Sökresultat

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.«

Per Kofoed, 1993. 121 pp. Hft.

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.

The Amsterdam Academy 2013. 12mo in publishers full clothed hardcover. 160 pages. Illustrated. Fine clean copy. In this work landscape architect Thomas Oles (USA, 1972) has gathered his ideas about landscape thinking and the landscape architecture profession in a handy book. Fifty entries serving the walker in nature or the designer in the landscape by way of reference, idea or principle. The book also contains contributions from landscape architects Marieke Timmermans (head of the department of landscape architecture) and Jacques Abelman. Graphis Design by Studio Sander Boon.

Serlachius Museums, 2020. Small 4to hardcover w jacket. 96 pp. Richly illustrated. Text in both Finnish and English. Fine clean copy. First edition.

Jrp Ringier, 2012. Small 4to in stiff wraps as issued. 216 pages, richly illustrated. Backcover with scraping from pricetag removed else clean and fine, unread copy. First edition. - "Sources in the Air" accompanies David Maljkovic's three-part exhibition of the same name at the Van Abbemusem, Eindhoven, BALTIC Centre for Contemporary Art, Gateshead and GAMeC, Bergamo. Including films, sculpture, collage and installations from the past ten years, "Sources in the Air" is the artist's most comprehensive survey to date.

Arena, 1983. 84 pp. Hft. Pænt eksemplar.

Slagmarks Skyttegravsserie, 1996. 131 pp. Hft. Tidligere ejers navnemærke foran ellers ren. Godt eksemplar.

Forlaget Tiden, København 1981. 473 sider. Heftet.

Forlaget Brilleuglen, 2021. 328 pp. Hft.

University of Oklahoma Press, 1968. XVI, 208 pages. Text in both Spanish and English. Fine clean copy. First edition, softcover.

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 (...)"

London: Studio Vista - Dutton Pictureback, 1971. 160 pp. Illustrated b/w. Cover worn. With later gift inscription to titlepage else very good copy. First edition.

Neuhoff Gallery New York & Galerie Wittrock, Düsseldorf 2001. 4to 28 x 23 cm in wraps as issued. 32 pages, illustrated throughout with photographs. Short text in English. Well preserved clean copy. First edition. Catalog with photographs from the artists career. Finely printed.

Strubes Forlag, 1988 (1981). Hardcover. 344 sider. Omslag med lidt brugsspor. Richard Wilhelms udgave på dansk.

Copenhagen: SMK - 2013. 8vo in stapled wraps as issued. 30 pages. Text in English and Danish. Illustrated. Fine copy. 1. ed. "What are quirky salt and pepper shakers doing next to some of the main masterpieces of art history? Haim Steinbach is deeply interested in objects and how they are displayed. In this exhibition he challenged our perception of the art museum as an institution by showing important works of art side by side with small everyday objects. In his works Haim Steinbach arranges objects from all sorts of contexts on shelves and walls and in display units. In fact we all collect things and place them next to each other – on a windowsill, the kitchen worktop, or a bathroom shelf. On a previous occasion Steinbach has explained that he regards the act of collecting and displaying things as a fundamental human practice: With my work, the bottom line is that any time you set an object next to another object you´re involved in a communicative, social activity. Haim Steinbach includes works of art from different eras and genres in his exhibition, presenting them in a way that is completely different from the usual approach taken by museums, which typically display art in accordance with chronological, thematic, or monographic principles. By making a break with those principles Steinbach creates a whole new contex".

New York: Exit Art etc., 1989 / 1990. Tall 4to in wraps as issued. 48 pages. Text in English. Illustrated. Well preserved clean copy with only most minimal edgewear. First edition. Catalog of an exhibit of Wodiczko's photographs of the homeless community of New York and his installation piece "New York City Tableaux: Tompkins Square", also focusing on homelessness. Features essays by Wodiczko, Papo Colo, Neil Smith, David Lurie, Rosalyn Deutsche, and Julie Courtney.

Brøndums Forlag 2003. Lille hefte. 61 pp. Pænt eksemplar.

Denmark - Holte: Gl. Holtegaard - Breda Fonden, 2005. Large oversize 4to. Original hardcover, with jacket. 216 pages, illustrated in color. Text in Danish with an English Summary. Dustjacket with minor wear, but complete and otherwise fine. First edition. Richard Winther's take on Johannes Wiedewelt - disguised as 'WIE' Richardo da Vinci plunges into new paintings and sculptures. Book was designed by Michael Jensen.

Antipyrine / OVO 2015. Small slim 8vos in wraps as issued. 46, 120 pp. Some discoloring to cover else a clean, fine, unused set. This is the first time Bishan Commune: How to Start Your Own Utopia, a notebook by the Chinese activist, editor, and curator Ou Ning, has been published in English. The notebook is a graphic montage piece, where comments, thoughts and short accounts from Ou Ning’s travels to Bishan are intertwined with drawings, clippings, color-coded text, handwritten notes, pictures and quotes. The publication consists of two books: the first volume contains a facsimile of Ou Ning’s original notebook in full color; the second volume is a translation of the notebook from the Chinese by Mai Corlin and Austin Woerner also including an interview with Ou Ning not previously published in English as well as Ou Ning’s 2012 text “Autonomy: Utopia or Realpolitik,” which lays out Ou Ning’s understanding of ongoing anarchist practices in a totalitarian, capitalist reality . - Ou Ning was born in rural Guangdong province in 1969. His practice covers a wide range of projects straddling the fields of art and politics. As a filmmaker, he directed the documentary Meishi Street (2006) concerning local acts of resistance against the demolition of an area in a central part of Beijing in relation to the 2008 Olympics. As curator he has headed the 2009 Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture, and from 2011 to 2013 he was chief editor of the literary bi-monthly Chutzpah!, a magazine that has dealt in-depth with issues such as agrarian communities in East Asia, revolution, queer literature and George Bataille. And these are just a few of Ou Ning’s undertakings.

Forlaget Gjellerup, 1959. Kvadratisk 8vo i hardcover, med omslag. 262 pp. Illustreret. Godt eksemplar.

B P Forlag, 2017. Stort format. 254 pp. Hft. Rigt illustreret. Som ny.  "Det skete på Kvindeudstillingen Charlottenborg 1975" - 42 kvindelige, danske kunstnere udstillede med de 50 inviterede internationale kvindelige kunstnere. Et tilbageblik med mange interessante fotos. 

Redwood Press / Stanford University Press, 2015. Publishers hardcover, with jacket. 336 pages. Very good clean copy. "A philosophically complex yet lyrically wrought examination of the eternal struggle for women’s rights". First US edition.

London: The Folio Society 1995. Large tall 8vo, hardcover in slipcase. 234 pp. Illustrated. Light wear to case else clean and fine copy. 1st thus.

Dia Art Foundation, New York, 1996. Small 8vo in wraps as issued. XV, 206 pp., illus., bib. notes. Light edgewear else fine clean copy. The first in the series of the Robert Lehman Lectures on Contemporary Art. Artists discussed include Lawrence Weiner, Brice Marden, Joseph Beuys, Dan Graham, Robert Gober, Katharina Fritsch, On Kawara, Ann Hamilton, and James Coleman.