Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Katinka Bock. Tomorrow's Sculpture
Tomorrow?s Sculpture? results from three consecutive exhibitions which took place in 2018: ?Sonar? at Kunst Museum Winterthur, ?Smog? at MUDAM Luxembourg, and ?Radio? at IAC, Villeurbanne/Rhône-Alpes. Around 50 works circulated between the three institutions. In dialogue with the spaces, Katinka Bock displayed the works in different configurations and added site-specific interventions. The photographs by Johannes Schwartz, which were exclusively commissioned for this book, offer a multi-perspectival view on Bock?s sculptures and installations from the past fifteen years. With texts by Simone Menegoi, Christina Végh, François Piron, and Christophe Gallois.
Su-Mei Tse
Marked by her cosmopolitan origins, between Europe and Asia, and by an attention to the sonorous dimension of the world, the practice of Su-Mei Tse involves issues such as time, memory, musicality, and language. Presented in 2017–19 at Mudam Luxembourg, Aargauer Kunsthaus, Yuz Museum in Shanghai, and Taipei Fine Arts Museum, her exhibition “Nested” is the result of several years of research in different geographical contexts, starting with Italy and Asia. New directions are apparent in her work, including contemplation, our relation to the vegetable and the mineral, the multiplicity of modes of existence, and the possibility of a personal relationship with history. Like the exhibitions...
John Stezaker
The art of John Stezaker engages with the ceaseless flow of images that has been a consequence of mechanical reproduction, mass media and popular culture. His intervention into these images through collage, excision, reconfiguration, inversion or occlusion can be seen to interrupt their everyday circulation in a profound way: image and perception alike are questioned, rearranged and opened to new possibilities. Through their transformation Stezaker's images acquire poetic resonance, and, in many cases, a disquieting allure. With over 120 illustrations, this monograph presents the first overview of John Stezaker's work on paper from the 1970s onwards, featuring his found images, collages, ima...
Marco Godinho. Mondes nomades. Ediz. francese e inglese
For a number of years now, Marco Godinho has been sensitively tackling the themes of exile, memory and geography inspired by his own experience of nomadic life, suspended between different languages and cultures and nourished by literature and poetry. From installations and videos to drawings and collaborative pieces, his works form a map of a world shaped by personal experiences and multiculturalism.0From the static traveller in his Monde nomade that opens the exhibition to the tireless and foolhardy adventurer who sets out to explore geographic boundaries and the far-flung depths of the world, he appropriates cartographic conventions and puts them to the test.0The MAMAC exhibition focuses on a selection of works related to these geographical and biographical explorations while shedding light on the artist?s creative processes. Marco Godinho has been honing an in situ style for a number of years now, carefully weighing up the economic and ecological aspects of his work. Thus, most of the works on display are recreated on-site or made from recycled materials.00Exhibition: MAMAC, Nice, France (09.07.-30.11.2017).
Lonnie van Brummelen and Siebren de Haan
Drifting Studio Practice begleitet Lonnie van Brummelens und Siebren de Haans partizipativen Dokumentarfilme Episode of the Sea (2014) und Stones Have Laws (2018), die sie in Zusammenarbeit mit der niederländischen Fischergemeinde Urk und mit den Saamaka- und Okanisi-Maronen von Surinam, einer ehemaligen niederländischen Kolonie im Amazonasgebiet, gedreht haben. Die Künstler skizzieren, wie sie mit kollektivem Drehbuchschreiben und performativem Geschichtenerzählen experimentierten. Ausgehend von ihrer früheren Arbeit Monument of Sugar (2007) entwickelt sich der Bericht zu einer praxisorientierten Auseinandersetzung mit Koautorenschaft und (Nicht-)Menschenrechten als Strategien zur Bewältigung des Plantagenozäns.
Dayanita Singh
Die international anerkannte Künstlerin Dayanita Singh bezeichnet sich selbst oft als »Buchkünstlerin«. Singh ist maßgeblich an der Erstellung dieses Ausstellungskatalogs beteiligt, der die große, von Stephanie Rosenthal kuratierte Retrospektive von Singhs Werk begleitet. Der Katalog ist die bisher umfassendste Publikation zu Singhs Kunst und enthält zahlreiche wissenschaftliche Essays, farbige Reproduktionen und Installationsaufnahmen. Die Texte setzen Singhs Werk in Beziehung zu Themen wie klassische indische Musik, Fotografietradition, die Idee des Archivs, Choreografie und Reproduktionsökonomien. Die Publikation stellt alle wichtigen Schaffensphasen der Künstlerin vor und betritt das Archiv von Singh, um u. a. noch nie gezeigte Frühwerke aus den 1980er Jahren zu präsentieren, sowie eine neue Serie von Montagen oder die Arbeiten Let's see, Museum of Chance, Museum of Shedding, I am as I am, Go Away Closer und Box 507.
Tina Gillen. Faraway So Close
Paintings of a melancholic, blue-tinged world inhabited by angular, industrial structures Tina Gillen (born 1972) uses a somber color palette in her atmospheric paintings, which often depict gloomy, empty settings inhabited by sharp-edged architectural structures. This volume accompanies Gillen's exhibition at the 59th Venice Biennale, for which she was chosen to represent her native Luxembourg.
Daniel Buren
Catalogue des expositions au MUDAM Luxembourg du 9 octobre 2010 au 22 mai 2011, au Centre Pompidou Metz du 8 mai au 9 septembre 2011 et au Centre Pompidou Metz du 30 septembre 2011 au 5 mars 2012. En 2010, le Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean et le Centre Pompidou-Metz ont invité Daniel Buren à imaginer un projet spécifique dans leurs espaces respectifs. De ces expositions découle une expérience de l'espace situant au centre des œuvres la subjectivité du regard, la déambulation des spectateurs, et l'environnement dans lequel elles s'inscrivent. Plus rare dans l'œuvre de Daniel Buren, l'expérience est également ici temporelle. Tant au Mudam qu'au Centre Pompidou-Metz, le passage des heures, des jours, des saisons joue sur les œuvres et offre aux spectateurs une expérience toujours renouvelée.
LaToya Ruby Frazier
LaToya Ruby Frazier's intimate photographs of working-class families in the former steelworking and coalmining hubs of Pittsburgh, Pennsylvania and Borinage, Belgium Frazier's (born 1982) portraits reflect both a political engagement with and a personal investment in her subject matter. This book presents her seminal series The Notion of a Family, in which she documents three generations of her own family in the suburbs of Pittsburgh, alongside two more recent projects: On the Making of Steel Genesis: Sandra Gould Ford (2017), made in close collaboration with artist and steelworker Sandra Gould Ford; and Et des terrils un arbre s'élèvera (2016-17), made with the people of Mons in Borinage, Belgium, once home to a coalmine. Following a long tradition of photography as a tool for political activism, Frazier's intimate photographs provide insight into the daily lives of those most affected by the industries' decline.
The Domestic Interior and the Self in Contemporary Photography
By carefully conceptualising the domestic in relation to the self and the photographic, this book offers a unique contribution to both photography theory and criticism, and life-narrative studies. Jane Simon brings together two critical practices into a new conversation, arguing that artists who harness domestic photography can advance a more expansive understanding of the autobiographical. Exploring the idea that self-representation need not equate to self-portraiture or involve the human form, artists from around the globe are examined, including Rinko Kawauchi, Catherine Opie, Dayanita Singh, Moyra Davey, and Elina Brotherus, who maintain a personal gaze at domestic detail. By treating the representation of interiors, domestic objects, and the very practice of photographic seeing and framing as autobiographical gestures, this book reframes the relationship between interiors and exteriors, public and private, and insists on the importance of domestic interiors to understandings of the self and photography. The book will be of interest to scholars working in photographic history and theory, art history, and visual studies.
