Published by The Museum of Modern Art, New York. Edited by Laurence Kardish. Text by Laurence Kardish, Kelly Sidley, Michael T. Taussig.
Dutch artist Aernout Mik's moving-image installations meld filmmaking, sculpture and architecture into experiences that are at once compelling and unsettling, irrational yet plausible. The artist designs and constructs architectural spaces that hold his moving images, making the viewer's physical relationship to the piece a critical component of the overall experience. By interrogating the most basic ideas of narrative and reality and rejecting classical cinematic ideals, Mik creates works that are rich in allusion but subversive of codes. Published to accompany the artist's first U.S. retrospective, this volume is a vivid exploration of Mik's work and process. Laurence Kardish, MoMA's Senior Curator in the Department of Film, situates Mik within the history of documentary and nonnarrative cinema, while Michael Taussig, Professor of Anthropology at Columbia University, investigates the ways in which the artist's work changes the way we see reality while simultaneously reinforcing the norms of visual culture. Abundantly illustrated with stills and the artist's own drawings, the book also features detailed descriptions of the installations, an exhibition history and a bibliography, making it the most comprehensive volume on the artist available in English.
Published by New Museum of Contemporary Art. Essays by Dan Cameron and Andrea Inselmann. Foreword by Lisa Phillips.
Aernout Mik's work forcefully combines video and architecture to transform exhibition spaces into vivid, unsettling tableaux of irrational human behavior. In Refraction, the viewer comes upon an accident the moment after it has occurred: An overturned bus fills a screen, rescue workers are scrambling, and traffic appears backed up for miles. No victims of the accident are depicted, although their absence does not seem to strike anyone as peculiar. As the camera shifts its perspective from the inside of the bus to the backup of cars to the ditch in front of the bus, an unspoken antagonistic energy slowly builds between various players in the scene. Refraction is presented as a rear-screen projection on a slightly bent wall, the shape of which visually echoes the jackknifed carriage of the bus.
PUBLISHER New Museum of Contemporary Art
BOOK FORMAT Paperback, 9 x 10 in. / 64 pgs / 50 color reproductions.
PUBLISHING STATUS Pub Date 8/15/2005 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2005 p. 139
PRODUCT DETAILS ISBN 9780915557899TRADE List Price: $20.00 CDN $27.95 GBP £17.50
AVAILABILITY In stock
in stock $20.00
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Published by Walther König, Köln. Essays by Antje von Graevenitz, Kasper Kŕnig and Gerhard Kolberg.
Amsterdam-based sculptor Aernout Mik creates walk-in installations where video film combines with architectural elements to transform familiar spatial structures into unfamiliar and provoking ones. Two of his newest and most important works show absurd film scenes on a backscreen foregrounded by an actual identical scene: illusion vs. reality. Mik's grotesque, amusing, and at the same time serious films deal with the behavior of people in a group, highlighting their actions, interactions and reactions.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 9 x 12 in. / 45 pgs / 16 color.
PUBLISHING STATUS Pub Date 6/15/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 136
PRODUCT DETAILS ISBN 9783883758275SDNR30 List Price: $20.00 CDN $25.00
Published by nai010 publishers/Stedelijk Van Abbemuseum, Eindhoven. Artwork by Aernout Mik. Edited by Jaap Guldemond. Text by Maxine Kopsa, Mark Kremer, Bernhard Balkenhol.
Mik is an instance of that rare artist who successfully integrates video with architecture, live performance, photography and sculpture, to provoke unsettling occurrences that are juxtaposed to create bizarre and illogical narrative. His work has much in common with both behavioral psychology and the work of artists like Mike Kelley, collapsing fact and fiction into a terra incognita all his own.