Questions of what is real and what is a replica, what is explicit and what remains concealed, which Peter Fischli dissects in various media: sculpture, video, photography, and installation probe the essence of the authentic and counterfeit image, laconically appropriating the familiar and alienating it. The exhibition catalogue assembles essays by various authors addressing all the series of works, Thomas D. Trummer expounds on Fischli's invariably humorous way of working, focusing in particular on his concept for the exhibition at Kunsthaus Bregenz. The publication is designed as an artist's book by Peter Fischli himself. Text: Peter Fischli, Rosa Aiello, Daniel Baumann, Bice Curiger, Eva Fabbris, Arthur Fink, Cara Manes, Mark Godfrey, Valentin Groebner, John Kelsey, Charlotte Matter, Kaspar Müller, Andreas Selg, Thomas D. Trummer Stanislaus von Moos, Katrin Wiethege, Stefan Zweifel
Marie-France Rafael BRICE DELLSPERGER: ON GENDER PERFORMANCE
A conversation about performance, genre and cinema in the subversive work of Brice Dellsperger.
In this conversation between Dellsperger and Marie-France Rafael, following current (post)gender discussions, the artist describes sexuality and (sexual) identity as products of a cultural construction informed by audiovisual technologies. Film, video, and the Internet do not depict a preexisting sexuality but establish an image of it and its (normative) framework. Throughout this exchange, the artist highlights how he, starting from travesty and doubles, undermines existing identity systems in order to develop new artistic strategies for subjectivity.
Brice Dellsperger (born 1972 in Cannes, France, lives and works in Paris) pushes the boundaries of genre and gender. In his multifaceted reprises of iconic film sequences—all assembled under the generic title Body Double—the cineast and artist reenacts the selected scenes frame for frame and lets his “body doubles” perform all of the roles, be they male or female. Brice Dellsperger has exhibited extensively in Europe and abroad, and began his well-known Body Double series in 1995. His work is in collections that include the Museum of Modern Art, Musée d'Art Moderne – Centre Pompidou, and the Nouveau Musée National de Monaco.
Marie-France Rafael (born 19984 in Munich) is a tenure-track professor in the Department of Fine Arts at the Zurich University of the Arts (ZHdK). She holds a PhD in art history; she studied art history and film studies in Berlin and Paris. From 2011 to 2015, she was a research associate at the Free University of Berlin and until 2019 at the Muthesius University Kiel, Department of Spatial Strategies/Curatorial Spaces. She is notably the author of Reisen im Imaginativ: Künstlerische Situationen und Displays(Travel in the Imaginary: Artistic Situations and Displays, 2017) and Ari Benjamin Meyers: Music on Display (2016).
October 2020 Softcover; 110 × 170 mm; 64 pages Brice Dellsperger interviewed by Marie-France Rafael, with a preface by José Friere Design by Supercomputer Edition of 500 ISBN 978-3-9819108-2-7
Still Life | When we stayed home – works in isolation
Hole & Corner
The truth is, I’ve been travelling all year. Around my home.
To my kettle at least seven times a day. Around my sofa picking up children’s bricks and doll-sized tableware. Watching moonrise out of the bathroom window.’
Jessica Brinton’s introduction to the Hole & Corner book, Still Life – When we stayed home, which documents the lives of 54 of our contributors during the three months of lockdown in spring 2020, highlights the ordinary moments of an extraordinary year. The spring lockdown was particularly felt by the crafters, makers, photographers and writers, whose usual creative lives were put on hold, their work confined to their homes and their hour-long daily walks. For many, it was a moment to pause and reflect, to focus on a personal project, learn something new, or to reimagine old ideas. Our senses seemed heightened by the impact of the pandemic, the relentlessness of the daily numbers of hospitalisations and death tolls, the anxiety we felt for our families and friends around the world. When Hole & Corner founder and creative director Sam Walton put out the call to the magazine’s creatives to submit work, there were no rules or restrictions, just a desire to collect work that represented their everyday lives in this unique moment in time. While some of our contributors had the privilege to make constructive use of their time, we are acutely mindful of the negative impact that lockdown had on the lives of so many, which is why we are donating 100% of the profits from this book to Refuge.
Pier Paolo Pasolini (1922 – 1975) erscheint von heute aus als eine der produktivsten und anregendsten Gestalten in der Kunst des 20. Jahrhunderts. Nicht nur wegen seiner vielfachen Begabungen als Sprachforscher, Literat, Journalist und Filmer, sondern auch aufgrund seiner Themen bleibt er inspirierend und provokativ. Im heutigen Europa der Nivellierungen, Verordnungen und durch den Code politischer Korrektheit geschützter Verlogenheiten fehlt seine Stimme schmerzlich. Pasolini hat niemals die Archaik der abgelegenen Regionen nur verklärt oder den Fortschritt nur verdammt, sondern in der Aneignung beider Pole eine umfassende Poetik des experimentierenden Denkens entworfen. Hans Ulrich Recks Buch zeigt seine Aktualität: Dass Pasolini in so vielem bitter Recht bekommen hat, war Ausdruck seiner Hellsichtigkeit, untergründige Zeichen seiner Zeit eben nicht im Hinblick auf „große Thesen“ oder „Erzählungen“ zu lesen. Das Buch erscheint in der Buchreihe Analyse & Exzess.
168 Seiten mit Schwarzweißabbildungen fadengeheftete Broschur Leipzig Dezember, 2020 ISBN: 9783959052351 Edition Number: 1 Breite: 16 cm Länge: 23 cm Language(s): German
The aesthetic of our contemporary environment, including everything from housing developments to furniture and websites, is partly the result of a school of art and design founded in Germany in 1919, the Bauhaus. While in operation for only fourteen years before being shut down by the Nazis in 1933, the school left an indelible mark on design as well as the practice of art education throughout the world.
Placing the Bauhaus into its socio-historic context, Frank Whitford traces the ideas behind the school’s conception and describes its teaching methods. He examines the activities of the teachers, who included artists as eminent as Paul Klee, Josef Albers and Wassily Kandinsky, and the daily lives of the students. This remains the most accessible and highly illustrated introduction to perhaps the most significant design movement of the last hundred years.
Format: Paperback Extent: 216 pages Publication date: 12 March 2020
Bored of the visual waste landscape of minimalistic products? The book «In the land of Shit and Sugar» whisks you into a parallel universe filled with absurd goods, far away from all moral expectations and usual design conventions. Anachronistic, loud, flashy and carefree. A place where anything can be found, even that which has been banned by the style police. The stories of 100 chosen products have been analyzed, deconstructed and celebrated: without any taboos or the slightest claim on good taste. Welcome to the Land of Shit and Sugar!
Being is een tijdloze liefdesbrief en handleiding van en voor zwarte vrouwen. Dit boek is een collectie van reflecties over vrouw- én zwart-zijn in België. In de twee landstalen Nederlands en Frans verenigen wij, zwarte vrouwen, non-fictie essays, literaire beschouwingen, poëzie, activistische en academische teksten rond onze zoektocht naar vrijheid. Dit boek is een eerbetoon aan onze ouderen, onze heldinnen en onze zusters.
Nous sommes des Femmes Noires, poétesses, militantes, universitaires, littéraires et essayistes engagées dans des causes afroféministes, antiracistes et décoloniales.
Nous sommes ces Afro-belges néerlandophones et francophones indignées par des siècles d’esclavages coloniaux, de violences et de discriminations raciales.
Nous sommes ces Afrodescendantes qui marquent ici le refus des diverses formes d'impositions qu’elles subissent structurellement et quotidiennement.
Nous sommes ces Femmes aux identités Tierces que l’on oppresse et qui pourtant, à l’aune de l’érosion du pouvoir des bourreaux sur nos corps, nos âmes et nos esprits, réfléchissent à leur condition et travaillent à leur empowerment.
Nous sommes ces Africaines stigmatisées, invitées à rejeter nos origines et qui pourtant vous livrent ici une lettre d’amour intemporelle à toutes les Femmes Noires, à celles qui ont peur et celles luttent.
Nous sommes ces immortelles qui rendront hommage à nos aînées, nos héroïnes, à notre filiation de Résistances. Ce manuel d’émancipation trace les chemins de notre liberté et de notre résilience ; par nous, pour nous !
This book discusses the symbolic and economic value that a work of art holds, being a product of its maker’s labour.
This dynamic compilation of theoretical texts, essays and artistic contributions provides insight into current notions of value and value systems, and considers everything from the role of language to the circulation of art, and how it’s aided by the infrastructure of institutions.
Along the way, The Trouble with Value tackles the historical legacies of devaluation in art, the value of artistic labour, and art’s capacity to tell stories beyond mainstream channels of dissemination.
Featuring contributions by Anca Benera and Arnold Estefan, Rachel Carey, Kris Dittel, Fokus Grupa, Fokus Grupa, Karolina Grzywnowicz, Arnoud Holleman and Gert Jan Kocken, Anthony Iles & Marina Vischmidt, gerlach en koop, Monique Hendriksen, Femke Herregraven, Kornel Janczy, Sława Harasymowicz, Sarah van Lamsweerde, Ewa Partum, Mladen Stilinović, Maciej Toporowicz, Kra Kra Intelligence Cooperative and more.
Type: softcover including poster (370 x 275 mm) Dimensions: 190x285 mm / 7,48x11,22 inch Pages: 224 Editor: Kris Dittel Author: Anthony Iles and Marina Vishmidt, Krzystof Siatka Graphic: Agata Biskup
David Shama captures his subjects in moments of repose, set against the grit and grain of the sun-drenched South. Shama documents a road trip across an often-overlooked America of swamps, reptiles, scrapyards and cheap motels.
136 Pages 8" x 11.5 Published by Damiani in 2018 Printed in Italy
This artistic research scrutinizes how sickness has been represented in art photography and examines new ways to approach, think about and create photographic art about sickness. The dissertation combines theoretical research and artworks. The theoretical part shows that while scholars have concentrated on the ethics of what kind of images of sickness or suffering ought to be shown or on the psychology of why some images of sickness bother viewers, most art photographers have concentrated on depicting personal illness experiences.
Author Marcel Beyer gets us to witness an evening at the Kunstmuseum Wolfsburg attended by a host of celebrities—a reception in honour of Andreas Gursky. In his waspish descriptions of the images, the writer, who relies on widely disseminated and easily accessible photographic material, takes umbrage at the way executives, football managers, and actresses confidently push themselves in front of the art. In the process he produces an ironic commentary on Gursky’s series of large-format, decorative pictures. Beyer’s essay is based on a lecture that the writer gave in spring 2017 at the Ruhr-Universität Bochum at the launch of the DFG Research Training Group (GRK 2132) “Das Dokumentarische: Exzess und Entzug”. The audience who attended the event now respond to the talk in writing: with comments, remarks, and ripostes.
Marcel Beyer (b. 1965 in Tailfingen) is a German writer, epic poet, essay writer, and editor. He received the Georg Büchner Prize in 2016.
Text: Marcel Beyer & Graduiertenkolleg 2131 (Friedrich Balke, Natalie Binczek, Tabea Braun, Esra Canpalat, Astrid Deuber-Mankowsky, Robert Dörre, Julia Eckel, Oliver Fahle, Katja Grashöfer, Maren Haffke, Sarah Horn, Felix Hüttemann, Niklas Kammermeier, Cecilia Preiß, Matthias Preuss, Stefan Rieger, Simon Rothöhler, Armin Schäfer, Monika Schmitz-Emans, Robin Schrade, Annette Urban, Leonie Zilch)
65 pp. with 7 drawings thread-sewn softcover
Leipzig April, 2020
Edition Number: 1
Width: 16 cm
Length: 24 cm
AUTHOR Marcel Beyer , GRK 2132
EDITOR Friedrich Balke, Natalie Binczek, Maren Haffke, Simon Rothöhler
The curator who founded MoMA's video program recounts the artists and events that defined the medium's first 50 years
Since the introduction of portable consumer electronics nearly a half century ago, artists throughout the world have adapted their latest technologies to art-making. In this book, curator Barbara London traces the history of video art as it transformed into the broader field of media art - from analog to digital, small TV monitors to wall-scale projections, and clunky hardware to user-friendly software. In doing so, she reveals how video evolved from fringe status to be seen as one of the foremost art forms of today.
Format: Hardback Size: 203 x 137 mm (8 x 5 3/8 in) Pages: 280 pp Illustrations: 75 illustrations
The work of Miranda July—the most impressively cross-disciplinary artist of her generation—is brought into focus in this mid-career retrospective.
From her early rarely seen Riot Grrrl-influenced fanzines and performances to a career that has produced seminal films, fiction, sculptures, public art, and even a smartphone app, Miranda July has proven adept at articulating the poignancy and humor of the human plight while also achieving enormous acclaim along the way. This chronological retrospective includes July’s performance and video projects, awardwinning films, digital multimedia, and written pieces which make clear the multidimensionality of her work. The book includes photography, stills, and archival ephemera and is narrated by friends, collaborators, curators, assistants, and audience members including David Byrne, Spike Jonze, Lena Dunham, Carrie Brownstein, and Hans Ulrich Obrist, as well as July herself. This behind-the-scenes commentary reveals an intimate perspective on the process, struggles, and grit involved in forging one’s own path. What emerges is just how singular her voice is—from a movie narrated by an injured cat to a performance that builds an intentional community; from sculpture that engages the public to an interfaith charity shop in a London department store. July may be impossible to categorize, but the importance of her work and her status as an essential cultural icon with wide-ranging appeal is irrefutable.
Hardcover, 224 pages, 23,5 x 28,5 cm, 200 color illustrations
The book’s title reveals the identity of its protagonist: Kathleen McCain Engman has been posing for her son Charlie since 2009. And yet MOM shows us a face we never really get to know: while we soon become acquainted with her freckled complexion and intense gaze, her position in the images becomes increasingly unclear. Engman first began shooting his mother because she was available, ever-willing to meet the demands of one of her children. But what began as a casual, organic process evolved into an intense collaboration. The result is neither a family album nor a filial tribute but a much deeper and far more complex interaction: one that raises questions about the limits of familiarity, the rules and boundaries of roles and representation, vulnerability and control, and what it means to look and to be seen.
Borders are a means of separation. They separate two sides, defining a here and a there. But they also delineate what lies within the boundaries, instilling a sense of safety and security. Although they implicitly stake a claim to permanence, nothing is as changeable as boundary lines. So it is ironic that people and entire nations should develop so much pride and protectionism on the basis of existing borders, while knowing full well that these are artificial constructs that are constantly changing and sometimes disappearing altogether. – Roger Eberhard
Human Territoriality is a selection of Roger Eberhard’s photographs of former border regions around the globe and down through the course of human history. Some of these borders have shifted over time, by only a few hundred meters or much more, due to climate change or manmade changes in the landscape, others have vanished with the fall of mighty empires on either side. Eberhard’s photographs, supplemented by in-depth captions, help us to grasp the protean puzzle of the world’s cartography. In a time of mass migration, border walls and spreading nationalism, they reveal the inherent instability of these man-made demarcations.
In 1998, TASCHEN introduced the world to the masterful art of Touko Laaksonen with The Art of Pleasure. Prior to that, Laaksonen, better known as Tom of Finland, enjoyed an intense cult following in the international gay community but was largely unknown to a broader audience.
In 2009, TASCHEN followed up with the ultimate Tom overview: Tom of Finland XXL, a beautiful big collector’s edition with over 1,000 images, covering six decades of the artist’s career. The work was gathered from collections across the United States and Europe with the help of the Tom of Finland Foundation, featuring many drawings, paintings, and sketches never previously reproduced. Other images had only been seen out of context and were finally presented in the sequential order Tom intended for full artistic appreciation and erotic impact.
The elegant oversized volume showed the full range of Tom’s talent, from sensitive portraits to frank sexual pleasure to tender expressions of love and haunting tributes to young men struck down by AIDS, and was completed by eight commissioned essays on Tom’s social and personal impact by Camille Paglia, John Waters, Armistead Maupin, Todd Oldham, and others, plus a scholarly analysis of individual drawings by art historian Edward Lucie-Smith.
The only thing missing from Tom of Finland XXL was a widely affordable price tag—until now. The new Tom of Finland XXL is still big enough to work your biceps, and includes all of the original content, but costs a fraction of the original price. You’re welcome.
Dian Hanson produced a variety of men’s magazines from 1976 to 2001, including Juggs, Outlaw Biker, and Leg Show, before becoming TASCHEN’s Sexy Book Editor. Her titles include the “body part” series, The Art of Pin-up, Psychedelic Sex, and Ren Hang.
John Waters was born in 1946 in Baltimore, Maryland, and briefly attended New York University. He made his first film, Hag in a Black Leather Jacket, in 1964, and has since directed 17 others, including Pink Flamingos, Polyester, Hairspray, and Pecker. He lives in Baltimore.
Camille Paglia is the author of six books, including her groundbreaking analysis of sexual ambiguity in art and literature, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. Paglia is Professor of Humanities and Media Studies at University of the Arts, Philadelphia, PA, where she lives.
Todd Oldham’s studio is a multifaceted design studio for film, photography, furniture, interior decor, books, and even floral arrangements. He lives in New York City and in eastern Pennsylvania.
Armistead Maupin launched his fictive Tales of the City serial in the San Francisco Chronicle in 1976, later released as a six-volume series of novels, three of which were produced as miniseries for television. He lives in San Francisco.
Edward Lucie-Smith was born in 1933 in Kingston, Jamaica, and schooled at Oxford. He has published over 100 books, including Sexuality in Western Art and Latin American Art of the 20th Century. He lives in London and travels extensively.
'ToiletMartin PaperParr' is a high-impact visual volume revealing the most iconic images from the prolific archives of internationally celebrated artist Martin Parr and the duo who created 'Toiletpaper', Maurizio Cattelan and Pierpaolo Ferrari.
Martin Parr’s ironic, full colour images combine perfectly with the irreverent and poignant wit created by Maurizio Cattelan and Pierpaolo Ferrari. The 120 vibrant back-to-back images included in this compelling volume are sensually and visually appealing, as well as being reflective of reality. This book of the books shakes up the mind and leads the eye in every direction.
language: english pages: 192 illustrations: 120 binding: hardbound release: March 2020
Getaway is a photobook that plays out in a parallel universe a little closer to the sun. The Canary Islands – almost exclusively a holiday destination for more than 3 million western tourists a year – is the backdrop of this performance. Five Danish photographers have been on a photographic expedition to this lost and blazing world and the book is a collection of images they brought back with them.
Getaway is about a place where we enjoy, dream, escape, recover and confront the absence of everyday life. That temporary reality we call vacation.
Bio: Ulrik Jantzen, Kasper Witte Larsen, Emil Jakobsen, Simon Caspersen and Kasper Kristoffersen work together in the photo collective Büro Jantzen. The collective was founded by Ulrik Jantzen, who graduated from the School of Journalism in Denmark, and who, over the past 15 years, has made his mark on the photographic scene in Denmark. Büro Jantzen has exhibited at multible galleries and museums in Denmark and abroad, won several photographic awards and published a number of photobooks.
Walter Pfeiffer ist als Fotograf mittlerweile weltberühmt. Das zeichnerische Werk des Künstlers kennen freilich nur wenige, dabei begann Pfeiffer seine künstlerische Laufbahn als Zeichner. Das Buch bietet einen überfälligen Überblick über sein zeichnerisches Schaffen, das in einem reichen Dialog mit seinen fotografischen Arbeiten steht. In den frühen 1970er-Jahren schuf Pfeiffer grossformatige, hyperrealistische Bleistiftzeichnungen, die auch Ausgangspunkt seines fotografischen Schaffens waren, da er dafür Vorlagen brauchte. In diesem Stil entstanden freie Arbeiten, aber auch Pfeiffers legendäre Poster für das Zürcher Filmpodium, Zeitschriftenillustrationen und Auftragsportraits. Ab den 1980ern und vor allem in den 90er-Jahren, als Pfeiffer vorübergehend das Fotografieren aufgab, folgten Zeichnungen in Tusche, Farbstift und Wasserfarben, in denen das elegante, freie Spiel der Linien und Farben in den Vordergrund tritt – intime Portraits von schönen Jungs und engen Freundinnen, Stillleben und Blumenbilder. Sie sind geprägt von Heiterkeit und wacher Sinnlichkeit, sicherem Strich und dem Oszillieren zwischen zeichnerischer Reduktion und der Lust an ornamentaler Fülle. Das Buch ist kein konventioneller Werkschau-Band, sondern ein eigenständiges Künstlerbuch, das den Zeichnungen ihre Lebendigkeit und die Betrachter einen neuen Walter Pfeiffer entdecken lässt.
2. Auflage 2019 Künstler Walter Pfeiffer Mit Texten von Martin Jaeggi Gestaltung Marietta Eugster Gebunden, 492 Seiten, 380 Farbabbildungen 22.7 × 32 cm Sprache: Englisch
French photographer and musician Olivier Degorce was both harbinger and observer of the dawn of the electronic music scene in the 1990s and one of the first to photograph Paris raves on a regular basis. With his sharp eye he explored the utopian spirit and volcanic energy of those events. Degorce has always been a compulsive photographer who is seldom to be seen without a camera on him and is always working on several series at a time.
Besides Paris underground culture, Degorce probes what goes on behind other closed doors as well: the myriad ways in which victuals, beverages and other items are kept and arranged in people’s refrigerators and how food packaging has evolved over the years. He is fascinated by everything from the colors and smells of foods to the best-before dates on packaged edibles. Whenever the opportunity arises, he raids the fridge to capture the sheer diversity of individual eating habits in the form of contemporary still lifes.
The photographs presented in Fridge Food Soul were shot from 1993 to 2017, for the most part on the spur of the moment, using all sorts of analog and digital devices ranging from the most sophisticated to the most rudimentary cameras. In most cases he took only one shot of each fridge. The serial collection of these snapshots in a single book testifies to the systematic, even obsessive, nature of this project.
1. Auflage 2018 Künstler: Olivier Degorce Mit Texten von: Olivier Degorce Gestaltung: Bureau DGC Hardcover, 136 Seiten, 130 Farbabbildungen 18 × 26 cm
Herausgeber: Edition Patrick Frey
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