Søkeresultat

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.

Los Angeles: Aran Cravey Gallery, 2014. 4to hardcover, no jacket as issued. 80 pages, richly color illustrated. A hint of wear to corners of cover (see photo) else fine and clean. 1. ed. book includes 11 drawings created for the occasion, as well as studio shots of the process, installation shots, a critical essay by Hila Cohen-Scheiderman, an in depth interview by Noam Segal, and all the plates from the show.

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.

Munich: Prestel Verlag, 2014. 4to hardcover, no jacket as issued (29 x 25 cm). 208 pages, richly illustrated. Text in English. Fine. First edition.

Tate Publishing, London 2008. Tall 4to in softcover as issued. 247 pages, richly illustrated. Text in English. A little thumbed else clean and fine copy. First edition. - Substantial exhibition catalogue on three pioneering figures in the history of modernism.

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.

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.

Galeria Fernando Quintana, Bogotá, Colombia, 1994. Oversized folio in wraps as issued. Illustrated finely, text in Spanish. Fine copy. Enclosed original invitation card. Carlos Capelán is a Uruguayan and Swedish contemporary artist, educator and curator, born in Montevideo, Uruguay, in 1948. After two years hitch-hiking across South America, he returns to Montevideo in 1970 and opens a weaving studio. In 1971, his studio is raided five times by police and military. In 1972, he moves to the island of Chiloé in Chile where he works with peasant cooperatives as a weaving technician. In 1973, he is detained and disappeared during the military coup. He reappears in the Estadio Nacional among a group of 54 Uruguayans rescued by the Swedish Ambassor to Chile, Harald Edenstam. As a result, he ends exiled in Sweden and settles in Lund where he still keeps a studio. He starts studying at Grafikskolan Forum in 1978 and opens his first solo show at Andres Tornberg Gallery. Between 1980 and 1981 he lives in Mexico where he leads courses at the studio of Uruguayan artist Anhelo Hernández. In 1981, back in Lund, he opens a print-making studio together with Carl Gustafsson and Stefan Sjöberg. In 1986, he receives one of the awards at the third Havana Biennial. He returns to Havana in 1989 to hold several seminaries and lectures at the Instituto Superior de las Artes (ISA) and again in 1994 as celebrated artist of the fifth Havana Biennial. In 1996 he discotinues working with his galleries in Germany, Colombia, Spain and France, and moves with his family to Costa Rica where he will live until 2001. During tha period he starts a close collaboration with Virginia Pérez-Ratton, at the time the Director of the Museo de Arte y Diseño Contemporáneo and later founder of the Fundación Teorética. His work has been called post-conceptual. Free from specific trends or formal boundaries, he works with structures of ideas with a material and formal diversity operating from the language of representation, referrinig to his identity as an artist as well as the artwork's itself. Capelán's language includes drawing, print-making, painting, photography, installation, sculpture, objects, performance, workshops, lectures and texts, as well as his activity as curator.

Copenhagen: Booktrader, 2002. 4to in softcover as issued. 160 pages. Text in English. Illustrated. Very good unused copy. Complete with CD in pocket at end. 1st edition.

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

New York. 23x30. 220pp. Minor edgewear else good complete magazine.

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.

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.

Leipzig: Insel Verlag, 1921 (1906). Original decorated slightly worn red papercovered decorated hardcover boards with pasted on title to front, title page printed in green and black. 189 pp. Spine darkened, front title with some scraping (see photos) and some minor soiling and foxing to edges and previous owners name in ink to inner cover front else clean, a few pages dog-eared, nonetheless overall a very good copy in the attractive original binding. Finely printed early edition with wide margins (16. - 19. T.).

Struer, 1978. Original wrappers. 50 pages including covers. Illustrated throughout in colour. Text in Danish. Fine copy. Rare original commercial folder from Bang and Olufsen. First edition. Graphic design by Werner Neertoft.

London & NY, Oxford University Press, 1975. Publishers hardcover with dustjacket. viii, 507 p., [1] leaf of plates, 1 color illustration. Jacket priceclipped and a bit worn, a couple of feeble pencil notes, else a very good, copy. First Edition.

Verlag der Buchhandlung Walther Konig 2003. 8vo. Stiff wraps as issued. 208 pages. Richly illustrated. Fine clean copy. 1. edition.

New York: Charles Scribner's Sons, 1951. Original black cloth with gilt title, original only slightly worn now protected dustjacket. 861 pp. Previous owner's private bookplate to front free blank, front inner hinge enforced neatly. Else well preserved and overall a solid attractive very good copy. First edition, early printing of the trade edition, original price on flap is 4 dollar 50 but lacking the "A" on copyright page.

Politikens Forlag 2005. Stort tværformat. Hardcover, med omslag. 135 pp. Gennemillustreret. Kun små ydre brugsspor. Pænt eksemplar. Første oplag.

Rævens Sorte Bibliotek, 1988. 208 pp. Hft. Illustreret. Første danske udgave.