Sökresultat

London: The Folio Society, 1961. Publishers hardcover. 113 pp. Very good copy. 1st edition thus.

Borges Forlag / Plagiat Film, 2007. DVD in case. Complete with booklet. Total running time 54 minutes. Case with light shelfwear, dvd unplayed. 1. ed.

Copenhagen: Pork Salad Press, 2009. 4to in wraps as issued. 72 pages, 33 b/w photographic illustrations. From theSMK collection of Goodipal with his personal "signature". Fine copy. Rare artist book by Jens Haaning looking at the 33-year-old newspaper phenomenon in Denmark: the page 9-girl. The translations of the women’s individual profiles in Haaning’s 33 Page 9-girls are kept as close to the original Danish text as possible to retain the flavour of the journalistic approach to these women’s profiles. 

New York: Everyman's Library 2001. Publishers thick and heavy hardcover, with jacket. XLIII, 1313 pp. Some edgewear, overall a good clean copy.

Bloomsbury Paperback, 2017 (2016). Tall 8vo. XI, 282 pp. Fine clean, unread copy.

Struer, 1977 / 1978. Original wrappers. 50 pages including covers. Illustrated throughout in colour. Text in Danish. Light edgewear. Overall a very good copy. Rare original commercial folder from Bang and Olufsen. First edition. Graphic design by Werner Neertoft.

Copenhagen: F R, 2011. Large hardcover with jacket. 160 pages. Illustrated in colour. Text in both Danish and English. Near fine / fine copy. First edition. Book design ved Michael Jensen.

London: Bernard Jacobson, 1972. Sqarish 8vo in wraps as issued. 64 pages. A little edgewear and discoloration. The catalogue 'Fourteen Big Prints' contains biographical, bibliographical and exhibition details as well as examples of work by each of the following artists : Ed Ruscha, Ivor Abrahams, Peter Blake, Ptrick Caulfield, Bernard Cohen, Robyn Denny, Joe Goode, Bob Graham,Tom Holland, John Hoyland, Eduardo Paolozzi, Ludwig Sander, Peter Stroud, John Walker.

MIT Press LTD, 2018. Thick 8vo in hardcover, w jacket. XVII, 374 pp. Illustrated. Inscription to free front endpaper and stamp from bookseller else clean and overall a nice well preserved copy. 1st ed.

ART & STRIPES publications Mads Nørgaard, 2015. 8vo in wraps as issued.96 pages. Illustrated richly. Text in English. Near fine / fine clean copy.  1st edition. "In PLEASE BE HERE NOW, Dwelling #1: The Body, the main theme of exploration was the performers own, female body – as private, public and artistic material. Nana Francisca Schottländer lived for three days and nights, 72 hours, in the shop window of Nørgaard Store in central Copenhagen, where she performed everyday chores like sleeping, reading, eating, drinking, thinking – being. While being there she challenged the spectator’s gaze by looking as much at the people passing by and stopping, as they looked at her. The piece created a platform for shared reflections and encounters and was visited by people of all ethnicities, ages, social groups and background at all times of the day and night. During her stay, invited guests joined her in her dwelling to share their thoughts on the body as professional and personal point of reference." - The book incluides an interview by Michael Thouber, head of Kunsthal Charlottenborg with Nana Francisca Schottländer and Mads Nørgaard about the piece, an introduction by Torben Sangild and photos by Casper Sejersen, Alexandra Buhl, David Morrow and Georg Jagunov. Excerpts from the text generated throughout the piece are also included. Each book is numbered by hand and signed by the artist (# 364). 

Seventeen Magazine, 1952. Large magazine format in original wrappers. 112 pages. Wear to cover, especially back cover, small pieces of covers missing and overall edgewear else a well preserved complete magazine. A rare original vintage Seventeen Magazine issue.

Les Presse Du Reel, 2017. Large 8vo in stiff wraps as issued. Text in both English and French. Fine. 1. ed.

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.

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

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.

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: Collins, 1990. 8vo in publishers hardcover with well preserved unclipped jacket. 176 pages. Fine clean copy. First Edition (first printing) - a collection of fourteen short stories.

Christiania, 1890. Large 8vo in publishers original fine decorated and gilt cloth (red). XVI, 555, (5) samt XIV, (1), 477, (3) pp. Complete set with all illustrations and maps. Some foxing and brownspotting throughout, maps with minor tears but no loss, and light edgewear but overall a very good sound and well preserved set.  First Danish / Norwegian edition of 'In Darkest Africa'. Attractive set in the fine original binding. Please note foreign shipping will be extra - please inquire before ordering these items!

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.”