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København: Kunst & Kultur, 1963. 205 pp. Hft. Lidt brugsspor. .

Peter Owen Publishers, 2003. Large 8vo in softcover. 239 pp. With illustrations. Fine clean copy, like new. First Trade edition.

Gyldendal, 1989. Original kartonbind (hardcover). 115 pp. Navn. Nogle brugsspor. Første danske udgave. Fra serien "Gyldendals Kulturbibliotek".

Galerie Claude Bernard, 2009. Large 4to in flexi boards. 82 pages, richly illustrated in color. Text in both French and English. Fine copy. 1. ed.

Forlaget Tiderne Skifter, 1977. 96 pp. Hft. Illustreret af Deleuran.

Oslo: Det Norske Samlaget, 1967. 59 pp. Hft. Første udgave, 1. oplag, Med dedikation fra forfatteren, dateret 1967. Typografi og omslag av Kåre Andersen.

Forlaget Spring, 2021. 225 pp. Hft. Illustreret. Med dedikation fra forfatteren. "Film kan være mange ting: rørende, underholdende, sjove, informative, eksperimenterende, udfordrende eller afslørende. Men de kan også være foruroligende, ja, måske ligefrem subversive. Og i de tilfælde, hvor instruktørerne virkelig tager de levende billeder alvorligt som en kunstform, kan filmene endda vise sig at være direkte farlige for de involverede, hvad enten de så er ansvarlige for de visioner, der lægges frem, eller blot medvirkende. Dét er udgangspunktet for den serie af bøger – Farlige film – som indledes med nærværende bind om film med relation til Fluxus, Yoko Ono og Bob Dylan. Med udgangspunkt i sin tilknytning til Fluxus-gruppen skabte Yoko Ono i slutningen af 1960’erne og begyndelsen af 70’erne – alene eller sammen med John Lennon – en række konceptuelle og poetiske film, hvor tanken var, at det enkelte værk først blev fuldt realiseret i mødet med modtagerens bevidsthed. Nogle af filmene blev af samtiden betragtet som provokerende. Men i et enkelt tilfælde, Rape fra 1969, viste mediets kræfter sig at være så stærke, at de var tæt på at tage magten fra instruktørparret. De film, som Bob Dylan har været involveret i siden midten af 60’erne, er umiddelbart mindre kontroversielle, men i poetens filmiske hovedværk – den fire timer lange Renaldo and Clara (1978) – var den personlige investering så hudløs, at ophavsmanden måtte sande, at filmkunsten rent faktisk kan være farlig at danse med".

Forlaget Schultz, 1945. 52 pp. Hft. Omslag med lidt brugsspor. Fortsættelse af 'Grønne Digte' og 'Jeghuset'. Første udgave, 1. oplag. Eet af 500 nummererede og signerede eksemplar.

New York Da Capo Press, 1993. Tall 8vo in wraps. X, 182 pp. Fine clean copy First edition thus.

Gyldendal, 2011. 304 pp. Hft. 1ste danske udgave.

Høst & Søn, 1972. Original hardcover. Upagineret. Illustreret i s/h og farver. Godt eksemplar.

Amsterdam, Idea Books - SMAK (Stedelijk Museum voor Actuele Kunst), Witte de With Center for Contemporary Art, 2007. Hardcover. 212 pp. With 398 ills. (321 col. ) Text in English, German and Dutch and one loose folded poster. Excellent copy. Includes a large very beautiful fold-out poster titled "A Vicious Undertow." - fine copy / as new.

Forlaget Tiderne Skifter 1999. 66 pp. Hft. Pænt eksemplar. Første udgave, 1. oplag.

Sternberg Press 2013. Wraps as issued. 193 pages. With illustrations. Some handling wear but clean. Neomaterialism by Joshua Simon, explores the meaning of the world of commodities and re-introduces various notions of dialectical materialism into the conversation on the subjectivity and vitality of things. Reflecting on general intellect as labor and on the subjugation of an overqualified generation to the neo-feudal order of debt finance, Neomaterialism merges traditions of epic communism with the communism that is already here.

Suhrkamp Verlag, 1990. Hardcover, mit Umschlag. 139 Seiten. Gut erhaltenes, zauberes Exemplar. Erste Auflage / First edition.

Gyldendal, 1992. 107 pp. Hft.

Gyldendal, 2022. Hardcover. 301 pp. Dansk udgave, signeret i hånden / med dedikation fra Edouard Louis til en læser.

London: The Folio Society, 1979 (1782). Red clothed hardcover with richly gilt lettering and decor in the original pink slipcase. 399 pages. Very fine clean copy.

Thames & Hudson / D. A. P. 2014. Heavy hardcover. 256 pages. Illustrated. Fine copy. " the first book to explore the radical shifts that have taken place in the practice of curating contemporary art over the last twenty years. Tracing a history of the field through its most innovative shows, renowned curator Jens Hoffmann selects the fifty exhibitions that have most significantly shaped the practice of both artists and exhibition curators. The book's nine thematic sections focus on a huge variety of exhibitions, including those that have explored public space; reflected on globalization; engaged audiences in revolutionary ways; and brought into the gallery other disciplines such as theatre and architecture. Short texts introduce and place each exhibition in context, accompanied by installation photographs and factual data about the participating artists, venues, dates, curators and publications, and many feature quotations from the originating curators exploring the premise of the show. The book concludes with a roundtable discussion by some of today's leading curators".

Suhrkamp Verlag, 1994. Gebunden, mit OU. 501 Seiten. Gut erhalten. Zeitungsartikel beigefügt. First edition. Adorno schreibt "Alle Verdinglichung ist ein Vergessen: Objekte werden dinghaft im Augenblick, wo sie festgehalten sind, ohne in allen ihren Stücken aktuell gegenwärtig zu sein: wo etwas von ihnen vergessen ist.« Kaum eine bessere Charakterisierung als dieser Satz aus Adornos Brief vom 29. Februar 1940 an Walter Benjamin ließe sich denken, um darzutun, worin die entscheidende Differenz zwischen den Diskussionen, die in der Kritischen Theorie der dreißiger Jahre geführt wurden, und der Darstellung liegt, die die Ergebnisse jener Diskussionen heutzutage in der Sekundärliteratur zusammenfaßt. Es liegen Welten zwischen der Kritik, die Adorno und Benjamin wechselseitig an ihren Arbeiten während der Emigration übten, und der geronnenen Gestalt, in der diese zentralen Arbeiten von den Nachgeborenen, zerstückelt und ungeschickt wieder zusammengeklebt, rezipiert und ›tradiert‹ werden. - Galt ein beträchtlicher Teil der Korrespondenz Benjamins Fragment gebliebenem »Passagen-Werk«, welches das 19. Jahrhundert geschichtsphilosophisch zu entschlüsseln sich vorgenommen hatte, und der ›Abschlagszahlung‹ darauf, dem Baudelaire-Aufsatz für die »Zeitschrift für Sozialforschung«, so kreisen die Briefe insgesamt, die Benjamin und Adorno vor allem in der Emigration, ab 1934, wechselten, um die verbindliche theoretische Darstellung jener grundlegenden Erfahrungen der bürgerlichen Kultur, die mit dem Faschismus unwiederbringlich verlorengingen und deren Vergessen gerade nicht das glückliche Ballastabwerfen des Wanderers war, der das Ziel in erreichbarer Ferne vor sich liegen sieht. Der Briefwechsel läßt ermessen, welche Bedeutung die praktische und geistige Solidarität hatte, die Adorno und Benjamin voneinander erfuhren, als sie in intellektueller Isolierung lebten. Die in der akademischen Welt abhanden gekommene Gelehrtenrepublik lebte fort in denen, die aller akademischen Sekurität entbehren mußten und die darum aller der Sache äußerlichen Konvention sich entschlagen durften. Den empirischen Niederschlag des Vorrangs der Sache in der Person beschrieb Adorno 1965: »In sich und seinem Verhältnis zu anderen setzte er rückhaltlos den Primat des Geistes durch, der anstelle von Unmittelbarkeit sein Unmittelbares wurde.«

Suhrkamp Verlag, 1983. Hardcover, mit Umschlag. 255 Seiten. Gut erhaltenes, zauberes Exemplar. Erste Auflage / First edition.

Washington D.C.: Hirshhorn Museum and Sculpture Garden; Smithsonian Institution Press, 1984. Washington D.C.: Hirshhorn Museum and Sculpture Garden; Smithsonian Institution Press,, 1984. 184 pages, illustrations (some colour); 29 cm. Exhibition held October 4, 1984 to January 6, 1985. Wear to cover surface else fine clean copy. First edition. Influential exhibition focusing on Conceptual and post-Minimalist art. Includes "Chronology" by Phyllis D. Rosenzweig etc.

London: Faber and Faber 2001. Publishers hardcover, w jacket. 350, (8) pp. Light edgewear else very good clean copy.

Ljublijana, Slovenia, Zavod P.A.R.A.S.I.T.E, 2010. 8vo in original wraps. 150 pp. Illustrated. Wear to cover edges. First edition. "The book ‘The Clandenstine Histories of the OHO Group’ holds a new light to the problem of the character of neo-avant-garde excess and the experimental work of the OHO Group – leading neo-avantgard group in the region – in the second half of the 1960s. The book focuses on the practices, works, and instances with which – under the conditions of socialistic modernism – the OHO Group problematised, provoked, and destroyed the socialistic order of the vision of the autonomy of art. The book exposes the activity of the OHO Group (1966-1971) and of the movement OHO-Catalogue (1966-1970) in the context of Slovene national culture, Yugoslavian socialistic culture and international youth culture of the late 1960s and early 1970s, particularly in relation to the following paradigms: 1.‘Transgression’ – in terms of the breach in relation to Catholic traditions and morals as well as to the socialist work ethic that the young artists carried out at that time; 2.‘Sexuality’ – in style with the Zeitgeist and in connection with the worldwide sexual revolution on one side and the use of sexuality as a critical and subversive instrument rising up against the opportunism and hypocrisy of real-socialism on the other. 3.‘Politics’ – the provoking and mixing of practices from contexts – which were allowed by politics – to the context of a serious understanding and practice of the revolution and emancipation from ‘the everyday grey’ of real-socialism. At the end of the 1960s, the writer of new arts and activist, Bora Cosic, wrote about the OHO Group: ‘I call it a movement. The group looks like something static, something rooted, something buttoned up. The Group still holds firm, just like a machine-gun bunker; that a movement can operate as an illegal organisation, equipped with medicine, good will, and a feeling of freedom.’ The OHO Group was created in an atmosphere of new artistic practices: from the aesthetic, philosophical and social movements of reism, structuralism, poststructuralism and Tel Quel across to the New Left, hippy culture all the way to arte povere, body art, experimental film, conceptualism, processualism, post-object arts and ludism (...)"

Bell and Daldy, London, 1869. 8vo in full red polished calf, bound by Relfe Brothers, gilt decoration in compartments, all borders gilt, all edges marbled. XXII, 320 pp. Rubbing to edges and mainly the corners of binding (see photo). Name to titlepage with smearing to the free front enpaper. Foxing to end-papers. Contents clean and sound Biography of the Spanish conquistador, and his expeditions that led to the Spanish conquest of the Inca Empire. Second edition. In fine binding.