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Eiskeller und Himmelslocher
Revolver Publishing by VVV 2014 ISBN 9783957630261 Acqn 24057
Pb 17x27cm 190pp 60ills 30col 16.95

The project Ice Houses and Sky Holes Interventions, Explorations, Reconstructions and
Mapping in Schleswig-Holstein 2012-13 takes the ice houses in Schleswig-Holstein, largely
forgotten cultural monuments, as a base for artistic investigation and research. Within this context
and in a time-span of two years between 2012 and 2013, Till Krause, Ulrike Moor, Dan Peterman,
and Hans Hs Winkler developed conceptual artworks and realized them in remote locations, in
damp earth cellars and on ice house mounds.



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MAKE.A.MATCH
Revolver Publishing by VVV 2014 ISBN 9783957630681 Acqn 24058
Pb 23x22cm 96pp 60col ills 23.50

MAKE.A.MATCH (initiated by Katharina Schendl) gave artists Carte Blanche to develop a project,
but with one restriction: they have to collaborate with another artist, a stranger chosen by the
curator. What happens if this premise is put into action? What are the strategies the artists will
use in these "arranged marriages"?

Ana Prvacki + Magda Tothova met in true blind-date spirit for coffee. Their coffee meeting was
the focus of their common work. Reto Steiner + Martin Roth produced more along the lines of the
surrealistic game "cadavre exquis" a spatial installation. Alona Rodeh + Florian Neufeldt acted on
the forms of control in a gallery space, on how boundaries are created through surveillance,
protection and artificial barriers, and presented their work more side-by-side, in dialog. Dren
Maliqi + Paul Philipp Heinze & Matthias Krause documented the time they spent together. The
overall effect was more that of a group show than of a work conceived and produced in common.
Ingela Johansson + Hugo Canoilas, both "contemporary culture workers", are interested to shift
the borders of institutional determination to embrace an outside, to reintegrate art into our daily
routine more significantly. They developed a Fanzine together. What is collaboration? Peter
Ahorner + Karl Ferdinand Kratzl give an answer in dialog.

With contributions by Andrew Berardini, Heather Harmon, Hila Cohen-Schneiderman, Katharina
Schendl, Kate Whitebread and Peter Ahorner + Karl Ferdinand Kratzl, Ingela Johansson + Hugo
Canoilas.
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Aesthetics and Contemporary Art
Sternberg Press 2011 ISBN 9781934105528 Acqn 20125
Pb 13 x 21cm 256pp 6ills 15.95

Texts by ric Alliez, Armen Avanessian, Art & Language, Luis Camnitzer, Sebastian Egenhofer,
Dorothea von Hantelmann, Brian Holmes, Pamela M. Lee, Stewart Martin, Christoph Menke,
Peter Osborne, John Rajchman, Juliane Rebentisch

Torn between a revival of aesthetics and the persistence of conceptualism, critical writing about
contemporary art has once again come to focus on differing views of its aesthetic dimension. The
context and character of these debates has, however, shifted markedly since the 1960s, with
changes in art practices, institutions, political contexts, and theoretical paradigmsand in
particular, with the global extension of the Western art world since 1989. This inter- and
transdisciplinary collection of essays by philosophers, artists, critics, and art historians,
reconsiders the place of the aesthetic in contemporary art, with reference to four main themes:
aesthetics as sensate thinking; the dissolution of artistic limits; post-autonomous practices; and
exhibition-values in a global artworld.
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Phantom of Liberty - Contemporary Art and the Pedagogical Paradox
Sternberg Press 2014 ISBN 9783943365153 Acqn 24066
Pb 13x19cm 294pp 133ills 52col 19.95

Contributions by Emanuel Almborg, Nils Christie, Carl Hegemann, Ane Hjort Guttu, Dave Hullfish
Bailey, Adelita Husni-Bey, Carsten Rene Jrgensen, Lars Bang Larsen, Sharon Lockhart,
Magnus Marsdal, Marit Paasche, Allan Sekula.

One of the few things we have in common in contemporary society is the future of our children.
But it seems that even the we of childhood, of learning and free play, has turned into a common
ground for instrumentalization and competition. Today, the pedagogical paradoxKants
meditation on the paradox that the subjects predisposition for freedom must be learnedis
increasingly lost in governmental obsession about the efficiency of education and schooling.
From another perspective, artists are addressing questions of childhood, play, and pedagogy.

What ideological and moral transformations is the school system currently undergoing? What do
the psychiatric diagnoses and treatments mean that are increasingly applied to children and
youth? What happened to the reform pedagogy of the twentieth century? What is the status of
childhood in the era of the consuming child and the playing adult? These are some of the
questions addressed by The Phantom of Liberty, which sets out to re-establish a social and
aesthetic dialogue between visual art and psychology, philosophy, pedagogy, and critical
journalism.
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Florian Zeyfang - Slow Narration Moving Still
Sternberg Press 2014 ISBN 9783943365290 Acqn 24067
Pb 17x25cm 224pp 183col ills 15

Texts by Ariane Mller, Marc Glde, and Anselm Franke; interviews by Katarina Pierre and
Adnan Yldz

Slow Narration Moving Still takes Florian Zeyfangs 2009 solo exhibition at the Bildmuseet in
Ume as its starting point and ends with the artists newest work shown at Knstlerhaus Stuttgart
and KW Institute for Contemporary Art, Berlin. The arrested film, the silent video still, the rhythm
of the slide projectorZeyfangs videos, slideshows, and installations explore a politics of form.
Along the lines laid out by experimental film, the works explore, in the language of a minor
medium, the possibilities of minimal narratives.

But this publication is more than a monograph. On the occasion of the 2009 exhibition, Anselm
Franke and Marc Glde prepared lectures on the perception of slides in art, Walter Benjamins
complex notions of the dialectic image and the image sphere, and the horizon as the border of
visual operation. For this volume they developed these ideas further into subjective analyses of
artistic narration. Ariane Mller tosses a stone in a lake and Adnan Yldz talks with Zeyfang
about image, time, and the narrating archive. An interview by Bildmuseets director Katarina
Pierre runs through the publication, and an extensive index translates the concept of Zeyfangs
films into the printed format.
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The Crime Was Almost Perfect
Sternberg Press 2014 ISBN 9783956790669 Acqn 24068
Pb 15x21cm 176pp 99ills 61col 9.50

Contributions by Alexandra Midal, Tom Morton, Cristina Ricupero, Astrid Trotzig, Michael
Zinganel.

What makes crime stories fascinating is that the divisions between the criminal, the victims, and
the audience are constantly blurred: we are all potential victims and could perhaps become
criminals ourselves.

While the exhibition The Crime Was Almost Perfect at the Witte de With Center for
Contemporary Art in Rotterdam functioned more as a space for experimentation, this publication
aims to investigate not only detective fiction but the more theoretical, philosophical, and aesthetic
aspects of the genre. Published following the closing of the exhibition, this catalogue should be
considered a continuation of the project, as a resource in itself, rather than simply documentation
or commentary.

Taking a more literary approach to the theme, the publication includes commissioned fictive
works and three relevant theoretical essays. The essays were chosen, not only to address the
participating artists practices or artworks, but to provide analysis of some of the issues raised in
the exhibition. The publication includes Tom Mortons story The Thick End and Astrid Trotzigs
threat letters, as well as essays by Michael Zinganel and Alexandra Midal, and Karl Marxs The
Productivity of Crime.
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Ken Okiishi - The Very Quick of the Word
Sternberg Press 2014 ISBN 9783956790645 Acqn 24069
Pb 16x24cm 160pp 89ills 81col 15

Ken Okiishis artwork has explored the subject in between digital and continuous space, the
changing nature of authorship, memory, and perception, and the indeterminacy of consciousness
as it clashes with the strictures of technology. He has engaged seminal works by figures including
Woody Allen, Arthur Rimbaud, Marcel Duchamp, Stephen Spielberg, David Wojnarowicz,
Jacques Demy, and Larry Clark (and the histories and personalities that circulate around these
cultural products), infusing them with autobiographical and technological elements that reframe
them through the incongruity of real life. While working on the exhibitions at MIT and CCS Bard
that occasion this publication, Okiishi realized a radical material rupture in his work, as linguistic
and bodily glitches became registered both inside and outside the screen, and the surface of
media itself became the support surface for weirdly gestural paintings. This series of works, titled
gesture/data, was first exhibited at CCS Bard and, most recently, was exhibited to great acclaim
at the 2014 Whitney Biennial. This book is the first instance of considering Okiishis work from the
last fifteen years as a heterogeneous whole.

This publication takes the format of the exhibition catalogueas a carrier for the circulation of
texts and imagesas a format in crisis. The physical book appears here as a dummy that is
loaded with various files, many appearing as the glitchy in-between that we have become
accustomed to as files load on so many different devices and scales of screens. Included in this
mass of files is Annie Godfrey Larmons thesis on the work of Ken Okiishi (the first in-depth study
of the artists work), a new text by Alise Upitis on computing and the conditions of translation,
images from Okiishis series gesture/data (2013ongoing), and a screenplay book of Okiishis
2010 runaway hit, (Goodbye to) Manhattan.
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We are Living on a Star
Sternberg Press 2014 ISBN 9783956790478 Acqn 24071
Pb 21x26 192pp 93ills 76col 22

Texts by Boris Buden, Ekaterina Degot, Tone Hansen, Thomas Keenan, Marit Paasche, Renata
Salecl; literary fragments from Aniara by Harry Martinsson and The Defeat by Nordahl Grieg.

We Are Living on a Star takes its title from a tapestry by Hannah Ryggen that hung in the
government building known as the High-Rise in Oslo until July 22, 2011. The explosion that took
place that day left the tapestry with a gash in the lower portion. Like a wound that has healed, this
tear is barely visible now after meticulous reconstruction, although a slight scar remains, a
testament to what can be described as a brutal rent in the fabric of our society.

In a short span of time, the events of July 22 transformed normality as we knew it and,
consequently, the predictable as well. The normal was no longer familiar, and the abnormal was
no longer associated with the foreign. The artists and writers participating in We Are Living on a
Star (the book and the exhibition it accompanies) contend with a range of issues relating to
history, contemporaneity, normality, and expression. The result is an open and inquiring look at
our own time.

Artists: Burak Arkan, Doug Ashford, Julian Blaue, Martin Braathen, Marius Engh, Marthe
Ramm Fortun, Hanne Friis, Else Marie Hagen, Silje Linge Haaland, Per-Oskar Leu, Lotte Konow
Lund, Jumana Manna, Eline McGeorge, Eva Rothschild, Hannah Ryggen, Ahlam Shibli,
Superunion Architects, Javier Tllez, Even Smith Wergeland.
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Michael Schindhelm - Solution 262. Lavapolis
Sternberg Press 2014 ISBN 9783956790706 Acqn 24082
Pb 12x18cm 192pp 11.95

I am not sedentary and I am not itinerant. My home is a heterotopia with a thousand imaginary
landscapes. The island is the buffer zone between the places of the outside world. Those that
exclude one another outside meet here. Those that are at war with one another outside negotiate
here. Those that steal from one another outside trade here.
Simone, 38, resident of the island for three years

Seventy years ago, the small island nation of Lavapolis was founded. It began as an alternative, a
gambling destination to rival Las Vegas, and became a model for a new way of living. With its
principle of universal solidarity, the nation counters the pitfalls of contemporary global society. It is
an ever-shifting utopia; a volcano jutting out of the Mediterranean Sea; an extension of the open
frontier. The biographies of its inhabitants are integral to the whole. If the world backs down from
the challenges of Lavapolis, the island is destined to erupt.

Solution 262: Lavapolis is the tenth volume in the Solution series edited by Ingo Niermann.
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Fiona Rae, Dan Perfect
Nottingham Castle Art Gallery 2014 ISBN 9780905634968 Acqn 24079
Pb 24x26cm 64pp 26col ills 15.99

Both these artists find space between the abstract and the representational world in unique and
distinctive ways. Committed to the expressive and enduring language of painting, they share a
deep interest in our contemporary experience refracted through technology and cultural media,
with manifestly different outcomes in their work. Perfect and Rae are married and live together,
working in separate studios in the same building in London's East End. Painting's power is to
conjure and focus an individual and idiosyncratic vision, and this exhibition is an opportunity to
contemplate both the contrasts and connections between these individual artists' compelling
artistic worlds. Rae and Perfect have exhibited together previously in various group exhibitions,
but this is the first major simultaneous presentation of their paintings in a public gallery and
museum. This exhibition marks the first dedicated contemporary painting exhibition at Nottingham
Castle Museum & Art Gallery for many years.
Fiona Rae is known for her bravura improvisation and iconoclastic unsettling of painting tropes
and traditions. With a battery of graphic and painterly marks, signs, symbols and appropriated
images, Rae continues to explore fearlessly what it is to be a modern painter in personal and
dynamically vivid new works. Dan Perfect's cinematically scaled paintings have a restless energy
woven through their dense compositions. Grounds and figures interact to depict a seething
interior world; the paintings are a tumult of ambiguous forms containing allusions to lost toys,
dream characters and masks, with hybrid animal/humans roaming fictional interior landscapes - a
mlange of the science-fictional and archetypal unconscious.
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Soul Of Meiji - Edward Sylvester Morse
Seigensha Art Publishing 2014 ISBN 9784861524097 Acqn 23107
Pb 19x26cm 224pp 275ills 200col 22.50

Edward S. Morse, the American zoologist and orientalist, first travelled to Japan in 1877, a visit
which turned into a three-year stay. Becoming involved in the Meiji-era modernisation of the
country, he specialised in the study of seashells, yet was also interested in pottery and ceramics,
of which he amassed a magnificent collection. This book, published in conjunction with an
eponymous exhibition in Tokyo, is a virtual cabinet of curiosities, its array of objects from shells
to ceramics and everyday items belonging to Morses vast collections. Part travelogue, part
history, it is an enchanting impression of Japan, its people and culture through the eyes of an
ardent admirer.
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The Witching Hour
Editions B42 2014 ISBN 9782917855539 Acqn 23854
Pb 20x29cm 88pp 105ills 91col 18

The follow-up to Witches: Hunted, Appropriated, Empowered, Queered (2012), this volume is
conceived as its visual companion and the catalogue of a group exhibition held at Le Quartier in
Quimper. It questions what witches embody, what mechanisms and effects they summon, how
witches as a group became models of proto-feminism, and what political, social and human
lessons they have given us. The projects research dimension is conveyed by a textual thread
somewhere between a glossary and a journal of quotes. Extracts from key texts from the past 30
years accompany new writings, artworks, exhibition views, artist contributions and source
documents.
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A Decade of Country Hits - Art On The Rural Frontier
Jap Sam 2014 ISBN 9789490322403 Acqn 23971
Pb 17x24cm 544pp 550ills 500col 27.50

Edited by Margo Handwerker | Foreword by Richard Saxton
Art has its Billboard charts. They focus mostly on artists and exhibitions in urban centers. A
Decade of Country Hits is devoted to uncharted hits thriving instead on rural aesthetics and rural
knowledge. This richly illustrated volume documents ten years of collective works initiated by
artist Richard Saxton in rural communities around the world, from the American Midwest and
Southwest to parts of Europe, Australia, and South America. Impossible to attribute to any one
artistic genre, the works archived here explore a growing community of artists and researchers
drawn to the rural experience in all its complexity. It resembles a sketchbook: with drawings,
photographs, and from the hip accounts in the field, as well as contributions from likeminded
artists, musicians, poets, and writers.


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Francois Morellet - C'est N'Importe Quoi 1949 2014
Kamel Mennour 2014 ISBN 9782914171557 Acqn 24046
Pb 17x24cm 128pp 92ills 90col 22.50

Devilishly mischievous, the title of this publication, Franois Morellet, c'est n'importe quoi ?
(Does It Make Any Sense?), questions us and alerts us to the touch of mischief that animates
the artist's now well-known minimalist vocabulary of white monochromes, black lines, and neon
lights all arranged under the auspices of mathematics. This neatly ordered world is actually
subject to a generalized tremor of sorts, a kind of earthquake of saving grace.


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A Romantic Journey - Masterpieces From The Rademakers Collection
Lecturis 2014 ISBN 9789462260658 Acqn 24095
Pb 23x27cm 216pp 116col ills 26.50

Romanticism tells the story of a wonderful world; overwhelming and poignant, magical and
mysterious. An unprecedented feeling was developing in the western world at the beginning of
the 19th century. A cultural revolution referred to by philosopher Rdiger Safranski as The re-
enchantment of the world. Modern man developed a new perspective on himself, love, nature
and the supernatural.
More than one hundred pieces from the Rademakers Collection demonstrate how the romantic
artists of the Low Countries - the Netherlands and Belgium - vividly expressed this new attitude
towards life.
This book takes the reader on A Romantic Journey from the commercial present to an idealised
past. The title also refers to the successful European tour that the former television producer Jef
Rademakers collection has made in recent years.
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Anna Ostoya
La Kunsthalle Mulhouse 2014 ISBN 9780985337759 Acqn 24097
Pb 24x31cm 48pp 40ills 27col 21

This is the first monograph on the Polish-born, New Yorkbased artist Anna Ostoya whose
practice includes photography, collage, painting, sculpture, and writing. Her works span multiple
aesthetic traditions, often drawing on the histories and strategies of the twentiethcentury avant-
garde. Rejecting the commonplace opposition of aestheticism and antiart, Ostoyas intricate
compositions invite us to reflect on the historical and institutional contexts of artistic production.


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Leszek Knaflewski - Frofenia. Drawings 1983-1990
Mundin 2013 ISBN 9788364353017 Acqn 24098
Pb 22x30cm 192pp 75ills 30col 41

Well-known for his audio-performative activities, in which he undertakes social analysis in an
engagement with contemporary culture, Polish artist Leszek Knaflewski has also executed a
series of drawings that reflect his ethos, the impulse to speak of reality and human existence.
Presented here for the first time, Knaflewskis drawings, with their strong black gestures and
minimal use of colour, reveal an intimate, more private sphere of expression in which we witness
the initiation of the artists creative process. The lines are like manifestations of the unseen
vibrations in his audio works, building a system of meaning that is both forceful and full of
metaphor.


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Bownik Disassembly
Mundin 2013 ISBN 9788364353048 Acqn 24099
Hb 24x30cm 120pp 120col ills 33.75

Disassembly illustrates a photographic project by Pawe Bownik in which he uses traditional
scientific methods to take apart various majestic tropical flowers and exotic succulents, only to
reassemble them in almost natural perfection using thread, wire, pins, adhesive tape and glue.
Informed by the still life tradition, the images evoke the strangeness of manipulating nature,
deconstructing it only to recreate it in an artificial and playful way. It touches upon the darker side
of human inquisitiveness as a destructive process. The book comprises 120 pages of collages,
drawing and photographs, as well as an insert with an essay by Andrew Berardini and a
conversation with Bownik.


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Peter Downsbrough Now
Les Presses Du Reel 2014 ISBN 9782914291392 Acqn 24106
Pb 15x21cm 32pp 32col ills 11.25

The work of visual artist, photographer and film artist Peter Downsbrough (1940, New Bunswick,
N.J.) has had a major impact on the perception of art. The varied work of the artist-ranging from
sculpture and books to photography, video, and film-maintains a complex relationship with
architecture and typography, while also drawing on the achievements of the early avant-garde
(Bauhaus, De Stijl) and Minimal Art. In terms of form, the work of Downsbrough is highly rigorous
and exhibits a powerful geometric sense, restricting itself primarily to the use of line, plane,
negative space (cutting away), and delimitation. In addition to his spatial manipulations, the artist
also has a keen interest in place, as is evidenced in his cartographical works and city
photographs.


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Adrien Missika Amexica
Les Presses Du Reel 2014 ISBN 9782909230160 Acqn 24107
Pb 14x19cm 260pp 250col ills 22.50

Amexica is a project by Adrien Missika that took shape during a trip along the border between
Mexico and the United States. The artist used a drone mainly to film several natural and urban
sites between Ciudad Juarez and Tijuana, to offer a different point of view on this closely
monitored zone. Missika's efforts have given rise to a highly ambitious piece, the most politically
charged work of his output.
Published on the occasion of the eponymous exhibition at CCS Paris from April to July 2014.
Born in Paris in 1981, Adrien Missika is a graduate of ECAL. He lives and works in Berlin. He was
awarded the 2011 Prix Fondation d'entreprise Ricard and the 2013 Georg and Josi Guggenheim
Foundation Prize.


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Hlysnan - The Notion And Politics Of Listening
Casino Luxembourg 2014 ISBN 9789995930233 Acqn 24108
Hb 19x25cm 152pp col ills 26

In the Old English word hlysnan, "to listen", the focus is on the notions of attention and intent.
Similarly the emphasis in the project Hlysnan: The Notion and Politics of Listening lies on the
active act not merely of hearing - usually referring to automatic or passive sound perception - but
rather specifically on listening; hearing with intent.
Listening requires intensified concentration and attentiveness towards what one is listening to; it
is linked to the notion of desire, anticipation and understanding, a striving for a possible meaning.
Hlysnan: The Notion and Politics of Listening understands listening as agency, as gesture, as
attitude and as taking a position. The exhibition attempts to reconcile audio practices with
contemporary social and political realities and invites the visitor to actively experience, listen and
engage with the sense of hearing to the various complex interplays.
The accompanying Hlysnan: The Notion and Politics of Listening publication is considered an
extending and supplementing format to the exhibition. Not only the concepts materialised in the
exhibition are developed and contextualised further, but with complementing contributions by
additional artists, the project offers a comprehensive overview on the various questions around
the notion and politics of listening.
With Lawrence Abu Hamdan, Angie Atmadjaja, Kader Attia, Nina Beier & Marie Lund, Daniela
Brahm & Les Schliesser, Peter Cusack, Clare Gasson, Marco Godinho, Christine Sun Kim,
Brandon LaBelle, Andra McCartney, John Menick, Angel Nevarez & Valerie Tevere, Udo Noll,
Emeka Ogboh, Yoko Ono, Susan Schuppli, Christine Sullivan & Rob Flint, John Wynne.
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Autonomy By Dissent - EHBK/ot301
Abnormal Data Processing 2014 ISBN 9789081786416 Acqn 23799
Hb 18x25cm 368pp 300ills 37

Autonomy by dissent is a book about autonomy, self-management and collective property but
also a book about the OT301. The OT301 is a building in Amsterdam that was squatted 15 years
ago and bought by the same group of people in 2006. This book portrays the OT301s collective
struggle with major questions and changes, in society as well as within their own organisation, but
also their militant fervour and their optimism. It is a report of a quest and an investigation, an
archival document and a reference work, a place of exchange for knowledge and experiences
that seeks new ways to combine subculture, experiment and radical politics.


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Time Taken - The Work Of Time In The Work Of Art
Monografik Editions 2014 ISBN 9782916545622 Acqn 23807
Pb 15x21cm 176pp 35ills 33col 26.50

'Time Taken' looks at the way certain artists reformulate the experience of time in their works and
have developed new strategies as compared to artists of the 1960s and 1970s. In this original
work, Christine Macel blends her personal experience as an exhibition commissioner with
aesthetic and scientific theories, supporting it all with the analytical thinking of an art historian.
She describes the renewed relationship that twelve artists have forged with time. From Raymond
Hains to Philippe Parreno, from Cerith Wyn Evans to Koo Jeong A., a problematic return to the
present moment has emerged. This often leads to the sensation that time has been put on pause.
On the other hand, for Gabriel Orozco, Michel Francois or Michel Blazy, the material continues to
be the setting for temporal process, where one is able to grasp the splendid instant. And
sometimes, the work never happen
Chritine Macel is Chief curator at the National Museum of Modern Art, Centre Pompidou, Paris.
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Bluecloud - Live Transmission By Dirk Paesmans/ Jodi Atomic Activity Book No. 5
Thisisamagazine 2013 ISBN 9788890307850 Acqn 24035
Hb 23x15cm 144pp 72col ills 21.50

This artists book by Dirk Paesmans, who together with Joan Heemskerk forms the artist
collective JODI, consists of a collection of screen images from a live broadcast which took place
on 26 May, 1991, from BlueCloud BBS to a local television in Nijmegen, the Netherlands. A BBS
(bulletin board system) is a computer system running software that allows users to connect and
log into the system using a terminal program. Once logged in, a user can perform functions such
as uploading or downloading software and data, reading news and bulletins, and exchanging
messages with other users. Set against a background of swirling blue clouds, the cryptic
language seems impenetrable.
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Beverley Pepper - New Works
Marlborough Fine Art 2014 ISBN 9781909707108 Acqn 24109
Pb 25x30cm 36pp 31ills 29col 12.50

Frequently compared to contemporaries such as Louise Bourgeois and Louise Nevelson,
American sculptor Beverly Peppers work continues to explore the artists ongoing fascination
with time, materiality and place. Having studied in Paris, Pepper moved to Italy in the 1950s,
where she began creating the large-scale monumental sculptures for which she is known. The
sculptures are often site-specific, relating directly to their environment and incorporating the
viewer as an element of the work. Pepper has worked across a variety of mediums, including cast
iron, stone and ceramic, and was one of the first artists to use Cor-Ten, a naturally weathering
steel that acquires a rust-like appearance over time. Throughout her career, Pepper has always
been at the centre of the fabrication process, and has worked predominantly in Umbrian
metalwork factories near her studio in Todi, a fact that distinguishes Pepper from most of her
female contemporaries.
Throughout her career she has realised numerous public commissions around the world and is
represented in the permanent collections of leading institutions including The Metropolitan
Museum of Art, New York, Centre Pompidou, Paris, Whitney Museum of American Art, New York,
the Smithsonian Institute, Washington DC and the Galleria Nazionale dArte Moderna, Rome.
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