Søgningsresultat

EA - Generali Foundation, Vienna, 1996. 8vo (23 x 16 cm) in wraps as issued. 399 pp with colour and b&w illustrations. German and English text. Fine clean copy. 1st edition. "The overall concept of the exhibition explores the notion of sculpture. Main emphasis is on how this concept has developed since the emergence of new media in the sixties and how it was introduced into the collection of the Generali Foundation. The title of the exhibition directly addresses the theme: the site where art takes place is not neutral ground but explicitly and implicitly a part of the whole. The exhibition thematizes models as well as the conceptual grasping of sculpture, the inclusion of media such as photography, film, video, and TV as well as performative aspects. The selection of works is based on the following question: starting from its origins in the late eighties, how was the basic idea of the General Foundation's collection of contemporary sculpture realized in the nineties, i.e., how is sculpture defined today? The exemplary selection of works from the collection focuses on interdisciplinary works, with film retrospectives by Valie Export and Gordon Matta-Clark at the center of the presentation. Black Box : A movie, lecture, and events hall, a "black box" is set up in the small exhibition hall. A series of events furthers the displays’ emphatically communicative character, an aspect which is integral to the content of the exhibition. This presentation structure attempts to get away from the set display of the same pieces at the same place over a certain space of time. In "White Cube/Black Box" different pieces - which can in part be selected - are shown each day. Another goal is to demonstrate the different parameters for the reception of works (film, video, installation). Film, in contrast to traditional components of an exhibition, is normally offered for a group in a precisely defined space of time and is accompanied by certain social parameters. In exhibitions, film and video is made available continually through the use of looped tapes and short clips. Important themes of this exhibition are therefore the factor of time as well as the aspect of communal versus individual consumption of art works. The Video Collection in Dan Graham's "New Design for Showing Videos" This functional sculpture, which has already been shown in conjunction with Dan Graham's videos in the course of our previous exhibition (Video/Architecture/Performance by Dan Graham), is another central element of the show. Here, the video space is used as a video library for the first time, i.e., for the Foundation's video collection, which has been built up greatly in this connection. VALIE EXPORT Acquisition and Restoration of the Entire Cinematographic Oeuvre: First retrospective in Austria: 28 January to 16 March 1996. The Generali Foundation has acquired and restored VALIE EXPORT’s entire cinematographic oeuvre, making it available to the Austrian public for the first time as a retrospective. The works on display include the film installations "Ping Pong," "Up+Down+On+Off," "Adjunct Dislocations," and "Splitscreen-Solipsism," which have not been shown since the seventies. They are being shown in a cycle each Friday and Saturday from February to mid-March. VALIE EXPORT was awarded the biennial EA-Generali Foundation Sculpture Prize in autumn 1995. Gordon Matta-Clark: Restoration and Acquisition of the Complete Films Film retrospective: 26 March to 13 April 1996. Gordon Matta-Clark (1943-1978, New York) became known for his "cuttings," interventions he carried out on buildings. The artist documented these temporary works on film. However, Matta-Clark also used film analytically and reflectively and it played a major role in his multi-media "gesamt" work (e.g., with "surveillance" being the buzzword in "Chinatown Voyeur" or with the exploration of urban underground scenarios in New York and Paris, as in "Substrait" and "Sous Sols de Paris"). Until recently, Matta-Clark's films were only available as video copies of the original films, which are in a poor state. About half the films were restored upon acquisition by the Generali Foundation, the second half were saved through the support of other institutions (including the Musée d'art moderne; Centre Georges Pompidou, Paris; and IVAM, Barcelona). The Generali Foundation has obtained worldwide first-showing rights for the films restored with its funds; moreover, it has also acquired the presentation rights for all of Matta-Clark’s films and videos. In creating the film program, in addition to structuring the content, attention was given to presenting the films in small segments as a counterpoint to the other exhibition components. Further works from the collection are available alongside the presentations in the Black Box and in the video room. Curator: Sabine Breitwieser. Exhibition Oganization: Daniela Stern.

Corraini & Hangar Bicocca, 2011. Hardcover. 320 pages. Richly illustrated with text in both English and Italian. Light edgewear else clean very good copy.  The Terre Vulnerabili project takes the shape of an organic and polyphonic exhibition. Numerous artists interact around the “earth” as their place of belonging and to “vulnerability” as a positive concept to be contrasted with security. Terre Vulnerabili is an exhibition in progress, something which is germinating and organic, growing as it progresses. Articulated in four different stages, each given a different title – it lasts over a period of nine months. The underlying concept was that the work of each of the thirty international artists should not remain as it was at the start of each phase, but would continue to change and evolve throughout the duration of the show, with additions, corrections, changes of shape or place and interaction between the artists themselves. Behind it all lies the vision of a shared project that aimed to question traditional exhibition methods and show the way ahead, at a time when both our planet and the systems governing it and the conventions of contemporary art are showing serious signs of weakness and a need to be reconsidered. This book is a diary of the Terre Vulnerabili project, on show at the HangarBicocca in Milan, 21 October 2010 - 17 July 2011. In addition to an analysis of each of the works and participating artists, there is a behind the scenes view of how the project originated and became a changing object, comparable to a garden, a city or delicate land to be travelled every which way. Told through the photos of Agostino Osio, the story documents the passing of time, revealing how the installations altered over the nine-month period. There is also a personal reflection by Andrea Zanzotto on how the creative act is inevitably destined to damage what already exists – plus a conversation between Chiara Bertola, Andrea Lissoni and Hans Ulrich Obrist, a member of the HangarBicocca scientific committee and key figure in the contemporary art world, around the concept of an exhibition that creates itself by itself. The artists involved in the Terre Vulnerabili project: Ackroyd & Harvey / Mario Airò / Stefano Arienti / Massimo Bartolini / Stefano Boccalini / Ludovica Carbotta / Alice Cattaneo / Elisabetta Di Maggio / Rä di Martino / Bruna Esposito / Yona Friedman / Carlos Garaicoa / Alberto Garutti / Gelitin / Nicolò Lombardi / Mona Hatoum / Invernomuto / Kimsooja / Christiane Löhr / Marcellvs L. / Margherita Morgantin / Ermanno Olmi / Roman Ondák / Hans Op de Beeck / Adele Prosdocimi / Remo Salvadori / Alberto Tadiello / Pascale Marthine Tayou / Nico Vascellari / Nari Ward / Franz West.

Forlaget Multivers, 2018. Hardcover. 602 sider. Pænt eksemplar. Femte udgave, 4. rettede oplag.

Borgen, 1982. 112 pp. Hft. Omslag lidt slidt ved hjørner. Indvendig ren. Alt i alt et ganske godt eksemplar. Første udgave.

Sverige: Engelholm, 1990. 4to klammeheftet som udkommet. 24 sider. Rigt illustreret. Tekst på dansk af Gernes kollektivet. Omslag med brugsspor og tidligere ejers navnestempel på første side.

Toronto: Art Gallery of York University, 2007. 8vo. Original pictorial hardcover. 232 pages, illustrated with coloured and b&w photos. Fine and clean copy. 1. ed. "Exceptionally well designed, engaging and mysterious, Disassembling the Archive is a quasi-fictional correspondence with the Amsterdam-based, Indonesia-born artist Fiona Tan. It departs from interpretations of postcolonial identity issues in Tan's work to trace the implications of the archival housing of photographs and moving images. By way of a detour through Siegfried Kracrauer's writing on photography and Jacques Derrida's writing on the Freudian impression, we witness (...) the disintegrative and destructive effect of photography on the archive. This volume is printed on several papers and features full bleed video stills, mesmerizing archival portraits of young Asian girls in identical uniforms and a long text in the form of philosophical letters from Philip Monk--who curated the 2006 exhibition at Toronto's Art Gallery of York University on which this volume is based."

London: Walter Scott, around 1902 (1882). 12mo in original publishers brown full cloth with gilt title. 312 pp. Owner's name to inner cover front and some foxing, mainly to endpapers. Scattered marginal foxing. Overall a clean and sound copy. Fine contemporary edition: "Specimen Days" is Whitman's own compilation of prose fragments written across two decades of Walt Whitman’s life: his hospital visits during the Civil War, his recovery from a paralyzing stroke, his jaunts through the broad western states of America, his delight at trees and moths and glowworms, his disappointment at the posturing of prairie women. In his own words, it’s a “mélange of loafing, looking, hobbling, sitting, traveling—a little thinking thrown in for salt, but very little— ... wild and free and somewhat acrid—indeed more like cedar-plums than you might guess at first glance.”

Princeton University Press, Princeton, N. J, 1984. 8°. Softcover as issued XIX, 285 pages. Fine clean copy.

New York: Museum of Modern Art, 1990 (1955). 192 pp. Illustrated b/w photos. Softcover edition. Clean very well preserved copy. 'The Family of Man' was a originally a photography exhibition curated by Edward Steichen and first shown in 1955 at the Museum of Modern Art in New York. It later travelled around the world (including Copenhagen) and is the most influential of all photographic shows of its kind. The exhibition is today on permanent display in Clervaux, Luxembourg. Parr & Badger, II, 218.

Det lille Forlag, 2000. 144 pp. Hft. Pænt eksemplar.

Strandberg Publishing, 2024. 4to. Hardcover. 256 pp. Rigt illustreret i s/h og farver. Lidt ydre brugsspor (se foto).

Wivels Forlag, 1946. 4to. 35 sider med plancher i s/h. Smukt eksemplar indbundet i et privat halvpergament med forgyldt skindtitel. 1. udgave.

The Shakespeare Head Press Edition, 1994. Publishers hardcover, w jacket. XXX, 442 pp. Spine of jacket sunned else fine clean copy. Edited by J. H. Stape with an Introduction. First thus.

Tate Gallery Publishing St Ives, 2006 / 2007. Small octavo in publishers orange clothed hardcover, no jacket as issued. 44 pages colour illustrated. Text in English. Fine clean copy. First edition.

Copenhagen, 1995. 8vo. Original wrappers. 32 pages,including covers. Richly illustrated. Text in English. Near fine. Inklusiv invitation til rejse-udstillingen "Kan Kunst Helbrede?" i Saga Basement, med deltagelse af blandt andet John Kørner, kendt for at bygge landingsbaner til UFOer, Olafur Eliasson og Ambient Techno-Duoen "Nature"... 1. edition. Art-Land International was a thin and glossy zine that is a humorous and serious commentary on the contemporary art scene of the ‘90s. Included are articles and interviews with artists and an ongoing photography based comic strip called “Art Club”. All in all, a great state-of-the-nation time capsule of the 1990s.

Seattle: Real Comet Press, 1985. 4to in wraps as issued. 286 pages. Illustrated. Very good clean copy. "As mass culture spreads its web of dreams and illusions over the globe, creating a universal language of desire and belief, our universities and scholarly journals continue to teach and theorize about "art" as though it were some static object of "pure beauty" with no social or economic context or effect. The image of the artist as some isolated "gifted" seer off in an ivory tower persists, as does the ahistorical, nonmaterialist notion that "real art" can easily be distinguished from "mass art" by virtue of certain abstract qualities which, when studied closely turn out usually to be functions of social and historical conditions. Such ideas serve an important political function. They obscure and mystify an entire area of political reality. For as long as we view "art" as static, outside the realm of social forces, and by and large valuable in reverse proportion to its accessibility--the best art of course being produced in a distant past--we will fail to see what is happening under our noses. Such is the pervasiveness of this bourgeois way of thinking, that the activist left in this country (but certainly not in the third world) has rarely engaged in the kind of serious debate on artistic and cultural theory and strategy that the power of the media today demands. Art, for the left, still exists primarily as agitprop, as "entertainment" to be given as akind of light dessert after the serious business of political speeches. Cultures in Contention, which brings together a collection of writings by cultural activists in a variety of media and from countries across the world is no less than remarkable as a corrective to this sorry state of affairs. Its editors start from a theoretical position which is as radical as it is rich in implication. "Cultures in Contention," they say in the introduction, "seeks to reinstate an understanding of the preeminently social character of all cultural action." In so doing, it raises a variety of issues which are rarely discussed or understood. In fact, the book's greatest achievement may be to reveal the world of art production not only as collective, dynamic, and social, but also as theoretically and strategically informed."

New York: The Viking Press and Intrepid Trips Information Service, 1973. 4to. Softcover. XVIII, 238 pages. Light edgewear else very good clean copy. First edition. A Merry Prankster collection of essays and a play by the author of One Flew Over The Cuckoo’s Nest and psychedelic bus riding bizarro Ken Kesey.

Jazzsign & Syddansk Universitetsforlag Odense 2008. Stort format. Hardcover. 300 sider. Med s/h fotografier af Jan Persson, Jørgen Bo m.fl. Pænt eksemplar. 1. oplag. Vedlagte film er ny, uåbnet i original emballage.

London: Dent & Sons, 1954. Small 8vo in publishers hardcover w slightly worn and now protected jacket. 205 pp. Clean copy and overall well preserved. First British edition of "Løgneren". Introduction by Elias Breddsdorff. Translated From the Danish by John Jepson Egglishhaw.

University of California Press, (1983). Original softcover. XXI, 441 pp. Minor edgewear.

Copenhagen: Arnold Busck, 1991. Small square 4to. Hardcover, with jacket. 126 pp. Illustrated. Full text in English and Danish. Fine copy. First edition.

Aros, Aarhus 2012. 4to. Large hardcover w jacket. 224 pages. Illustrated richly. Text in both Danish and English. Fine copy. 1st edition. NB: Foreign shipping for this heavy book will be extra, please inquire before ordering.

Frankfurt am Main: Vittorio Klostermann 1998. 8°. Hardcover, mit OU. 435 Seiten. Name. Viele Anstreichungen mit Bleistift und mit roter Kugelschreiber. Erste Auflage.

Kleinheinrich Buch- und Kunstverlag, Münster, 1993. Broschur. 194 Seiten. OU am Rücken mit Handtierungsspuren sonst gutes Exemplar. Deutsche Erste Auflage von Del af labyrinten.

Seventeen Magazine / Triangle Publications, Inc., 1952. Large magazine format in original wrappers. The story spreads over five pages, one page is the illustration to the story by Marjory Clark (see photo). Complete magazine, in all 112 pages. Cover is very worn rubbed and with pieces missing to edges and corners ((see photos), else inside a good solid copy, clean inside and the story is all bright and well preserved. A rare original vintage Seventeen Magazine issue with a rare first publication of Sylvia Plath's short story "Initiation". The story - at page 64 - that earned the author second prize in the magazine's Short Story Contest; includes a cameo portrait of the young Plath, and a short notice, "Sylvia Plath, reviewing her long friendship with us, says '...at fifteen and sixteen, I got rejection slips! Then, my first acceptance at the appropriate age of seventeen. Now the swan song in the form of a second prize!' A moral here, we think, for all contributors." Very scarce, early appearance from the poet and author.