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The Mitte district of Berlin is marked by numerous reconstructions of buildings, one of which is the newly erected Humboldt Forum. Daniel Theiler has investigated this quarter's cultural history and sociocultural context, while examining the manifestations of hierarchical power politics. This has resulted in a series of works by the artist/architect on the reconstruction of the Berlin Castle, which plays a major role in this volume, entering into a dialogue with interdisciplinary essays on the current debates about reconstruction. This first comprehensive catalogue of the artist's work compiles pieces from the last five years. Featuring a conversation between Natalie Keppler and Daniel Theiler, as well as essays by Ortrun Bargholz, Bertolt Meyer, Constanze Müller, Elke Neumann, Juliane Richter, Johannes Warda, Elisabeth Würzl, and a foreword by Anke Hannemann. DANIEL THEILER (*1981) is a German-Turkish artist and architect. He was a graduate student under Nina Fischer at the University of the Arts Berlin and studied architecture at the TU Berlin, the ETH Zurich, and the University of Strathclyde in Glasgow.
Charley is an approximately annual publication edited by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick, and designed by The Purtill Family Business. It is as visual as a magazine and as substantial as a book, but refuses to abide by either genre's rules. Following earlier editions on the 2001-2002 New York art season, on neglected artists from the 80s and early 90s, and on museum acquisitions, this new volume rounds up the stray dogs of contemporary art--Charley 5 features artists who have remained forgotten, proudly secluded or just unnoticed, in spite of their visionary work. Its galleries of obsessions mix professionals and amateurs, cult figures and unknowns, unheard prophets, ...
Christian Boltanski ISBN 3-7757-1825-7 / 978-3-7757-1825-7 Hardcover, 8.75 x 11.25 in. / 160 pgs / 125 color. / U.S. $55.00 CDN $66.00 January / Art
A truck, with a stone statute of Lenin on the back, was driven around Europe in 2004. Every evening people in different cities were asked for their views on Lenin in the twenty-first century.
This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.
The work of Paul Chan (born 1973) has charted a course in contemporary art as unpredictable and wide-ranging as the thinking that grounds his practice. Paul Chan: Selected Writings 2000-2014 collects the critical essays and artist's texts that first appeared in Artforum, October, Texte zur Kunst and Frieze, among other publications, as well as previously unpublished speeches and language-based works. From the comedy of artistic freedom in Duchamp to the contradictions that bind aesthetics and politics, Chan's writings revel in the paradoxes that make the experience of art both vexing and pleasurable. He lays bare the ideas and personalities that motivate his work by reflecting on artists as diverse as Henry Darger, Chris Marker, Sigmar Polke and Paul Sharits, and grapples with writers and thinkers who have played decisive roles in his practice, including Theodor Adorno, Samuel Beckett and the Marquis de Sade.
Durante varios años, Paul Kooiker y Erik Kessels organizaban sesiones en las que compartían los álbumes de fotos más extraños de sus colecciones. Los libros que mostraban rara vez están disponibles en las tiendas normales, pero se recogen en tiendas de segunda mano y anticuarios. La fascinación del grupo por estos libros pictóricos de no ficción proviene de la necesidad de encontrar imágenes que existen al margen de los fotolibros comerciales habituales. Solo en esta área es posible encontrar imágenes con calidad incontrolada. Lo notable de estas publicaciones es que hay una delgada línea entre ser terrible y ser increíble. Esta tensión constante hace que los libros sean interesantes. estos volúmentes caen dentro de ciertas categorías: médicos, de instrucción, científicos, sexo, humor o propaganda. Paul Kooiker y Erik Kessels han hecho una selección de sus mejores libros de este cuestionable nuevo género.