Villu Plink, Silja Saarepuu, Sener Özmen, Kiwa, Paweł Grzes, Agnieszka Kozak, Tina Gverovic, Sinisa, Ben Cain, Tanja Murayskaja & R.E.P. group, Kaspars Podnieks, Katrina Teivane-Korpa, Rael Artel Jakup Ferri discussed by Joanna Sokolowska Works by Laura Garbstiene, Villu Plink & Silja Saarepuu, Sener Özmen compared by Kiwa Pawel Grzes introduced by Agnieszka Kozak Tina Gverovic & Sinisa Ilic in conversation with Ben Cain Work by Tanja Murayskaja & R.E.P. group Kaspars Podnieks introduced by Katrina Teivane-Korpa Curatorial remarks by Rael Artel

Preis(€): 9,90

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Bildtext: M DD: Museum DoorDacht 3 - MuseumDoorDacht 03 - museum thought 3 von Lars Kwakkenbos, Joost Declercq, Julia Garimorth, Wim Toebosch, Patrick FlorizooneBildtext: M DD: Museum DoorDacht 3 - MuseumDoorDacht 03 - museum thought 3 von Lars Kwakkenbos, Joost Declercq, Julia Garimorth, Wim Toebosch, Patrick Florizoone

M DD: Museum DoorDacht 3 - MuseumDoorDacht 03 - museum thought 3

Lars Kwakkenbos, Joost Declercq, Julia Garimorth, Wim Toebosch, Patrick Florizoone
Verlag: Museum Dhondt-Dhaenens
Jahr: 2006
Edition: Paperback
ISBN: 9788389778321
Zustand: Gebraucht
auf 750 limitiert Gregor Schneider - interview: Lars Kwakkenbos Charlotte Vanden Eynde - text: Joost Declercq Arnulf Rainer - biography: Julia Garimorth Jean-Jacques Gailliard - text: Wim Toebosch - Patrick Florizoone Picture This!: Stijn Cole Peter De Graaff Mira Sanders Slawomir Elsner Content composition: MDD and the artists Editorial: Tanguy Eeckhout Graphic design: Inge Ketelers Print: Cassochrome, Waregem Edition: 750 ex.

Preis(€): 4,80

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Bildtext: M DD: Museum DoorDacht 1 - MuseumDoorDacht 01 von Richard Shiff, Markus Lüpertz, Siegfried Göhr, René Lyr, Dirk Lauwaert, Nicky Aert, Lars Kwakkenbos, Tanguy EeckhoutBildtext: M DD: Museum DoorDacht 1 - MuseumDoorDacht 01 von Richard Shiff, Markus Lüpertz, Siegfried Göhr, René Lyr, Dirk Lauwaert, Nicky Aert, Lars Kwakkenbos, Tanguy Eeckhout

M DD: Museum DoorDacht 1 - MuseumDoorDacht 01

Richard Shiff, Markus Lüpertz, Siegfried Göhr, René Lyr, Dirk Lauwaert, Nicky Aert, Lars Kwakkenbos, Tanguy Eeckhout
Verlag: Museum Dhondt-Dhaenens
Jahr: 2005
Edition: Paperback
ISBN: 9788389778321
Zustand: Gebraucht
limitiert auf 750 Content: Markus Lüpertz - text: Richard Shiff, Markus Lüpertz & Siegfried Göhr Louis Thévenet - biography with quotes from René Lyr Koen van den Broek - text: Dirk Lauwaert / interview: Nicky Aerts Hans Hartung - biography / text: Lars Kwakkenbos Hippolyte Daeye - biography: Tanguy Eeckhout Content composition: MDD and the artists Editorial: Tanguy Eeckhout Graphic Design: Inge Ketelers Print: Cassochrome, Waregem Edition: 750 ex.

Preis(€): 19,90

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Bildtext: M DD: Museum DoorDacht 2 - MuseumDoorDacht 02 - museum thought 2 von Joost Declercq, Tanguy Eeckhout, Adrian Searle, Rogier De Langhe, Ralf Beil, Jean-Charles Vergne, Inge KetelersBildtext: M DD: Museum DoorDacht 2 - MuseumDoorDacht 02 - museum thought 2 von Joost Declercq, Tanguy Eeckhout, Adrian Searle, Rogier De Langhe, Ralf Beil, Jean-Charles Vergne, Inge Ketelers

M DD: Museum DoorDacht 2 - MuseumDoorDacht 02 - museum thought 2

Joost Declercq, Tanguy Eeckhout, Adrian Searle, Rogier De Langhe, Ralf Beil, Jean-Charles Vergne, Inge Ketelers
Verlag: Museum Dhondt-Dhaenens
Jahr: 2006
Edition: Paperback
ISBN: 9788389778321
Zustand: Gebraucht
limitiert auf 750 Elke Krystufek - letter: Joost Declercq Valerius De Saedeleer - text: Tanguy Eeckhout Julião Sarmento - tex: Adrian Searle Marc Goethals - text: Rogier De Langhe Albert Oehlen - text: Ralf Beil - images: Jean-Charles Vergne Picture This!: Anouk De Clercq, Matt Bryans Marc Vanderleenen, Erwan Maheo Content composition: MDD and the artists Editorial: Tanguy Eeckhout Graphic design: Inge Ketelers Print: Cassochrome, Waregem Edition: 750 ex.

Preis(€): 4,80

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Bildtext: Girls Like Us Fal- 07 #6 von Catrinel Bartolomeu, Jessica Gysel, Susanne M. Winterling, Silvia Casalino, Birgit Wudtke, Edwige Belmore, Lisa WhiteheadBildtext: Girls Like Us Fal- 07 #6 von Catrinel Bartolomeu, Jessica Gysel, Susanne M. Winterling, Silvia Casalino, Birgit Wudtke, Edwige Belmore, Lisa Whitehead

Girls Like Us Fal- 07 #6

Catrinel Bartolomeu, Jessica Gysel, Susanne M. Winterling, Silvia Casalino, Birgit Wudtke, Edwige Belmore, Lisa Whitehead
Verlag: glu magazine
Jahr: 2007
Edition: Paperback
ISBN: 9788389778321
Zustand: Gebraucht
Girls Like Us is a magazine by Jessica Gysel and Kathrin Hero. This issue was made with the help of Babs Bakels, Catrinel Bartolomeu, Eden Batki, Dafne Boggeri, Silvia Casalino, Maureen Catbagan, Marco Dell'Omodarme, Eva van Eeghem, Pip Farquharson, Pascale Gatzen, Paige Gratland, K8 Hardy, Sara Kaaman, Nicky Mao, Sophie Mórner, Gloria Pedemonte, Amy Sioux, Lex Vaughn, Thomas Voorter, Lisa Whitehead, Susanne M. Winterling and Birgit Wudtke. GLU is printed by Lecturis and published by Capricious Inc., New York. Special thanks to Lesbian Herstory Archives, Brooklyn and IIAV, Amsterdam. Copyright Girls Like Us magazine and the contributors, 2007. C O N V E R S A T I O N Emma Gaze by Catrinel Bartolomeu Edwige Belmore by Jessica Gysel Jane Ward by Susanne M. Winterling Fany Corral by Silvia Casalino G A L L E R Y Edwiges 15 Minutes of Fame Bedtime Stories by Birgit Wudtke Top Mop by Lisa Whitehead A R C H I V E Hamptons Heath Stick It Up Titters Man, Oh Man CONVERSATION Emma Gaze BY CATRINEL BARTOLOMEU Edwige Belmore BY JESSICA GYSEL Jane Ward BY SUSANNE M. WINTERLING Fany Corral BY SILVIA CASALINO GALLERY Edwige's 15 Minutes of Fame Bedtime Stories BY BIRGIT WUDTKE Top Mop BY LISA WHITEHEAD ARCHIVE Hamptons' Heat Stick It Up Titters Man, Oh Man

Preis(€): 19,90

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Bildtext: Finding Chopin - endnotes 2005 - 2009 von Tris Vonna-michell, Elena FilipovicBildtext: Finding Chopin - endnotes 2005 - 2009 von Tris Vonna-michell, Elena Filipovic

Finding Chopin - endnotes 2005 - 2009

Tris Vonna-michell, Elena Filipovic
Verlag: Jeu De Paume
Jahr: 2009
Edition: Taschenbuch
ISBN: 9782915704181
Zustand: Gebraucht
Englisch und Französisch http://www.metropictures.com/artists/tris-vonna-michell http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2014/turner-prize-2014-artists-tris-vonna-michell

Preis(€): 22,90

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Bildtext: Show me a Hero - Five painters consider the notion of the hero and a generation left allergic to Utopia von Jane NealBildtext: Show me a Hero - Five painters consider the notion of the hero and a generation left allergic to Utopia von Jane Neal

Show me a Hero - Five painters consider the notion of the hero and a generation left allergic to Utopia

Jane Neal
Verlag: Calvert22
Jahr: 2009
Edition: Pappe
ISBN: 9782915704181
Zustand: Gebraucht
Show me a Hero About Curated by Jane Neal, Calvert 22's Artistic Director, the exhibition examines the continuing relevance of the notion of the âHero' to a group of artists who grew up under communism in Russia and Eastern Europe and witnessed the impact of its disintegration. Artists on show will include Zsolt Bodoni, Adrian Ghenie, Vitaly Pushnitsky, Peter Sudar, Serban Savu and Alexander Tinei. Many of the works will be on show for the first time in the UK. Show Me a Hero Participating artists: Zsolt Bodoni, Adrian Ghenie, Vitaly Pushnitsky, Peter Sudar, Serban Savu and Alexander Tinei In this exhibition Jane Neal considers the notion of the hero through the work of painters Zsolt Bodoni, Adrian Ghenie, Vitaly Pushnitsky, Peter Sudar, Serban Savu and Alexander Tinei. The show considers the impact of the notion of the hero, and the influences of social realism, cinema and documentary on the work of the participating artists. The exhibition also reflects Neals growing interest in contemporary painting by young Russian and Eastern European artists and investigates critic Mihnea Mircans notion that the events surrounding and post the fall of the iron curtain, left an entire generation, allergic to Utopia. Curated by Jane Neal.

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Bildtext: Minimal differences [exhibition dates: September 15 - October 23, 2010  location: White Box, New York] von Denise  Carvalho, Izabela Kopania, Monika SzewczykBildtext: Minimal differences [exhibition dates: September 15 - October 23, 2010  location: White Box, New York] von Denise  Carvalho, Izabela Kopania, Monika Szewczyk

Minimal differences [exhibition dates: September 15 - October 23, 2010 location: White Box, New York]

Denise Carvalho, Izabela Kopania, Monika Szewczyk
Verlag: WHITE BOX / Galeria Arsenal
Jahr: 2010
Edition: kartoniert
ISBN: 9788389778123
Zustand: Gebraucht
Englisch und Polnisch MINIMAL DIFFERENCES MINIMAL DIFFERENCES CURATED BY DENISE CARVALHO (USA) AND MONIKA SZEWCZYK (POLAND) SEPTEMBER 15 OCTOBER 23, 2010 OPENING RECEPTION SEPTEMBER 15, 2010 6-9PM Difference is mediated to the extent that it is subjected to the fourfold root of identity, opposition, analogy and resemblance. (Gilles Deleuze, Difference and Repetition) Minimal Differences is a multimedia exhibition and panel discussion reflecting on the effects of globalization in former Eastern European countries, now known as Central Europe. Through the scope of contemporary artists working in video, installation, photography and performance, the exhibition explores shifting identities that relate to the meaning of this centrality, as well as the influence derived from spectacle on everyday culture, politics and economics. Central Europe, the umbrella term favored among formerly Easter European countries, is defined by membership, not by geographical position. Although called central, Poland, Czech Republic, Estonia, Slovenia, Slovakia, et al, remain in the periphery of continental Europe, having within their borders great differences in regard to language, religion, ethnicity, economics, and politics. These differences become ironically minimal in light of the new economic demands that enable their survival in the global economy. Furthermore, a growing culture of spectacle continues to redefine identities according to stereotypes and self-stereotyping, manipulated according to political and economic agendas and schemes. Minimal Differences explores two sides of an ironic self-definition: one, which has become central, therefore losing all the privileges of subversion, resistance and rebellion of its previous state of difference and otherness and another, still a memory itself, a self-stereotype humoring itself as a parallel reality, a phantom-limb, itching and hurting, but no longer real. The artists include Pawel Althamer (Poland), Azorro (Poland), Vesna Bukovec (Slovenia), Jiri Cernicky (Czech Republic), Oskar Dawicki (Poland), Katarzyna Kozyra (Poland), Zbigniew Libera (Poland), Joanna Malinowska and Christian Tomaszewski (Poland/USA), Anna Molska (Poland), R.E.P. (Revolutionary Experiment Space) (Ukraine), Slaven Tolj (Croatia), Marek Wasilewski (Poland), Julita Wojcik (Poland), Martin Zet (Czech Republic) The panel discussion will be held at White Box, on September 16, 2010, from 6-8pm. Panelists include Jaroslaw Suchan: Director of Muzeum Sztuki in Lodz, Poland Marek Bartelik: art critic, Professor at Cooper Union, New York, and President of the International Association of Art Critics, (AICA) Michal Kolecek: art critic, curator and dean of Faculty of Art and Design, Purkyne University at Usti nad Labem, Czech Republic Izabela Kopania: Ph.D., art historian and art critic, independent research affiliated to The Institute of Art, Polish Academy of Sciences Marek Wasilewski: art critic, artist Professor at the Academy of Fine Arts in Poznan, Poland, the Editor-in-Chief of the bimonthly magazine Czas Kultury Moderator: Denise Caravalho, art critic, curator, and Assistant Professor at the Institute for Doctoral Studies in the Visual Arts (IDSVA), Portland Differences certainly substantiate polarities, validate clashes, and justify revolutions. A world without differences dissolves into neutrality, succumbs into nihilism. Minimal Differences White Box - New York Curated by Denise Carvalho and Monika Szewczyk By Marco Antonini Does Central Europe as a geographical place and/or cultural context even exist? The curators and artists of Minimal Differences are not always sure, but its hard to blame them. This designation does not really have geographical borders, but rather subsists on a series of shared historical narratives, cultural traits, and more recently, traumatic sociopolitical shifts. In a certain way, diversity has become a new unifying factor in the former East. White Boxs open space is filled with the sounds and glaring presence of far too many flatscreens and projections. Anna Molskas Tanagram dominates the scene from a large partition that doubles as projection surface. The black and white ballet of Molskas g-stringed eye candy produces a series of symbols, an obscure visual alphabet that flirts with Constructivisms idealism and penchant for didactic applications in art. Diametrically opposed, Marek Wasilewskis Defiance combines the anti-Semitism and homophobia of a chant heard during recent anti-gay demonstrations in Poznan with a colorful cheerleader routine. Ironically enough, this incendiary trash is set to the melody of the famous Cuban patriotic song Guantanamera, a contrast that effectively augments the sense of contradiction and intensity of the video. Floating on vintage thrift shop coffee tables, Julita Wojciks The XXX-lecia PRL (30 Years of the Peoples Republic of Poland) Housing Estate is one of the few objects on display. The crocheted housing estates look sad and defeated, caving in under their own weight. Their dull, beige/brown color story reproduce an existing development of pre-fabricated concrete dwellings built in Zarnowiec, Poland, as part of a nuclear plant that was actually never finished. The irony of representing communist architecture in crochet records is far too obvious, if not completely futile. The catalog doesnt add much in this case, dutifully subministrating the routine paragraphs on crochet as feminine, ritualistic, and flexible. Towering on another oversized projection screen, Katarzyna Kozyras The Midget Gallery casts a group of midgets as both artists, gallerists, potential collectors, and works of art. She brilliantly uses the otherness of this motley crew of art professionals (in the widest sense of the word) to expose some of the key mechanisms of the contemporary art world. Facing Kozyras video, Zbignew Liberas Final Liberation is a set of two massively enlarged prints taken from a Polish weekly magazine. The images, created by the artist, are fakes showing what ideal pictures representing the liberation of Iraq or Afghanistan could look like. Striking in their realism, these images had to be published with a disclaimer revealing them as fakes. Sharply executed and well-focused in its intentions, Final Liberation reflects on image manipulation and the fabrication of reality by taking active part in the process. If considered from the perspective of this specific exhibition, Liberas work is particularly representative of the curators and artists skepticism for the linear simplifications often used by mass media, synthetic strategies that often lead to the creation of fictional histories, identities, and overarching unifying concepts. As it turns out, these historical and cultural constructions pay little or no respect to the reality of facts. As the title suggests, this exhibition focuses on differences. Different media approaches and objectives act here as a unifying factor, bridging the distances between the artists and favoring the creation of a viable togetherness that never really asks to be interpreted as identity. (September 15 - October 23, 2010) Pawel Althamer, Azorro, Vesna Bukovec, Jiri Cernicky, Oskar Dawicki, Katarzyna Kozyra, Zbigniew Libera, Joanna Malinowska and Christian Tomaszewski, Anna Molska, R.E.P., Slaven Tolj, Marek Wasilewski, Julita Wojcik, Martin Zet

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Bildtext: The Quickening von Sue de BeerBildtext: The Quickening von Sue de Beer

The Quickening

Sue de Beer
Verlag: Arndt & Partner Berlin / Zurich + Marianne Boesky Gallery
Jahr: 2006
Edition: Softcover
ISBN: 9788389778123
Zustand: Gebraucht
limited edition Art Exhibition Catalog Design Softcover, 64 pages, 4 + 1 color, Die Cutting Published by Arndt & Partner Berlin / Zurich + Marianne Boesky Gallery New York in 2007 The Quickening was published on the occasion of Sue de Beers solo exhibition The Quickening at Arndt & Partner Berlin and Marianne Boesky Gallery NYC. http://dzurila.com/portfolio/quickening-sue-de-beer/ http://www.suedebeer.com/books.html Exhibited at Marianne Boesky Gallery, NYC, Nov 30, 2006 - Jan 10, 2007 Arndt and Partner, Berlin, Sept 1 - October 20, 2007 Busan Biennial, Busan Museum of Modern Art, Busan, South Korea, Sept 6 - November 15, 2008 Starring Gina V. D'Orio Travis Jeppesen Annika Line Trost with Haluk Atalayman as "The Wolf" and Willy Rachow as "The Buffalo" D.P.: Shai Levy Camera / Lighting Assistant: Gerlind Becker Audio Technic: Klaus Barm Hanging: Wolfgang Stegemann / Martin Goeres Psychedelic Lighting Designer: Jens Höhne Set Building: Sue de Beer / Haluk Atalayman / Chris Krönke Gins and Annika's Costumes: Cornelia Wentzel Casting & Dramaturgy: Miriam Stein Online Editor: Can Elbasi Soundtrack and Instrumentals: "Howling and Beats" performed by Andy Comer 'Annie's Song' & 'Rocky Mountain High Colorado' performed by Andy Comer recorded by Rob Christiansen Jeppesen Monologues excerpted from 'Written 20 Years After the Novel' Joris Karl Huysmans' preface for the 20 year anniversary re-printing of 'Against Nature' D'Orio Monologue excerpted from 'Sinners in the Hands of an Angry God' Johnathan Edwards 'The Quickening' shot at Hadlichstr 44, Pankow, Berlin "It would seem in fact that nervous invalids expose fissures in the soul's envelope whereby the Spirit of Evil effects an entrance. But this is a riddle that remains unsolved the word 'hysteria' explains nothing. It may suffice to define a material condition, to mark invisible disturbances of the senses. But what are the details and attendant circumstances of this 'Malady of Sinfulness'? In what degree is the responsibility diminished of the individual whose soul is attacked by a sort of daemonic possession, that takes root in the disorganization of his unhappy body?"

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Bildtext: The Happy Hypocrite - Hunting and Gathering Issue 2 - For and About Experimental Art Writing von Maria FuscoBildtext: The Happy Hypocrite - Hunting and Gathering Issue 2 - For and About Experimental Art Writing von Maria Fusco

The Happy Hypocrite - Hunting and Gathering Issue 2 - For and About Experimental Art Writing

Maria Fusco
Verlag: Book Works
Jahr: 2008
Edition: Paperback
ISBN: 9781906012106
Zustand: Gebraucht
The Happy Hypocrite is a biannual journal focusing on experimental writing. Informed by a lineage of such modern avant-garde magazines as Bananas, Documents, The Fox, Merlin and Tracks, The Happy Hypocrite aspires to unpack the methodology of such key journals while providing a new approach to art writing. It provides a testing ground for new writing and research-based projects, acting as a place for artists, writers and theorists to express experimental ideas that might not otherwise be realized or published. In this issue, bodies of new writing present techniques of collage, found text and image interspersed with appropriated writing. Contributors include ArtstrA/Barbara Reise Archives, Steve Beard, Susanne Clausen, Marie Darrieussecq, Brian Dillon, Andrew Dodds, Thomas Hirschhorn, Gabriel Lester, Jo Melvin, Rashanna Rashied-Walker, Lisa Robertson, Andrew Shelley, Nick Thurston and Lynne Tillman. https://www.printedmatter.org/catalog/24958/

Preis(€): 9,90

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Bildtext: GAGARIN fourth edition - Volume 2 #2 - the artists in their own words von Annette Messager, Fiona Tan, Bernd Lohaus, Michelangelo Pistoletto, Raoul De Keyser, Marie José Burki, Luchezar Boyadjiev, Andy Leleisi'uaoBildtext: GAGARIN fourth edition - Volume 2 #2 - the artists in their own words von Annette Messager, Fiona Tan, Bernd Lohaus, Michelangelo Pistoletto, Raoul De Keyser, Marie José Burki, Luchezar Boyadjiev, Andy Leleisi'uao

GAGARIN fourth edition - Volume 2 #2 - the artists in their own words

Annette Messager, Fiona Tan, Bernd Lohaus, Michelangelo Pistoletto, Raoul De Keyser, Marie José Burki, Luchezar Boyadjiev, Andy Leleisi'uao
Verlag: Gaga for the Municipal Academy of Fine Arts of Waasmunster
Jahr: 2001
Edition: Softcover
ISBN: 9789076987026
Zustand: Gebraucht
mehrsprachig und in das Englische übersetzt Annette Messager Fiona Tan Bernd Lohaus Michelangelo Pistoletto Raoul De Keyser Marie José Burki Luchezar Boyadjiev Andy Leleisi'uao & Index of artists' writings 4

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Bildtext: Estate 19.08.2010 - Edition 500 von Aleksander Komarov, Lena PrentsBildtext: Estate 19.08.2010 - Edition 500 von Aleksander Komarov, Lena Prents

Estate 19.08.2010 - Edition 500

Aleksander Komarov, Lena Prents
Verlag: jungundwenig / Torpedopress, 2011
Jahr: 2010
Edition: kartoniert
ISBN: 9788293104001
Zustand: Gebraucht
neu, noch verschweisst limitiert auf 500 Englisch und Deutsch an artist book based on the film ESTATE from 2008. The book ESTATE reflects on the means of evaluation of artistic production. 'Sublime' worker. The first part of Komarov's "Estate" undeniably evokes in us an experience of the sublime, and this in the Kantian sense: it is images of nature - the opencast mines in the Urals - which create the feeling of vastness and boundlessness. It is a vision of the inexhaustibility of natural resources, in this case, the natural reserves in the Urals, and, taken still further, of the boundlessness of nature itself, which is communicated to us by these images in other words, exactly that feeling of exaltation, of the sublime, as defined by Kant. In addition to this, Komarov documents - to use another Kantian concept - subjective awareness, which goes beyond the sensual to attain the realm of ideas: in the transcendence of nature - in its boundlessness, which both implies the inevitability of the industrial exploitation of natural resources and provides it with ideological legitimacy - people have found their authentic world to work and live in. In other words, it is their identity, a soul breathed in from their reality. Identity is after all nothing more than soul at work. ESTATE (2010) by Aleksander Komarov, is an artist book based on the film ESTATE from 2008. The idea of the book was conceived following a discussion between Lena Prents and Aleksander Komarov in the run-up to the exhibition FALL OUT ART, DESIRE and DISENGAGEMENT at Gl Holtegaard, Denmark and at Malmö Konsthall, Sweden. The book ESTATE reflects on the means of evaluation of artistic production. To an extent, ESTATE is a response to the current condition of contemporary art and its relation to broader economic contexts. The project focuses the viewers attention on basic resources and the movement between material and immaterial types of labour, gathering along the way diverse statements on the migration of value. In her essay, Lena Prents recalls the images and issues raised in Aleksander Komarovs film ESTATE (2008), and questions the current position of artists, oscillating between the demands of the market, the conditions of work beyond the cult of genius and the immaterial value of artistic labour. Boris Buden draws on the wider context of the material presented in ESTATE, that of rationalised labour, then focus on projects by Aleksander Komarov which balance the issue of being an artist working under current economic conditions against the artistic soul at work. The conversation between Aleksander Komarov and Jule Reuter deals with questions about the coherence between (migrated) identity, value production and the personal way in which one position oneself. Design jung+ wenig, Berlin In her essay, Lena Prents recalls the images and issues raised in Aleksander Komarovs film ESTATE (2008), and questions the current position of artists, oscillating between the demands of the market, the conditions of work beyond the cult of genius and the immaterial value of artistic labour. Boris Buden draws on the wider context of the material presented in ESTATE, that of rationalised labour, then focus on projects by Aleksander Komarov which balance the issue of being an artist working under current economic conditions against the artistic soul at work. The conversation between Aleksander Komarov and Jule Reuter deals with questions about the coherence between (migrated) identity, value production and the personal way in which one position oneself. ESTATE (2010) by Aleksander Komarov, is an artist book based on the film ESTATE from 2008. The idea of the book was conceived following a discussion between Lena Prents and Aleksander Komarov in the run-up to the exhibition FALL OUT ART, DESIRE and DISENGAGEMENT at Gl Holtegaard, Denmark and at Malmö Konsthall, Sweden. The book ESTATE reflects on the means of evaluation of artistic production. To an extent, ESTATE is a response to the current condition of contemporary art and its relation to broader economic contexts. The project focuses the viewers attention on basic resources and the movement between material and immaterial types of labour, gathering along the way diverse statements on the migration of value. In her essay, Lena Prents recalls the images and issues raised in Aleksander Komarovs film ESTATE (2008), and questions the current position of artists, oscillating between the demands of the market, the conditions of work beyond the cult of genius and the immaterial value of artistic labour. Boris Buden draws on the wider context of the material presented in ESTATE, that of rationalised labour, then focus on projects by Aleksander Komarov which balance the issue of being an artist working under current economic conditions against the artistic soul at work. The conversation between Aleksander Komarov and Jule Reuter deals with questions about the coherence between (migrated) identity, value production and the personal way in which one position oneself. Presented at: 2010 Fall Out, Kunsthalle Gl. Holtegaard, DK, curated by M. D amsbo & M. Jankowski 2009 Filmhouse, The Hague, NL, curated by Manon Bovenkerk (solo) / The Building, E-Flux, Berlin, D, selected by Renate Wagner 2008 IASPIS, Stockholm, SE, selected by Cecilia Widenheim / Weichensteller, Kunsthalle Winterthur, Zurich, CH (solo) / private preview, Berlin, D, selected by Anna Partenheimer (solo) / Belarusian Perspectives, Arsenal Gallery, Bialystok, PL, curated by Lena Prents

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Bildtext: RFE Nummer 2 - revue semestrielle d'esthétique et de philosophie de l'art - émotion, fiction, cinéma von Jean-Pierre Cometti, Jacques Morizot, Roger Pouivet, Frédéric Wecker, Derek Matravers, Pierre Livet, Emmanuelle Glon, Joëlle Zask, Hans Belting, Jacques Morizot, Association francophone d'esthétiqueBildtext: RFE Nummer 2 - revue semestrielle d'esthétique et de philosophie de l'art - émotion, fiction, cinéma von Jean-Pierre Cometti, Jacques Morizot, Roger Pouivet, Frédéric Wecker, Derek Matravers, Pierre Livet, Emmanuelle Glon, Joëlle Zask, Hans Belting, Jacques Morizot, Association francophone d'esthétique

RFE Nummer 2 - revue semestrielle d'esthétique et de philosophie de l'art - émotion, fiction, cinéma

Jean-Pierre Cometti, Jacques Morizot, Roger Pouivet, Frédéric Wecker, Derek Matravers, Pierre Livet, Emmanuelle Glon, Joëlle Zask, Hans Belting, Jacques Morizot, Association francophone d'esthétique
Verlag: Association francophone d'esthétique
Jahr: 2004
Edition: Taschenbuch
ISBN: 17631580
Zustand: Gebraucht
Titre :Revue francophone d'esthétique : revue semestrielle d'esthétique et de philosophie de l'art Type de document : ressource imprimée Editeur :Aix-en-Provence : Département de philosophie, Université de Provence ISBN/ISSN/EAN : 1763-1580 Langues :Français Sommaire Avant-propos Jean-Pierre Cometti, Jacques Morizot,140 Roger Pouivet, Frédéric Wecker Articles 9Art, expression et émotion Derek Matravers, Open University 25Les émotions négatives esthétiques: l'oeuvre d'art comme sensible collectif Pierre Livet, Université de Provence 49Le paradoxe de l'horreur au cinéma Emmanuelle Glon, Institut Nicod 79Émotions, fictions et vertus Roger Pouivet, Université de Nancy 2 109En art, aimer, c'est défendre Joëlle Zask, CNRS-EHESS, Marseille Études 117Hans Belting, la notion moderne de l'ceuvre Jacques Morizot, Université de Paris 8 Comptes rendus Jerrold Levinson, The Oxford Handbook of Aesthetics Berys Gaut et Dominic Mclver Lopes, The Routledge Companion to Aesthetics Roger Pouivet Peter Lamarque et Stein Haugom Olsen, Aesthetics and the P/iilosophy of Art. The Analytic Tradition Jacques Morizot Allen Carlson, Aesthetics and the Environment, The Appreciation of Nature, Art and Architecture Sébastien Réhault David Davies, Art as Performance Mélissa Thériault revue semestrielle Dépôt légal juillet 2004 ISSN 1763-1580 Imprimé par Néo Typo 27, rue Étienne Marcel, 75001 Paris

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Bildtext: GAGARIN third edition - Volume 2 #1 - the artists in their own words von GIUSEPPE PENONE, BHUPEN KHAKHAR, STAN DOUGLAS, TSUYOSHI OZAWA, ANRI SALA, MICHEL FRANCOIS, WILLEM OOREBEEK, SIMON PATTERSONBildtext: GAGARIN third edition - Volume 2 #1 - the artists in their own words von GIUSEPPE PENONE, BHUPEN KHAKHAR, STAN DOUGLAS, TSUYOSHI OZAWA, ANRI SALA, MICHEL FRANCOIS, WILLEM OOREBEEK, SIMON PATTERSON

GAGARIN third edition - Volume 2 #1 - the artists in their own words

GIUSEPPE PENONE, BHUPEN KHAKHAR, STAN DOUGLAS, TSUYOSHI OZAWA, ANRI SALA, MICHEL FRANCOIS, WILLEM OOREBEEK, SIMON PATTERSON
Verlag: Gaga for the Municipal Academy of Fine Arts of Waasmunster
Jahr: 2001
Edition: Softcover
ISBN: 9789076987019
Zustand: Gebraucht
CONTENTS Volume 2#1 The artists in their own words GIUSEPPE PENONE on page 2 II verde e I'equilibrio tra luce ed ombra. BHUPEN KHAKHAR on page 8 Maganbhai's Glue STAN DOUGLAS on page 36 Proposal for a Production of Lulu TSUYOSHI OZAWA on page 54 The Nasubi News : Special New Years Edition - No. 13. 9/23 - Early Summer Edition - No. 15. 20/10 ANRI SALA on page 72 Here is the recipe for Byrek MICHEL FRANCOIS on page 78 L'ivresse, comme apparition triomphale de la plante en soi. WILLEM OOREBEEK on page 84 BLACK OUT embrace SIMON PATTERSON on page 102 Proposal: Manned Flight 1999-

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Bildtext: GAGARIN sixth edition - Volume 3 #2 - the artists in their own words von SURASI KUSOLWONG, PATRICK CORILLON, CHRISTOPH FINK, MARK MANDERS, KEN LUM, NEDKO SOLAKOV, AYSE ERKMEN, OLAF PROBSTBildtext: GAGARIN sixth edition - Volume 3 #2 - the artists in their own words von SURASI KUSOLWONG, PATRICK CORILLON, CHRISTOPH FINK, MARK MANDERS, KEN LUM, NEDKO SOLAKOV, AYSE ERKMEN, OLAF PROBST

GAGARIN sixth edition - Volume 3 #2 - the artists in their own words

SURASI KUSOLWONG, PATRICK CORILLON, CHRISTOPH FINK, MARK MANDERS, KEN LUM, NEDKO SOLAKOV, AYSE ERKMEN, OLAF PROBST
Verlag: Gaga for the Municipal Academy of Fine Arts of Waasmunster
Jahr: 2002
Edition: Softcover
ISBN: 9789076987040
Zustand: Gebraucht
CONTENTS Volume 3#2 The artists in their own words SURASI KUSOLWONG on page 2 The Sun and The Moon PATRICK CORILLON on page 30 Ane CHRISTOPH FINK on page 40 Que la geste artistique... MARK MANDERS on page 98 Waarom hebben wij tijd om over ons lichaam na te denken? Tijd trekt mij steeds weer weg uit het geluid waar ik van hou KEN LUM on page 106 Conversations NEDKO SOLAKOV on page 122 "On the Wing." 1999-2000 14 Texts on the wings of six Boeing 737's, Luxair. AYE ERKMEN on page 140 Ardarda iki kahve OLAF PROBST on page 156 M= loop + Undrawn Monografie of Johannes Meinhardt

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Bildtext: Monuments von Redmond Entwistle, Nina Horisaki-ChristensBildtext: Monuments von Redmond Entwistle, Nina Horisaki-Christens

Monuments

Redmond Entwistle, Nina Horisaki-Christens
Verlag: Art in general
Jahr: 2010
Edition: Softcover
ISBN: 9781934890264
Zustand: Gebraucht
Buch ist neu follows fictional versions of art figures Robert Smithson, Gordon Matta-Clark, and Dan Graham as they revisit historical moments in art, design, and architecture by literally traveling to the sites of some of their own public installations from the mid-1970s. Includes essays by Redmond Entwistle and Nina Horisaki-Christens, as well as a conversation between the artist and Stuart Comer. The film Monuments deals with the questions and landscapes that preoccupied the Post-Minimalist sculptors of the late 1960s and early 1970s. It places these artists and their ideas into something like a graphic novel rendering of the narrative subtext of their work. 64 pages, paperback, colour illustrations Publisher: Art in General

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Bildtext: untitled 2010 von Tomo Savic-Gecan, Elena FilipovicBildtext: untitled 2010 von Tomo Savic-Gecan, Elena Filipovic

untitled 2010

Tomo Savic-Gecan, Elena Filipovic
Verlag: Jeu De Paume / Bergen Kunsthall
Jahr: 2010
Edition: kartoniert
ISBN: 9782915704228
Zustand: Gebraucht
Monographie / Histoire De L'art / Essais / Dictionnaires Collection: SATELLITE Tomo Savic-Gecan: Untitled, 2010 Satellite programm 3 / Curator: Elena Filipovic from 28 September 2010 until 06 February 2011 Concorde, Paris Tomo Savić-Gecan constructs artworks that literally exist between present and future, here and there, between one public space and another, and between the minds of a viewer, wherever they might be, and the institutional space of the exhibition, which might happen to be somewhere else. For instance, as when he devised a situation so that visitors to an exhibition about the theme of economy were asked to decide on the entrance price for the visitor that would enter immediately after him or her (Untitled, 2000). Or as in his piece shown in Venice for the 2005 Biennale, where a line of text on an exhibition spaces wall recounted that the number of visitors at that very moment entering an art center in Amsterdam was impacting the temperature of a public pool in Tallinn (the pool having been programmed to receive the real time information and alter its temperature in relation to it), (Untitled, 2005). For the Satellite Program, he will present a major new project in two parts, one located in the Jeu de Paume, the otherits exact mirror imagein another institutional space, the Kunsthall in Bergen (Norway). Each part will be an exact reconstruction of an existing space in the Jeu de Paume, but with a crucially changed detail: in each room, one of the walls will be devised so that it can slowly move at an infinitesimally small rate in relation to each visitor that enters the opposite room on the other side of Paris. Each slowing shrinking room will effectively be a reflection of the other, with the motion in one space being set off by the visitors to the other after a short delay. Eliminating everything from the piece but the space itself, the content of the piece is the artists reconsideration of the conventional white cube of the institution, here doubled and made to almost monstrously (and increasingly claustrophobically) follow the actions of its double across Europe. Linking two institutions and two publics (some perhaps totally unaware that their entry to a room has consequences elsewhere), Savić-Gecans architectural intervention continues the artists preoccupation with envisioning artworks that create an aesthetic experience across distinct times and spaces. In addition to this major new project, the artist will also show a new film that similarly connects two places and temporalities. In this first ever film by the artist, entitled (like all of his pieces), Untitled, he allows pictorial representation to enter his otherwise previously unrepresentable oeuvre. The film, as the artist attests, is not a documentation of one of his projects, but another method of conveying the ideas at the center of his practice: that the aesthetic experience normally attached to the traditional art object in his case, is elsewhere. Exhibition coproduced by Jeu de Paume, Paris and the Bergen Kunsthall (Norway). Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Bergen Kunsthall receives a subsidy from: Sparebanken Vest, The City of BergenDepartment of Culture, Church Affairs and Sports, Hordaland County Council and the Norwegian Ministry of Culture. The Fondation Nationale des Arts Graphiques et Plastiques (FNAGP) contributes to the production of the new artworks featured in the Satellite programme. This exhibition is organized with: support from Fonds BKVB, Mondriaan Foundation, Anything is Possible, the Netherlands Embassy in France,, The City of Zagreb, the Croatian Embassy in France, the Norwegian Embassy in France, the collaboration of the Cité internationale des Arts, and in partnership with art press, Mouvement et mouvement.net, Nova, paris-art.com, and souvenirs from earth TV.

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Bildtext: The Chatter of Culture von Lisa Robertson, Lorna Brown, Artspeak Gallery, Melanie O'brian, David Zink Yi, Robyn LabaBildtext: The Chatter of Culture von Lisa Robertson, Lorna Brown, Artspeak Gallery, Melanie O'brian, David Zink Yi, Robyn Laba

The Chatter of Culture

Lisa Robertson, Lorna Brown, Artspeak Gallery, Melanie O'brian, David Zink Yi, Robyn Laba
Verlag: Artspeak
Jahr: 2008
Edition: Halbleinen
ISBN: 9780921394563
Zustand: Gebraucht
Buch ist neu Contents 7Melanie O'Brian Introduction 13 Lisa Robertson About 1836 (an essay on boredom) 23 Robyn Laba Newsworks 33 41 David Zink Yi Ahumm 50 Biographies 51 List of Works 51 Acknowledgements Introduction It has been noted that the Age of Information is, in fact, an age of forgetting: we are inundated with a culture so overwhelming that it hurtles past us without remark, unabsorbed.' The vast amount of information, data, opinion and representation that floods our psyche creates a situation in which it is difficult to distinguish singular voices and critical positions over the volume. The quantity of information dulls our receptivity, flattening the extraordinary, making the imaginative banal and ultimately renders information obsolete. One of the results of the waves of information is a lack of curiosity in the face of the sheer magnitude of things and ideas in the world. A nod to Theodor Adorno's discussions of the culture industry, leisure, and the "chatter of culture," this publication brings together works that approach the anatomy of world-weariness. The works simultaneously reveal cultural overload to be curiosity-crushing as well as breeding grounds for new ideas. It has long been argued that (successful) art sustains curiosity and speculation rather than answers questions or provides conclusions, as scientific information intends to do.3 The publication assembles the documentation of two exhibitions held at Artspeak in 2007 that included the work of Lorna Brown, Robyn Laba, and David Zink Yi with a new poem by Lisa Robertson, About 1836 (an essay on boredom). Robertson was invited to write in consort with the themes of the exhibitions. The works represented here centre around investigations into cultural chatter, edging towards an articulation of a subjective yet social phenomenon. While Brown and Robertson examine the potentialities for fertile thought through boredom, Zink Yi physically approaches the language and expression of a banal state, and Laba takes on the materiality and labour of an impossible assimilation of information in a cultural glut of facts, opinions, and representations. On boredom's agency, Robertson writes: "One must withdraw for a long time to arrive at the minimum "at the cosmological minimum. "It takes an inhuman patience "to make the erotic into itself. "By cosmology I mean "out in the shadows, out at the edge of the parking lot, just beyond "the signage, and beyond the erotic even "one's relationship to utopia is elegiacal. "Time there is other time. "Forget the nostalgia for singularity. The "dismantling of hegemony begins with boredom. Lorna Brown's ongoing research into the philosophical and political implications of boredom inform her current art and writing projects. The Structure of Boredom (After Oden), 2006 is a work that endlessly repeats an analytic diagram, mapping boredom's characteristics of repetition, predictability, and temporal suspension. Installed in Artspeak's windows, it functioned not only as analysis, but as decorative hoarding or perhaps instructions for a monotonous dance. Her video Threshold (cont.), 2007 projects an archive of rolling quotes on boredom that spills over the floor and up the wall like cinematic credits. The quotes complicate and contradict one another as they struggle to communicate. Each quote is referenced on an accompanying sheet of footnotes, an indexical act that points to the potential in gathering and framing the quotes and then through its own content contradicts the activity. Brown's use of text in both works is palimpsest-esque. From the inception of the printed word through modem literature, theory, and into the age of Hollywood and digital communication technologies such as texting and Power-point, the works incite a consideration of the conditions of obsolescence in tandem with the conditions of boredom. David Zink Yi's practice offers reflections on the hybrid character of cultural and personal histories, often depicting the body as an instrument or medium of both the individual and the collective. His video Ahumm, 1999 is a short verbal, visual, and physical meditation in which a figure is shown writing variations of the expression "ahumm" on a piece of paper while intoning the expressions. The expression is at once a staffing, a sound made when thoughts are formingand a vacuous sound, one made when there is nothing to say. The emptiness in the expression is parallel to the potentialities in boredom as a fertile space in which extraordinary, critical thoughts might gel. It is unclear if the video's actions (the sound and the hand gesture) are synchronous and the actions reflect an emotionality that is at once personal and distant. The performative activity of the figure takes place in real time (but in its looping this "real time" is suspended), and contains a tension between passivity and action, conceptualism and body politics. Robyn Laba's Newsworks, 2007 considers the accumulation and almost immediate obsolescence of matter and information via newspapers. Consistent with her previous investigations into the weight of materiality, labour and information, her stacked and swirled column of discoloured and out-of-date newspapers references the potential violence of a storm. Like an upended tower of Babel, Newsworks presents newspapers as simultaneously disposable and enduring cultural objects. The newspaper form is threatened with obsolescence by television and the Internet, and its information is almost immediately obsolete as it gets replaced the next day. However, its materiality persists it remains an object in the world and in this case, a building block for a Tatlin-esque edifice. Invoking the authority of the monument through mass and volume, the reading of Newsworks is complicated by the fleetingness of the material. Its swirling stack is unstable in construction, like the paper itself and the questionable facts it provides. Its scale points to the pressure to assimilate volumes of information in order to judge and act in the world. Antithetical to the permanence of the cenotaph or memorial, the newspapers and their form literally turn the monument on its head. The work's conceptual and physical references, its instability and scale, draw out discussions of sensory knowledge versus mediated knowledge. Part sculpture, part architecture and part collage, Newsworks instigates discussions around information dissemination and manipulation. In the face of knowledge "overload," Laba's work examines the desire to synthesize the sheer magnitude of information in the world while recognizing that it is fleeting. Collectively, Lorna Brown, Robyn Laba and David Zink Yi's works are on a threshold between pessimism and hopefulness, at once contradictory and meaningful, sisyphusian and on the brink of illumination. The indexicality of these worksfrom literal citing, sourcing disrupted and fragmented sources, to visual representation of lingual and social actsexpands and contracts. With the mass proliferation of information, the ever expandable index risks loosing its meaning, its possibility so far-reaching that it might no longer effectively frame. The expansiveness lacks constructive filters that make sense of things or that make things meaningful. Brown, Laba and Zink Yi wrestle with the weight of the index and its worn and tired systems. Whether collecting quotes, diagrams and tons of newspaper, physically acting out a condition or building floppy monuments, the artists represented here underline Adorno's assertion that "Boredom is a function of life which is lived under the compulsion to work." Melanie O'Brian DIRECTOR/CURATOR 1. See David Levi Strauss' essay "Can You Hear Me: Reimagining Audience Under the Pandaemonium" in Between the Eyes: Essays on Photography and Politics (New York: Aperture, 2003). 2. "Philosophy has to protect itself from the chatter of culture and the abracadabra of worldviews." Theodor Adorno, Critical Models: Interventions and Catchwords. Trans. Henry W. Pickford (New York: Columbia University Press, 1998): 6. 3. Anthony Huberman articulates contemporary art's relationship to information in his article "I Nt Information," Afterall (Autumn/Winter 2007): 19-26. "... the efficiency, quantity and immediacy of information and information systems has placed art and the artistic gesture at risk of being identified, categorised, digested, cannibalised and made into information before it has a chance to begin being art. Curiosity is being castrated by information." (22) 4. Theodor Adorno, "Free Time," in The Culture Industry: Selected Essays on Mass Culture. Ed. J.M. Bernstein (London and New York: Routledge, 2001): 191.

Preis(€): 15,90

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Bildtext: Öffentlicher Raum für Kunst ? / Publiczna przestrzen dla sztuki? von Maria Anna Potocka, Jaroslaw Kozlowski, Gerald Matt, Krzysztof Wodiczko, Andrzej Turowski, Marek Krajewski, Piotr Piotrowski, Andrea van der Straeten, Andrzej Wajda, Adam ChmielewskiBildtext: Öffentlicher Raum für Kunst ? / Publiczna przestrzen dla sztuki? von Maria Anna Potocka, Jaroslaw Kozlowski, Gerald Matt, Krzysztof Wodiczko, Andrzej Turowski, Marek Krajewski, Piotr Piotrowski, Andrea van der Straeten, Andrzej Wajda, Adam Chmielewski

Öffentlicher Raum für Kunst ? / Publiczna przestrzen dla sztuki?

Maria Anna Potocka, Jaroslaw Kozlowski, Gerald Matt, Krzysztof Wodiczko, Andrzej Turowski, Marek Krajewski, Piotr Piotrowski, Andrea van der Straeten, Andrzej Wajda, Adam Chmielewski
Verlag: Triton
Jahr: 2002
Edition: Taschenbuch
ISBN: 9788389448088
Zustand: Gebraucht
Deutsch und polnisch In den letzten zehn Jahren setzte auch im Bereich der zeitgenössischen Kunst in Polen ein maßgeblicher Wandel ein. Neben neuen Galerien und Ausstellungshäusern wird der öffentliche Raum vermehrt zum Ort aktueller Kunstprojekte mit internationaler Vernetzung. Bei einem Symposium in der Kunsthalle Wien im Herbst 2002 wurde dieses Thema unter Beteiligung bekannter Publizisten, Philosophen, Künstler und Kunsthistoriker aus Polen und Österreich erörtert. Die Beiträge erscheinen nun als Buch. Inhalt Vorwort 9 Die Idee des Symposiums 11 Jarosław Kozłowski Einleitung (1976) 17 Gerald Matt Kunst und Skandal. Über die Beziehung zwischen Kunst und öffentlichem Raum 29 Krzysztof Wodiczko Instruments, Projections, Monuments 65 Maria Anna Potocka Ah, geh, das ist doch nur Kunst 103 Andrzej Turowski Von der Arbeit des Gedächtnisses, des Unbewussten und des Diskurses 135 Marek Krajewski Statt Kunst statt Werbung 167 Piotr Piotrowski Postkommunistische Agoraphobie 207 Andrea van der Straeten Wildern im Terrain der Anderen? 263 Andrzej Wajda Der öffentliche Raum 289 Adam Chmielewski Wiener Walzer und europäische Walze 303

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Bildtext: Journal of Visual Culture - Volume 3 Number 3 December 2004 - SAGE Publications von Marquard Smith, Anne Friedberg, Raiford Guins, Lisa Cartwright, Jessica Dubow, Walter Benjamin, Anna Everett, Hal Foster, Raiford Guins, Mark B.N. Hansen, Richard Rushton, John Hutnyk, Karen Jacobs, Chuck Kleinhans, Vicky Lebeau, Alphonso LingisBildtext: Journal of Visual Culture - Volume 3 Number 3 December 2004 - SAGE Publications von Marquard Smith, Anne Friedberg, Raiford Guins, Lisa Cartwright, Jessica Dubow, Walter Benjamin, Anna Everett, Hal Foster, Raiford Guins, Mark B.N. Hansen, Richard Rushton, John Hutnyk, Karen Jacobs, Chuck Kleinhans, Vicky Lebeau, Alphonso Lingis

Journal of Visual Culture - Volume 3 Number 3 December 2004 - SAGE Publications

Marquard Smith, Anne Friedberg, Raiford Guins, Lisa Cartwright, Jessica Dubow, Walter Benjamin, Anna Everett, Hal Foster, Raiford Guins, Mark B.N. Hansen, Richard Rushton, John Hutnyk, Karen Jacobs, Chuck Kleinhans, Vicky Lebeau, Alphonso Lingis
Verlag: SAGE Publications
Jahr: 2004
Edition: Softcover
ISBN: 14704129
Zustand: Gebraucht
journal of visual culture Index to volume 3 journal of visual culture Copyright 2004 SAGE Publications (London, Thousand Oaks, CA and New Delhi) Vol 3(3): 383-384 [1470-4129(200412)3:3]10.1177/1470412904048608 Editorials Fantasies of Childhood: Visual Culture and the Law (Marquard Smith), 3(1), 516 Televisual Space (Anne Friedberg and Raiford Guins), 3(2), 131132 Articles Cartwright, Lisa, Emergencies of Survival: Moral Spectatorship and the New Vision of the Child in Postwar Child Psychoanalysis, 3(1), 3549 Cooley, Heidi Rae, Its All About the Fit: The Hand, the Mobile Screenic Device and Tactile Vision, 3(2), 133155 Dubow, Jessica, Outside of Place and Other than Optical: Walter Benjamin and the Geography of Critical Thought, 3(3), 259274 Everett, Anna, Trading Private and Public Spaces @ HGTV and TLC: On New Genre Formations in Transformation TV, 3(2), 157181 Foster, Hal, Polemics, Postmodernism, Immersion, Militarized Space, 3(3), 320335 Friedberg, Anne, Virilios Screen: The Work of Metaphor in the Age of Technological Convergence, 3(2), 183193 Guins, Raiford, Intruder Alert! Intruder Alert! Video Games in Space, 3(2), 195211 Hansen, Mark B.N., Communication as Interface or Information Exchange? A Reply to Richard Rushton, 3(3), 359366 Hutnyk, John, Photogenic Poverty: Souvenirs and Infantilism, 3(1), 7794 Jacobs, Karen, Optic/Haptic/Abject: Revisioning Indigenous Media in Victor Masayesva, Jr and Leslie Marmon Silko, 3(3), 291316 Kleinhans, Chuck, Virtual Child Porn: The Law and the Semiotics of the Image, 3(1), 1734 Lebeau, Vicky, The Unwelcome Child: Elizabeth Eckford and Hannah Arendt, 3(1), 5162 Lingis, Alphonso, Mirages in the Mud, 3(1), 107117

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Bildtext: Wrede schoonheid - mensen en ideeen die het moderne denken gevormd hebben von Peter Watson, Margreet De Boer, Rob De Ridder, Joost ZwartBildtext: Wrede schoonheid - mensen en ideeen die het moderne denken gevormd hebben von Peter Watson, Margreet De Boer, Rob De Ridder, Joost Zwart

Wrede schoonheid - mensen en ideeen die het moderne denken gevormd hebben

Peter Watson, Margreet De Boer, Rob De Ridder, Joost Zwart
Verlag: Unieboek Het Spectrum Manteau
Jahr: 2001
Edition: Hardcover/gebunden
ISBN: 9789071206115
Zustand: Gebraucht
Samenvatting Wrede schoonheid is geen gewone studie over politieke, militaire en maatschappelijke gebeurtenissen, maar een onconventionele, caleidoscopische geschiedschrijving van mensen en ideeën die in de twintigste eeuw zo vernieuwend hebben gemaakt. In 1900 was het onderbewuste nog niet benoemd, het quantum nog niet ontdekt, het surrealisme nog niet uitgevonden, de eerste stap op de maan nog niet gezet. Van de uitvinding van plastic tot Pablo Picasso, van het feminisme tot Friedrich Nietzsche, van de ontdekking van de oerknal tot Arnold Schönberg, van Marie Curie tot Salman Rushdie en van Sigmund Freud tot Shere Hite: het boek bestrijkt een breed intellectueel spectrum en legt verbanden tussen vele disciplines. We leren een andere twintigste eeuw kennen, via schrijvers, kunstenaars, wetenschappers en filosofen die met hun verbluffende ideeën en fundamentele ontdekkingen ons leven ingrijpend veranderden. Op meeslepende en heldere wijze bevestigt het boek dat de twintigste eeuw veel meer is dan oorlog en genocide, dat alles totaal veranderde, in een wrede schoonheid. Recensie(s) Fascinerend geschreven cultuurgeschiedenis van de twintigste eeuw. Waar het boek ook openvalt, je begint te lezen, en het is moeilijk om het weer te sluiten. Leven en werk van honderden wetenschappers, kunstenaars en filosofen passeren de revue, gedetailleerd en deskundig beschreven, zeer toegankelijk, ook voor een breed publiek. Aan de orde komen zo bijvoorbeeld Picasso, Strawinsky, Joyce, Bohr, Turing, Popper, Germaine Greer, Susan Sontag, Maya Angelou, Sartre, Heidegger en Andy Warhol. Mede door de zeer uitvoerige noten en het register ook buitengewoon geschikt als naslagwerk. Watson (1943) heeft als tv-presentator en medewerker aan o.m. The Times en The New York Times een ruime ervaring als gids in cultuur en wetenschap voor een ruimer publiek. Kleine druk. (Biblion recensie, Dr. D.G. van der Steen) Fascinerend geschreven cultuurgeschiedenis van de twintigste eeuw. Wáár het boek ook openvalt, je begint te lezen, en het is moeilijk om het weer te sluiten. Leven en werk van honderden wetenschappers, kunstenaars en filosofen passeren de revue, gedetailleerd en deskundig beschreven, zeer toegankelijk, ook voor een breed publiek. Aan de orde komen zo bijvoorbeeld Picasso, Strawinsky, Joyce, Bohr, Turing, Popper, Germaine Greer, Susan Sontag, Maya Angelou, Sartre, Heidegger en Andy Warhol. Mede door de zeer uitvoerige noten en het register ook buitengewoon geschikt als naslagwerk. Watson (1943) heeft als tv-presentator en medewerker aan o.m. The Times en The New York Times een ruime ervaring als gids in cultuur en wetenschap voor een ruimer publiek. Kleine druk. De Britse journalist, schrijver en historicus Peter Watson (geb. 1943) is ervan overtuigd dat ideeën en persoonlijkheden centraal moeten staan in het historisch onderzoek, meer dan feiten en gebeurtenissen. Watson merkt op dat de grote historische overzichten van de 20e eeuw steeds draaien rond dezelfde politieke en militaire gebeurtenissen: de beide wereldoorlogen, de Russische Revolutie, de Koude Oorlog, de val van de Muur... Als tegengewicht publiceert Watson nu een monumentale, zeer vlot en toegankelijk geschreven ideeëngeschiedenis van de 20e eeuw (885 bladzijden), waarbij alle grote filosofen, kunstenaars, wetenschappers, politici, economen... en de bijhorende theorieën -- psychoanalyse, communisme, nazisme, existentialisme, fenomenologie, feminisme... -- aan bod komen. Die "mensen en ideeën die het moderne denken hebben gevormd" worden niet geïsoleerd behandeld, maar in de maatschappelijke en politieke context geplaatst. Wrede schoonheid is dus niet alleen een herculisch encyclopedisch-chronologisch overzicht van persoonlijkheden en hun ideeën, maar een volwaardige samenhangende geschiedenis van de 20e eeuw. Het boek bestaat uit 42 hoofdstukken, samengebracht in vier delen. De opbouw is chronologisch, op enkele "horizontale" hoofdstukken na: over het jaar 1900, over het Wenen van rond die eeuwwisseling, over het wonderbaarlijke jaar 1913, over de intellectuele gevolgen van de Eerste Wereldoorlog en over het Parijs van Jean-Paul Sartre. Deel één behandelt de periode 1900-1918 ('Van Freud tot Wittgenstein -- het besef van een begin'), een optimistische tijd, waarin de idee leefde dat op alle vlakken -- wetenschap, kunst, politiek... -- een nieuwe lente aanbrak. Daarna volgt de duistere periode 1919-1945 ('Van Spengler tot Animal Farm -- beschavingen en ongenoegen'), onbehaaglijke tijd van onvrede en crisis. In deel drie ('Van Sartre tot de zee van rust -- de nieuwe menselijke conditie en de verzorgingsstaat') is de sfeer weer uitermate optimistisch en positief. De periode 1946-1972 wordt gekenmerkt door de opbouw van ons liberaal-democratisch bestel en het ongebreidelde vertrouwen in de maakbaarheid van de samenleving. Deel vier ('Van tegencultuur tot Kosovo -- geen visie, ieders visie') behelst de periode 1973-2000. Na de (olie)crisis van de jaren '70 belanden we in het postmodernisme, een tijdperk waarmee Watson niet goed blijf weet. "In die zin dat het een tijdperk van post-westers en zelfs postwetenschappelijk denken (wat ik betwijfel) aankondigt, zou het een veel radicalere breuk met het verleden kunnen blijken te zijn dan die van Darwin". Het boek sluit af met een stevig voetnotenapparaat en -- gelukkig -- met een zeer uitgebreid register. Terwijl het corpus van het boek vooral nuchter beschrijvend is, gaat Watson in zijn inleiding en conclusie de filosofische toer op. Daarbij ontpopt hij zich tot een ouderwetse teleologische, rationalistische, reductionistische vooruitgangsoptimist, die nog gelooft dat de wetenschap ooit alles zal oplossen. "In plaats van universele oplossingen voor de grote levensvraagstukken te beloven, zoals de meeste religies en sommige politieke theorieën doen, ontrafelt de wetenschap de wereld stukje bij beetje op pragmatische wijze". Daarbij plaatst Watson positieve en geesteswetenschapen in een concurrentiële positie, waarbij de positieve wetenschappen de grote winnaar van de 20e eeuw zijn omdat zij steeds stap voor stap, cumulatief hebben gewerkt. De kunsten en de sociale wetenschappen daarentegen raakten in de 20e eeuw gefragmenteerd, omdat "hun obsessieve behoefte aan vernieuwing" een doel op zich werd en er niet meer op het bekende en geaccepteerde werd voortgeborduurd. In een uitermate materialistische passage, gaat Watson zelfs zo ver te stellen dat technische verwezenlijkingen als de mobiele telefoon, de draagbare computer of de anticonceptiepil "een bevredigend filosofisch antwoord op de grote vraagstukken van vervreemding en verveling" bieden. Peter Watson loopt uiteraard ook niet hoog op met het postmodernisme. Hij dweept met de analytische benadering van de logisch positivisten en de Britse en Amerikaanse filosofen, die gefascineerd zijn door de wetenschap en die als belangrijkste doelstelling "verklaring, begrip, inzicht" hebben. Daartegenover staat de continentale school met figuren als Heidegger, Lacan, Lyotard en Habermas, die meer belangstelling hebben voor freudiaanse psychologie, literatuur en politiek. "Hun benadering is retorisch en berust op vooroordeel, ze zijn meer geïnteresseerd in commentaar dan in begrip". Watson vervolgt: "In de 20e eeuw is wat we als wetenschappelijke/analytische rede kunnen betitelen over het geheel genomen een groot succes geweest de politieke, bevooroordeelde en retorische rede is echter catastrofaal gebleken". Voor de toekomst voorspelt (en verhoopt) hij een post-postmoderne wereld, waar postmodernisten en tradionalisten elkaar vinden in een nieuwe "historische/intellectuele canon", een soort gemeenschappelijke waardebasis, die meteen ook als exportproduct naar de niet-westerse culturen kan dienen. [Gunter Bousset]

Preis(€): 32,50

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Bildtext: Impark 1 - Zeitgenössische Kunst im Olympia-Park, München (19. Juli- 12. Oktober 2003) von Régine Gueffon, Thomas Huber, Bernhard Wittenbrink, Bernhart Schwnk, Andreas Neumeister, Martina FuschsBildtext: Impark 1 - Zeitgenössische Kunst im Olympia-Park, München (19. Juli- 12. Oktober 2003) von Régine Gueffon, Thomas Huber, Bernhard Wittenbrink, Bernhart Schwnk, Andreas Neumeister, Martina Fuschs

Impark 1 - Zeitgenössische Kunst im Olympia-Park, München (19. Juli- 12. Oktober 2003)

Régine Gueffon, Thomas Huber, Bernhard Wittenbrink, Bernhart Schwnk, Andreas Neumeister, Martina Fuschs
Verlag: Revolver
Jahr: 2003
Edition: Hardcover/gebunden
ISBN: 9783936919301
Zustand: Gebraucht
Elisabeth Brockmann Mann im Bad, 2003 Farbfotografie auf Backlitplane 1700 x 600 cm Marie Denis inclinaison, 2003 Markierungsfarbe, Fußballtore ca. 9000 x 5000 cm Afra Dopfer Phantom, 2003 Holz, Farbe 270 x 140 x 205 cm Vadim Fishkin snow_show, 2000/2003 verschiedene Materialien, ca. 300 x 120 x 120 cm r: DUM-Club, Ljubljana Claus Föttinger Was bleibt?, 2003 Fotokopien auf Holz, mit Epoxidharz versiegelt Podest 330 x 470 cm, 2 Sitzbänke, je 114 x 36 cm, 8 Sitzflächen, je 54 x 39 cm, 8 Lehnflächen, je 54 x 30 cm Stephan Fritsch wie du mir so ich dir, 2003 Acryl, Lack, Spraylack auf Holz 210 x 391 x 416 cm Stefan Eberstadt 24-hour-piece, 2002 Sperrholz, Betoplan, Kugelleuchten 155 x 391 x 416 cm Odile Fuchs Signaletique Teckel, 2003 8 Tafeln, Digitaldruck auf Alucobond je 65 x 50 cm Vetement de loisirs pour teckel, 2003 Stoff, Verpackung verschiedene Maße Tobias Hauser Waiden, 2002 Holzhütte, Bautafel auf Gerüst Maße der Hütte: 440 x 457 x 305 cm Thaddäus Hüppi Wasserspucker, 2003 Kunststoff, ca. 100 x 100 x 100 cm Stephan Kern Drei Türme, 2003 Eisenguss Turm 1: Höhe 1000 cm, Turm 2: Höhe 1200 cm Durchmesser je 100 cm Michael Kienzer Steg, 2001/2003 Schuhabstreifer, Holz, ca. 60 x 4000 cm Courtesy Galerie E.+K. Thoman, Innsbruck A Andree Korpys/Markus Löffler Die Garage des Hausmeisters, 2003 verschiedene Materialien ca. 500 x 500 x 1200 cm Hermann Maier Neustadt canskyscope, 2003 Plexiglas, Polyester, Holz, Metall Höhe 300 cm, Durchmesser 500 cm M+M Olympic Pong, 2003 Wettbewerb und Installation Norbert Radermacher Olympisches Gold, 2003 Styroporkern, golden laminiert Höhe 300 cm, Durchmesser ca. 90 cm Daniel Roth Underground Connected, 2003 Architekturmodell, Objekt, Buch, ca. 120 x 80 x 30 cm Karina Smigla-Bobinski Inseln, 2003 verschiedene Materialien Höhe jeweils 150 cm, Durchmesser jeweils 280 cm Stalker percorsi metabolici, 2003 Performance Mariott Stollsteiner space ..between, 2003 Beton, Fliesen, Siebdruck, Grenzsteine Fläche je 400 x 400 cm

Preis(€): 10,90

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Bildtext: De Tijd van de grote verwachtingen von Konstantin Paustovsky, Wim Hartog (Translator)Bildtext: De Tijd van de grote verwachtingen von Konstantin Paustovsky, Wim Hartog (Translator)

De Tijd van de grote verwachtingen

Konstantin Paustovsky, Wim Hartog (Translator)
Verlag: Uitgeverij de Arbeiderspers
Jahr: 1993
Edition: Taschenbuch
ISBN: 9789029533928
Zustand: Gebraucht
Recensie(s) Paustovskij (1892-1968) was lange tijd de meeste vereerde schrijver in de Sovjet-Unie, hoewel hij geen partij-conformist was. Typerend voor hem is zijn lyrisch realisme in b.v. natuurbeschrijvingen, zijn oog voor details en zijn vermogen op milde wijze karakters te tekenen. Zo ook in dit vierde deel van zijn 6-delige beroemdste werk, zijn autobiografie. Vooraf gingen al: "Verre jaren". "Onrustige jeugd" en "Begin van een onbekend tijdperk". Dit deel gaat vooral over het moeilijke hongerjaar 1920-21, in Odessa en op de Krim. Interessant zijn ook de hoofdstukken over de schrijver Babel en diens werkwijze. (Biblion recensie, Redactie..) Weer even fantastiasch en boeiend als de vorige delen. Wat ik zeker nog eens zal herlezen is hoofdstuk 16: Dwangarbeid - Paustovskij ontmoette Babel in Odessa en beschrijft in dit hoofdstuk hoe Babel hem vertelde hoe zwaar het schrijven hem viel. Hoe vaak hij zijn teksten verbeterde en polijstte. Een andere gedenkwaardige passage is de laatste tocht van het schip Dimitrij in de storm in een Zwarte Zee vol losgeslagen mijnen.

Preis(€): 9,90

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Bildtext: Aldus sprak zarathoestra - Een boek voor allen en niemand von Friedrich NietzscheBildtext: Aldus sprak zarathoestra - Een boek voor allen en niemand von Friedrich Nietzsche

Aldus sprak zarathoestra - Een boek voor allen en niemand

Friedrich Nietzsche
Verlag: Wereldbibliotheek
Jahr: 1980
Edition: Taschenbuch
ISBN: 9789028412125
Zustand: Gebraucht
Samenvatting Nietzsche's meest profetische boek Recensie(s) Dit is ongetwijfeld het bekendste, maar misschien ook het meest raadselachtige boek van de Duitse filosoof (1844-1900). Zelf beschouwde hij het als het hoogste geschenk dat ooit aan de mensheid werd gegeven. Voor de 20e eeuw, die in het teken zou staan van het nihilisme en de overwinning op de christelijke moraal, zou het de 'Bijbel' moeten zijn van een nieuw soort adel, de Uebermensch. Zover is het nooit gekomen, hoewel het door zijn extatische toon en visionaire kracht menig denker, dichter en kunstenaar, ook nu nog, inspireerde. Marsmans heldere en informatieve inleiding is nog steeds erg leesbaar, wat niet altijd geldt voor Endts vertaling, die een wat archaïsch Nederlands opleverde, al benadert hij daarmee wel goed de duistere, archaïsche, oud-testamentische atmosfeer van het origineel. Wilfred Oranje maakte recent een wat vlotter leesbare nieuwe vertaling (a.i. 97-12-157-6). (Biblion recensie, Redactie.)

Preis(€): 10,90

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Bildtext: In verhouding : opstellen aangeboden aan Rudolf Boehm op zijn vijfenzestigste verjaardag / Red.: Willy Coolsaet von Willy Coolsaet, Rudolf Boehm, Wilfried Swartelé, André Viane, Johan Moyaert, Guy Quintelier, Jean-Marie De Dijn, Boehm en Spinoza, Luc Vanneste, Freud, Lode Frederix, Christian Van Kerkchove, Paul Willemarck, Jacques De Visscher, Leo Apostel, Ernst Woit,Bildtext: In verhouding : opstellen aangeboden aan Rudolf Boehm op zijn vijfenzestigste verjaardag / Red.: Willy Coolsaet von Willy Coolsaet, Rudolf Boehm, Wilfried Swartelé, André Viane, Johan Moyaert, Guy Quintelier, Jean-Marie De Dijn, Boehm en Spinoza, Luc Vanneste, Freud, Lode Frederix, Christian Van Kerkchove, Paul Willemarck, Jacques De Visscher, Leo Apostel, Ernst Woit,

In verhouding : opstellen aangeboden aan Rudolf Boehm op zijn vijfenzestigste verjaardag / Red.: Willy Coolsaet

Willy Coolsaet, Rudolf Boehm, Wilfried Swartelé, André Viane, Johan Moyaert, Guy Quintelier, Jean-Marie De Dijn, Boehm en Spinoza, Luc Vanneste, Freud, Lode Frederix, Christian Van Kerkchove, Paul Willemarck, Jacques De Visscher, Leo Apostel, Ernst Woit,
Verlag: Kritiek
Jahr: 1993
Edition: kartoniert
ISBN: 9789028412125
Zustand: Gebraucht
Inhoud Woord voorafV Deel I KRITIEK VAN HET THEORETISCH WETEN1 Wilfried Swartelé, Als dat nog lang gaat duren, dan zou het weleens vlug gedaan kunnen zijn. Een verhaal over Boehms kritiek op het objectivisme3 Willy Coolsaet, De stelling van het grondverschil31 André Viane, Medisch-filosofische bedenkingen. Mijn ontmoe- ting met Rudolf Boehm49 Johan Moyaert, De onredelijkheid van de wetenschap. Rudolf Boehms kritiek op het ideaal van zuiver theoretisch weten67 Etienne Vermeersch, Naar een niet aliënerende wetenschap en technologie?83 Guy Quintelier, Waarom filosoferen?89 .Marcel Martens, Precipeprosapia: voor een filosofie als kritiek op de filosofie107 Jean-Marie De Dijn, Boehm en Spinoza. Heroïsch interpretisme? 113 Deel II DISCUSSIE OVER MATERIËLE EN MORELE BEHOEFTEN125 Luc Vanneste, Over Freud wil ik het hebben127 Lode Frederix, Overleven ter wille van het overleven? Boehms paradoxale filosofie van de behoeften in de "Grundlegung einer Lösung der Frage der Topik"143 Christian Van Kerkchove, Het verhaal van de moraal175 Paul Willemarck, Rudolfs mores: Utopia. Een pamflet199 Jacques De Visscher, Moeilijke onvoorwaardelijkheid225 Leo Apostel, Is dit misschien wijsbegeerte?237 Deel III KRITIEK VAN DE TECHNOLOGISCHE PRODUKTIEWIJZE243 Ernst Woit, "... alle verhoudingen omver te werpen ...". Marx' begrip van het humanisme in Rudolf Boehms "Kritiek der grondslagen van onze tijd" (vertaald uit het Duits)245 Jef Turf, Rudolf Boehm als inspirator van concrete politieke alternatieven259 Ludo Abicht, Rudolf Fukuyama of Francis Boehm?271 Ludo Dierickx, Is er een centraal conflict? Behoefte aan overzichtelijkheid279 Willy Weyns, Een menswaardige cultuur, in de spiraal van het leven. Pleidooi voor een radicale, sociaal geëngageerde ecofilosofie291 Jaap Kruithof, Bewaren307 Deel IV VRAGEN OMTRENT POLITIEK HANDELEN321 Sonja Lavaert, Een weten over de macht323 Rolf Geiszler, Over het juiste leven, handelen en denken. "Innerlijke dialoog" met Rudolf Boehms literaire interpre- taties (vertaald uit het Duits)329 Jacques Taminiaux, Speculatie en oordeel (vertaald uit het Engels)351 Robert Sokolowski, Over het debat (vertaald uit het Engels)373 Klaus Held, Politiek verstand bij Machiavelli. Over de paradig-mawijziging in de filosofie bij de overgang naar de moderne tijd (vertaald uit het Duits)393 Wolfgang Eichhorn, Subjectiviteit en geschiedenis gedachten en lisant (vertaald uit het Duits)411 Wolfgang Janke, Kritiek van het historisch bewustzijn in het tijdperk van de positieve wetenschap (vertaald uit het Duits)423 BIBLIOGRAFIE RUDOLF BOEHM441 Inhoud463

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Bildtext: Piekno - Selected Works 2004-2012 / Wybrane Prace von Wojciech Bakowski, Dominic Eichler, Julian Heynen, Jennifer TeetsBildtext: Piekno - Selected Works 2004-2012 / Wybrane Prace von Wojciech Bakowski, Dominic Eichler, Julian Heynen, Jennifer Teets

Piekno - Selected Works 2004-2012 / Wybrane Prace

Wojciech Bakowski, Dominic Eichler, Julian Heynen, Jennifer Teets
Verlag: Fundacja Transmisja / Galerie STEREO
Jahr: 2012
Edition: Hardcover/gebunden
ISBN: 9789028412125
Zustand: Gebraucht
Buch ist neu ISBN: 978-83-927372-9-2 Englisch / Polnisch Wojciech Bakowski Selected Works / Wybrane Prace 2004-2012 Essays by: Dominic Eichler, Julian Heynen, Jennifer Teets CONTENTS SPIS TRESCI DOMINIC EICHLERODD MAN OUT5 ODD MAN OUT [PL]13 JULIAN HEYNENHOLES IN A CLOSE-UP WORLD21 SZCZELINY SWIATA W ZBLIZENIU29 JENNIFER TEETSSOLILOQUY'S DARK SUMMIT37 CIEMNY SZCZYT MONOLOGU45 OBJECTS AND INSTALLATIONS53 OBIEKTY I INSTALACJE SPOKEN MOVIES113 FILMY MÓWIONE OTHER FILMS145 INNE FILMY191 PERFORMANCE ZUZANNA HADRYSSIMPLE THINGS205 MICHAL LASOTAPROSTE RZECZY211 BIOGRAPHY216 BIOGRAFIA

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Bildtext: Isabelle Pauwels - Triple Bill von Melanie O'Brian, Seamus Kealy, Isabelle Pauwels, Jessie Caryl, Paloma CampbellBildtext: Isabelle Pauwels - Triple Bill von Melanie O'Brian, Seamus Kealy, Isabelle Pauwels, Jessie Caryl, Paloma Campbell

Isabelle Pauwels - Triple Bill

Melanie O'Brian, Seamus Kealy, Isabelle Pauwels, Jessie Caryl, Paloma Campbell
Verlag: Artspeak, Blackwood Gallery, University of Toronto
Jahr: 2008
Edition: kartoniert
ISBN: 9780921394570
Zustand: Gebraucht
Catalogue of an exhibition held at Artspeak Gallery, Vancouver, B.C., Jan. 26 - March 1, 2008 and Blackwood Gallery, University of Toronto, Toronto, Ont., April 6 - June 1, 2008. TABLE OF CONTENTS 2ACKNOWLEDGMENTS 3PREFACE Melanie O'Brian and Seamus Kealy 7INTRODUCTION Melanie O'Brian iiSEX AT WORK Jessie Caryl 19CONVICTIVE CONFESSION Seamus Kealy NOTES ON THE CONTRIBUTORS 33SIMILAR PAGES Isabelle Pauwels 40TRIPLE BILL STILLS Isabelle Pauwels Triple Bill is the catalogue for the 2008 exhibition by the same title, curated by Séamus Kealy. The catalogue was produced in collaboration with Artspeak, Vancouver, and includes texts by Séamus Kealy, Jessie Caryl, Isabelle Pauwels, and Melanie O'Brian, as well as stills from the exhibition Excerpt All stories are cons. Isabelle Pauwels Interested in the representation of contemporary narratives and subjective experience, Isabelle Pauwels work centres on language and social relations. Pauwels engages with language in order to define and present personal intent. Within this determined structure, she presents possibilities for self-inscription. Her three-part video work Triple Billthe result of Pauwels visits to porn theatres in Vancouveris part documentary and part fiction. As a storyteller, the artist narrates her experience of the theatres architecture, the social behaviours made possible within this space, and the theatres films. Incorporating static and urgent running texts as well as recorded and edited conversation, Pauwels work forces the viewer to participate in the construction of the story and to be aware that subjectivity is contingent and inflected by desire. Triple Bill relies on a dramaturgical structure designed to elicit an audience response. Personal, self-conscious experienceboth on the part of the artist and the audiencedrives the work and its reception. In three parts, the work describes the artists experiences at various porn theatres. In the first, Pauwels adopts a first person voice to locate the audience within her subjectivity, referencing past history, memories, and anti-social behaviour. The running narrative bounces between describing the theatre and the artists own response to it. The second part continues in a descriptive mode, focusing largely on the architecture and history of the theatre, while maintaining the slipperiness between interior monologue and chronicling. Part three is a surreptiously recorded conversation between Pauwels and M that begins with the latter asking: Can I sit here? Pauwels: Sure, but you cant touch me. This stolen conversation is carried out without visuals, aside from subtitles provided to clarify the conversation. It appears to represent the real experience of the theatre as opposed to pure description. However, Pauwels stresses the importance of storytelling even in her conversation with M, implying that she enjoys the older films because the storylines are more convincing and the sex doesnt matter as much. Being convinced of the story is part of the desired experience audiences want to be transported. Yet Pauwels works reveals a vital skepticism around fakery. M observes: The tits feel like a lieThe big ones, I dont feel them too much. The artist uses pornography to investigate what an audience wants and perhaps the ways in which they want to be conned. Transported by the films to a place of physical experience, viewers allow themselves to be tricked into the fulfillment of desire. While her textual representation of the experience of visiting the theatres thwarts the psychic economy of porn, the issue of desire remains central. excerpted from the Introduction by Melanie OBrian

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Bildtext: Het boek van de schoonheid en de troost von Wim KayzerBildtext: Het boek van de schoonheid en de troost von Wim Kayzer

Het boek van de schoonheid en de troost

Wim Kayzer
Verlag: Uitgeverij Atlas Contact B.V.
Jahr: 2000
Edition: Taschenbuch
ISBN: 9789025496647
Zustand: Gebraucht
Samenvatting Vertel me wat dit leven de moeite waard maakt. Waarin vinden we schoonheid, en is er over die schoonheid ook nog iets te beweren? Waardoor worden we getroost? Wat zijn de herinneringen of verwachtingen die groter zijn dan ons verdriet? Deze en andere vragen legde Wim Kayzer voor aan negentwintig schrijvers, wetenschappers, filosofen, beeldend kunstenaars en musici: Karel Appel, Vladimir Askenazy, J.M. Coetzee, Freeman Dyson, Rudi Fuchs, Jane Goodall, Stephen Jay Gould, Germaine Greer, Györgi Konrád, Rutger Kopland, Yehudi Menuhin, Martha Nussbaum, Simon Schama, Jan Timman en Marten Toonder. Recensie(s) Onder de titel 'Van de schoonheid en de troost' voerde Wim Kayzer voor de VPRO-televisie een reeks gesprekken met binnen- en buitenlandse grootheden die op verschillende terreinen hun sporen hebben verdiend. Voor dit boek vroeg hij negenentwintig van hen voorafgaand aan de interviews (er is dus geen overlapping met de tv-serie) hun bevindingen, ervaringen en meningen over het onderwerp schoonheid en troost op schrift te stellen. Dat heeft geleid tot een zeer gevarieerd aanbod van bijdragen van de hand van mensen als de paleontoloog Stephen Jay Gould, de dichter en psychiater Rutger Kopland, de kunstschilder Karel Appel, de filosofe Martha Nussbaum, de dirigent Vladimir Ashkenazy, de historicus Simon Schama, de natuur-, wis- en sterrenkundige Edward Witten, de schaker Jan Timman, de schrijfster Dubravka Ugresic en de feministe Germaine Greer. Een van de mooiste stukken is van Marten Toonder. Het telt niet meer dan tweeenhalve bladzijde, heet 'Herinneringen zonder troost' en gaat over het gemis van zijn eerste vrouw met wie hij niet langer schoonheidservaringen kan delen. Het boek bevat twee katernen met afbeeldingen in kleur van favoriete foto's en reproducties. Kleine druk, volle bladspiegel. Redactie

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Bildtext: Hegel omstreden: Boedelscheiding na 150 jaar von Dr. W.N.A. Klever, prof. dr. ir. A. F. van Leeuwen, prof. dr. J. Hollak, prof. dr. H. G. Hubbeling, mr. drs. R. J. de Folter, prof. dr. H. Kimmerle, prof. mr. J. M. van DunnéBildtext: Hegel omstreden: Boedelscheiding na 150 jaar von Dr. W.N.A. Klever, prof. dr. ir. A. F. van Leeuwen, prof. dr. J. Hollak, prof. dr. H. G. Hubbeling, mr. drs. R. J. de Folter, prof. dr. H. Kimmerle, prof. mr. J. M. van Dunné

Hegel omstreden: Boedelscheiding na 150 jaar

Dr. W.N.A. Klever, prof. dr. ir. A. F. van Leeuwen, prof. dr. J. Hollak, prof. dr. H. G. Hubbeling, mr. drs. R. J. de Folter, prof. dr. H. Kimmerle, prof. mr. J. M. van Dunné
Verlag: het Wereldvenster (Unieboek BV)
Jahr: 1983
Edition: Taschenbuch
ISBN: 9789029397001
Zustand: Gebraucht
De filosofie van Hegel is in de afgelopen honderdvijftig jaar buitengewoon sterk werkzaam geweest, zowel in aantrekkende als in afstotende zin. Het is niet de bedoeling van deze uitgave om die geschiedenis - Hegels leven na zijn leven - te beschrijven of te reconstrueren. Slechts bij wijze van intermezzo worden enkele minder bekende werkingen van Hegels ideeën op Nederlandse bodem besproken. De grote Bollandschool en Bollandbeweging in de eerste decennia van deze eeuw vallen daarbuiten. Wel is geprobeerd om van enkele hoofdthemata uit Hegels filosofie te laten zien in welke zin zij niet meer en in hoeverre zij nog wel inspirerend werken in de hedendaagse filosofische discussies. Echte hegelianen bestaan er nauwelijks meer, evenmin als volbloed platonici of cartesianen. Het kan geen kwestie zijn of men zich voor of tegen Hegel moet opstellen. De vraag is slechts wát men (inhoudelijk of methodisch) uit Hegels filosoferen moet meenemen, wat men kan integreren en wat men, gezien nieuwere ontwikkelingen, moet afwijzen. In deze uitgave zijn de bijdragen gebundeld van de Hegel-conferentie die op 27 januari 1981 georganiseerd werd in de Erasmus-Universiteit te Rotterdam. Medewerkers aan deze bundel: dr. W. N. A. Klever, prof. dr. ir. A. F. van Leeuwen, prof. dr. J. Hollak, prof. dr. H. G. Hubbeling, mr. drs. R. J. de Folter, prof. dr. H. Kimmerle, prof. mr. J. M. van Dunné. Recensie(s) In deze uitgave worden de bijdragen aan een conferentie over Hegel aan de Erasmus Universiteit gepresenteerd. Zowel qua omvang en diepgang als qua onderwerpkeuze verschillen de artikelen sterk van elkaar. De bedoeling is tweeledig: de invloed van Hegels filosofie in Nederland in kaart brengen en aan de hand van themata uit de rechtsfilosofie en de logica, oordeelsvorming over Hegels filosofie bevorderen. Kimmerle laat zien hoe een grondige kritiek op Hegel het eigen denken vooruit kan helpen Hollak kritiseert Hegels rechtsfilosofische uitgangspunten en wijst op gevaren voor de democratie auteurs als van Ghert, de Bruin, Telders, Eggens en van Haersholte worden behandeld tenslotte wordt in twee bijdragen, Hegels logica resp. gekritiseerd en gevaloriseerd. Vooral voor geinteresseerden in rechtsfilosofie, logica en geschiedenis van de filosofie die ingevoerd zijn in Hegeliaans denken. (NBDBiblion recensie, J. Peeters)

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Aufrufe: 42