Includes Ryu Byounghak, Anne-Marie Duguet, H.D. Gadamer, Udo Kittelmann, Alexander Kluge, Rem Koolhaas, Barbara London, Geert Lovink, Lev Manovich, Jeremy Millar, Paul D. Miller, Nam June Paik, Marian Pastor Roces.
Paperback, 7.5 x 9 in. / 392 pgs / 146 color / 25 bw reproductions. | 11/2/2000 | In stock ISBN 9788995164501 | $40.00
Edited by Andreas Nilsson, Julia Björnberg. Foreword by John Peter Nilsson. Text by Andreas Nilsson, Joa Ljungberg, Nam Le, Tala Madani, Hans Ulrich Obrist. Afterword by Daniel Birnbaum, Ann-Sofi Noring.
Pbk, 8.75 x 11 in. / 184 pgs / 117 color / 2 bw. | 9/30/2013 | Not available ISBN 9783863353100 | $45.00
Edited and with texts by Ben van Berkel and Caroline Bos. Essay by Aaron Betsky, Mark Wigley, Neal Leach, and Lidewij Edelkoort. Interview with Caroline Bos and Ben van Berkel by Greg Lynn and Daniel Birnbaum.
Paperback, 10 x 13 in. / 144 pgs / 162 color. | 7/2/2002 | Not available ISBN 9789056622619 | $40.00
Published by Walther König, Köln. Edited by Daniel Birnbaum, Michelle Kuo.
Designed by Irma Boom, this second volume in the Summit publication series gathers insights from the 2018 Verbier Art Summit in Switzerland, on the topic of art in the digital age, delivered by a wide range of curators, authors, artists and critics. The contributions—by Karen Archey, Ed Atkins, Lars Bang Larsen, Douglas Coupland, Olafur Eliasson, Pamela Rosenkranz, John Slyce, Dado Valentic, Paul F.M.J. Verschure, Jochen Volz and Anicka Yi—address such questions as the preservation of time-based media in museums; the concept of "biofiction"; "loss and the digital"; the body and technology; Amazon; the intersection of science and art; and virtual reality.
Published by Guggenheim Museum Publications. Edited with text by Tracey Bashkoff. Contributions by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss.
Hilma af Klint's daring abstractions exert a mystical magnetism
When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice—one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.
Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art—a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.
Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.
Tracey Bashkoff is Director of Collections and Senior Curator at the Solomon R. Guggenheim Museum, New York. Bashkoff joined the Guggenheim in 1993 and has contributed to over 15 special exhibitions covering a range of 20th-century subjects. She completed her graduate studies at Northwestern University where she received a Mellon Fellowship in Art Objects. In 2014, she was a fellow for the Center for Curatorial Leadership.
Tessel M. Bauduin is a postdoctoral researcher and lecturer in the Department of Cultural Studies of the Faculty of Arts at Radboud University, Nijmegen, Netherlands. Her postdoctorate project funded by The Netherlands Organization for Scientific Research, brings together medieval art and the modern avant-garde, focusing on the reception of and the construction of medieval art in modernity, specifically in Surrealism.
Daniel Birnbaum is the Director of the Moderna Museet, Stockholm. He has a doctorate in philosophy from Stockholm University. He was the Co-Curator of the 50th Venice Biennale in 2003 and the Director of the 53rd Venice Biennale in 2009. Birnbaum has held the position of Rector at the Städelschule Fine Arts Academy at Frankfurt at Maim in Germany and has also actively written for Art Forum.
Briony Fer is Professor of Art History at University College London. Her books include Gabriel Orozco: Thinking in Circles, Eva Hesse Studiowork, The Infinite Line: Re-making Art after Modernism, and On Abstract Art. She has written extensively on 20th- century and contemporary art. Fer has also curated numerous exhibitions, such as the recent show of Gabriel Orozco at the Fruitmarket Gallery in Edinburgh in 2013.
Vivien Greene has been a Guggenheim curator since 1993 and specializes in late 19th and early 20th century European art with concentrations in Italian modernism and international currents in turn-of-the-century art and culture. She most recently organized the exhibitions Italian Futurism, 1909–1944: Reconstructing the Universe (2014) and The Avant-Gardes of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and Their Contemporaries (2013). She has a Ph.D. in art history, with a focus on 19th-century European art.
David Max Horowitz is Curatorial Assistant at the Solomon R. Guggenheim Museum.
Andrea Kollnitz is Assistant Professor at the Department of Media Studies at Stockholm University. She wrote her doctoral thesis on German and Austrian Modernism in Swedish Art Criticism.
Published by Koenig Books. Edited by Beatrix Ruf, John Slyce. Text by Dave Beech, Daniel Birnbaum, Benjamin Bratton, Mark Fisher, et al.
The annual Verbier Art Summit provides an alternative approach to fostering and shaping a global dialogue on the visual arts. Verbier | Art Untold organizes the summit in partnership with a yearly rotating art institution. This book is the outcome of the 2017 edition of the summit, organized in cooperation with museum director Beautrix Ruf and her curatorial team at the Stedelijk Museum Amsterdam. Ruf chose the theme of the 2017 iteration, based on her personal experiences of institutions and their increase in scale, but also about issues that every museum is faced with, struggles with, reflects on how to address and considers in a self-critical way. Other contributors to the volume include Dave Beech, Daniel Birnbaum, Benjamin Bratton, Mark Fisher, Cissie Fu, Rem Koolhaas, Christopher Kulendran Thomas, Tobias Madison, Prince Constantijn of the Netherlands, Tino Sehgal, Nicholas Serota, Anneliek Sijbrandij and John Slyce.
Published by Koenig Books. Edited with text by Fredrik Liew. Text by Daniel Birnbaum, Barnabás Bencsik, Maria Berríos, Katie Kitamura, Pamela M. Lee, Ann-Sofi Noring, et al.
Swedish artist Öyvind Fahlström (1928–76) was one of the 20th century’s most innovative, versatile and multidimensional artists. Rather than developing a single characteristic style, he worked with a variety of mediums and techniques, such as poetry, theater, journalism, criticism, drawing, painting, film, television, happenings, radio, graphic design and installation. All these forms were mobilized by the artist to investigate economic, political and social issues. Fahlström “manipulated the world” in order to challenge the viewer to think critically.
Öyvind Fahlström: Manipulate the World is the culmination of three years of research into the artist’s work undertaken by the Moderna Museet in Stockholm, producing a fuller understanding of Fahlström’s oeuvre and the contemporary resonance of his ideas.
Published by Koenig Books. Edited by Kurt Almqvist, Louise Belfrage. Text by Daniel Birnbaum, Briony Fer, Branden W. Joseph, David Lomas, Hans Ulrich Obrist.
Thanks to the efforts of various international curators and artists, Swedish painter Hilma af Klint (1862–1944) is now widely regarded as a pioneer of abstract art.
This volume reproduces the last abstract images series made by af Klint in the 1920s, which have never before been published in their entirety.
These images are complemented by essays based on lectures delivered during the exhibition Hilma af Klint: Painting the Unseen, at London’s Serpentine Galleries in 2016. Briony Fer, David Lomas, Branden Joseph, Hans Ulrich Obrist and Daniel Birnbaum shed new light on af Klint and her importance for artists today, also addressing the need for a broader conception of art history that her work proposes.
Published by Koenig Books. Edited by Anna Tellgren. Foreword by Daniel Birnbaum. Text by Patrik Andersson, Annika Gunnarsson, Ylva Hillström, Pontus Hultén, et al.
The legendary curator Pontus Hultén (1924–2006) worked at Moderna Museet in Stockholm between 1958 and 1973. In 1960 he was appointed director. It was in this role that he built the collection and the museum’s international reputation, with exhibitions such as Movement in Art (1961), American Pop Art (1964), Niki de Saint-Phalle’s She–A Cathedral (1966) and Warhol’s first European solo exhibition (1968). In 2005 Hultén donated his art collection, library and archives to Moderna Museet. Pontus Hultén and Moderna Museet: The Formative Years explores Hultén’s practice as a curator and director. In addition to new essays, the book contains archival photographs and documents as well as a previously unpublished 1962 text by Hultén outlining his ideas on how an art museum should run.
Published by Mousse Publishing. Introduction by Yves Aupetitallot, Moritz Wesseler. Text by Christian Rattemeyer. interview by Daniel Birnbaum.
For more than a decade, Italian artist Pietro Roccasalva (born 1970) has deployed painting, drawing, sculpture, installation, performance, film and photography to create narratives that become one conceptual universe constituted of references to art history, literature and music. This book surveys his mythologies.
Published by Hauser & Wirth Publishers. Text by Briony Fer, Daniel Birnbaum.
A founding member of Brazil's Neo-Concrete movement, Lygia Pape (1927–2004) made art that favored the primacy of the viewer's sensorial experience. Pape's geometric abstractions explore rich territory through sculpture, drawing, engraving, filmmaking and installation. This publication brings together works spanning 1955 to 2001. The precise incised lines of Pape's Tecelares woodcut prints and drawings of the 1950s and '60s marry pure geometry with organic patterns. Her subsequent Ttéia installations (begun in the late 1970s and continued throughout her career) present captivating explorations of geometry, space and materiality. Installation views and detail shots of these works complement texts by Briony Fer and Daniel Birnbaum, two ardent followers of Pape's work.
Published by Koenig Books. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Daniel Birnbaum, Jennifer Higgie, Julia Voss.
Working before Kandinsky and Malevich, Hilma af Klint was arguably the first abstract painter
Hilma af Klint graduated from the Royal Academy of Fine Arts in Stockholm in 1887, established a studio in the city, and began creating and exhibiting traditional landscapes, botanical drawings and portraits. Privately, however, af Klint was already beginning to discard what she had learned at the Academy in favor of painting the invisible worlds hidden within nature, the spiritual realm and the occult.
As early as 1906, af Klint was working with abstract imagery--giving her a lead of several years in the modernist race to be the first to discover abstraction. She joined a group of four other female artists, “The Five,” which held séances and experimented with automatic writing and drawing--decades before the Surrealists would do something similar.
In 1905, af Klint received a “commission” from the mysterious entity Amaliel to create her most important body of work: The Paintings for the Temple. Hilma af Klint: Painting the Unseen focuses on this important series, consisting of 193 predominately abstract paintings in various series and subgroups. Claiming to act as merely a medium for spiritual forces guiding her hand, af Klint painted a path towards a harmony between the spiritual and material worlds; good and evil; man and woman; religion and science.
Swedish painter Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.
Published by Koenig Books. Edited with text by Anna Tellgren. Foreword by Daniel Birnbaum, Ann-Sofie Noring. Introduction by Lena Esseling. Text by Anna-Karin Palm, George Woodman.
On Being an Angel takes its title from a caption the artist inscribed on two of her photographs—self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman’s work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work—in black and white and in color—exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman’s influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a travelling exhibition of Woodman’s work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman’s oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist’s father, George Woodman. Francesca Woodman (1958–81) was born in Denver, Colorado, to an artistic family and began experimenting with photography as a teenager. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York to attempt to build a career in photography. Woodman’s working career was intense but brief, cut short by her death in 1981.
Published by Koenig Books. Edited by Matilda Olof-Ors. Foreword by Daniel Birnbaum, Ann-Sofi Noring, Kerstin Brunnberg. Introduction by Matilda Olof-Ors. Text by Daniel Birnbaum, Olafur Eliasson, Timothy Morton.
Olafur Eliasson (born 1967) engages the public sphere through sculpture, photography, film, installation and site-specific pieces that explore perception, movement and embodied experience. This superbly produced overview of his three-decade-long practice offers a full account of his numerous projects, from early pieces such as Beauty (1993), in which a spotlight shines on the mist produced by thousands of droplets, to the ambitious works produced from his Berlin studio, where he collaborates with architects, art historians, technicians, engineers, designers and cooks. With essays by Eliasson, Daniel Birnbaum and Timothy Morton, and spectacular production including mylar paper changes, Olafur Eliasson: Reality Machines is the new definitive account of this artist’s prolific oeuvre.
Published by Walther König, Köln. Edited by Dirk Pörschmann, Margriet Schavemaker. Text by Antoon Melissen, Johan Pas, Francesca Pola, Thekla Zell, Mattijs Visser, Daniel Birnbaum.
Published to accompany an exhibition at the Martin-Gropius-Bau in Berlin, the result of a collaborative research project that also produced a comprehensive exhibition at the Solomon R. Guggenheim Museum in New York and an upcoming show at the Stedelijk Museum in Amsterdam, ZERO brings together the work of 45 artists from the ZERO network more than 50 years after the founding of the movement. Devoted not only to the first founding artists--Heinz Mack, Otto Piene and Günther Uecker--nor even just to those international artists associated with the network like Yves Klein and Lucio Fontana, this volume also seeks to document the contributions of lesser-known artists such as Hermann Goepfert, Oskar Holweck and Hans Salentin. Organized by the ZERO foundation and including some 200 objects, ZERO is one of the most comprehensive resources available on this self-consciously avant-gardist international movement.
Published by Hatje Cantz. Preface by Daniel Birnbaum, Ann-Sofi Noring. Text by Iris Müller-Westermann, Lea Vuong. Interview by Christiane Meyer-Toss.
Anyone who has stood underneath one of Louise Bourgeois' Mamans—her sculptures of spiders, symbolizing maternal protection—understands the singularity of her artistic approach. Stylistically, her pioneering body of work is complex: she deployed a wide variety of materials and practices—drawings, etchings, installations, works made of fabric, sculptures in wood, marble, bronze, latex, plaster and hemp—to address universal questions. This extensive monograph provides an overview of Bourgeois' artistic development, and presents a large number of works, including some that have never before been reproduced. The volume is grouped into themes that characterize her oeuvre, including memory, trauma, relationships, sexuality, fear and the difficulties of being an artist and mother at the same time. Personal photographs further document the artist's childhood and family life, with several letters and documents being made available for the first time. Born in Paris, where she studied with Fernand Léger, Louise Bourgeois (1911–2010) moved to New York in 1938, where her first solo exhibition was held at the Bertha Schaefer Gallery in 1945. She quickly developed a sculptural vocabulary that drew inventively and equally on Abstract Expressionism, Surrealism and psychoanalysis. Bourgeois had her first retrospective in 1982, at The Museum of Modern Art in New York. She died in May 2010.
Published by Guggenheim Museum Publications. Text by Valerie Hillings, Daniel Birnbaum, Edouard Derom, Johan Pas, Dirk Pörschmann, Margriet Schavemaker.
ZERO: Countdown to Tomorrow, 1950s-60s is the first large-scale historical survey in the United States dedicated to the German artist group Zero (1957-66). The group was founded by Heinz Mack and Otto Piene, who were joined by Günther Uecker in 1961, and ZERO, an international network of like-minded artists from Europe, Japan and North and South America--including Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni, Almir Mavignier, Jan Schoonhoven and Jesús Rafael Soto--who shared their aspirations to redefine art in the aftermath of World War II. The catalogue explores the experimental practices developed by the more than 30 artists from nine countries featured in the show, whose work anticipated aspects of Land art, Minimalism and Conceptual art. The publication is organized around points of intersection, exchange and collaboration that defined these artists' shared history. Among the themes explored are the establishment of new definitions of painting; the introduction of movement and light as both formal and idea-based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology and humankind; and the production of live actions or demonstrations. At once a snapshot of a specific group and a portrait of a generation, this book celebrates the pioneering nature of both the art and the transnational vision advanced by the ZERO network.
Published by Matthew Marks Gallery. Conversation with Daniel Birnbaum, John Kelsey.
Before his untimely death at the age of 35, Michel Majerus (1967–2002) helped reset the terms for painting in the 1990s and early 2000s. This fully illustrated catalogue includes a conversation between Daniel Birnbaum and John Kelsey that sheds light on the artist’s dizzying fusion of commercial imagery, painterly gesture and stylistic quotation. As Kelsey explains, Majerus’ work anticipates many of the issues now confronting image makers more than a decade after his death: “His attention to speed and screens--as well as to branding, the viral spread of youth subcultures, screen space, etc.--seems to acknowledge a certain erosion and dispersion already picking up speed.” In Birnbaum’s words, Majerus “concentrated on the things that surrounded him and made possible new ways of organizing visual elements--on the canvas and beyond.” This catalogue, the first US publication on Majerus, also includes an illustrated exhibition history and a detailed bibliography.
Published by Laurenz Foundation, Schaulager. Edited by Heidi Naef, Isabel Friedli. Foreword by Maja Oeri. Text by Daniel Birnbaum.
This volume accompanies the first major solo exhibition on American artist Paul Chan (born 1973) since his series The 7 Lights was presented at the New Museum in 2008. Chan is one of the most versatile and unpredictable artists of his generation, and certainly one of the most original voices in contemporary art today. Active as artist, writer and publisher, he engages the viewer in a challenging discourse about the place of art in social and political life. Chan's combination of old and new works casts new light on the content and complexity of his fascinating art. In addition to early video installations, rarely seen works on paper, sculptures and works from the 7 Lights series, this volume includes reproductions of the 1,005 painted book covers that constitute Volumes (2012), and new works created for the exhibition.
Published by Walther König, Köln. Edited by Kathryn Rattee. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Daniel Birnbaum.
This flipbook reprises one of Sturtevant’s more recent works, Finite Infinite (2010)--a large-scale projection that features a dog running in an endless loop across an expanse of grass. Themes of repetition in Sturtevant’s art are explicated in an essay by Daniel Birnbaum.
Published by Walther König, Köln. Text by Daniel Birnbaum, Ann-Sofi Noring.
The first painter to devote herself entirely to abstract art, Hilma af Klint (1862-1944) created a body of work that has only recently begun to be appreciated for its visionary intensity and innovation. The Legacy of Hilma af Klint reproduces in its entirety a previously unknown 1920 notebook by af Klint. Titled "Blumen, Moose, Flechten" [Flowers, Mosses, Lichen] on the front cover, this notebook lays out the artist's occult geometric extrapolations of nature, in diagrams and handwritten commentary (in German). The second part of this volume gathers responses to af Klint's work (visually and in essays) by nine contemporary artists: Cecilia Edefalk, Karl Holmqvist, Eva Löfdahl, Helen Mirra, Rebecca Quaytman, Amy Sillman, Fredrik Söderberg, Sophie Tottie and Christine Ödlund. The book is published on the occasion of af Klint's inclusion in the 2013 Venice Biennale.
Published by Walther König, Köln. Edited by Andreas Nilsson, Julia Björnberg. Foreword by John Peter Nilsson. Text by Andreas Nilsson, Joa Ljungberg, Nam Le, Tala Madani, Hans Ulrich Obrist. Afterword by Daniel Birnbaum, Ann-Sofi Noring.
Iranian-born, Los Angeles–based artist Tala Madani (born 1981) addresses political subjects through paintings of ritualistic scenarios in which traditional gender roles are inverted. This catalogue documents Madani’s first museum exhibition.
Published by Hatje Cantz. Edited by Jean-Louis Cohen. Text by Staffan Ahrenberg, Daniel Birnbaum, Jean-Louis Cohen, Catherine Dumont d'Ayot, Genevieve Hendricks, Johan Linton, Pascal Mory, Danièle Pauly, Bruno Reichlin.
Charles-Édouard Jeanneret, known as Le Corbusier, had an unparalleled influence on the design, function and construction of twentieth-century buildings, both public and residential. In addition, he was an artist and designer--an aspect of his creativity which was somewhat eclipsed by his architectural renown. Le Corbusier had originally intended to be a painter and his early studies were primarily focused on art and decoration. For more than five decades, Le Corbusier oscillated between contradictory poles: his fascination with mechanical objects on the one hand, and his search for poetic form on the other. The intermingling of his more private aesthetic pursuits and his more public works took place in his “secret laboratory,” inside his artist’s studio. This volume consolidates the diverse facets of his oeuvre, offering a more complete understanding of his paintings, drawings, sculptures, tapestries, furniture, architectural sketches and plans--as well as his books and photographs. In tying together these disparate strands, we gain greater insight into the path of his overall creative evolution. This unified overview is revealing both for scholars of Le Corbusier’s work and for all those seeking a better understanding of this exceptionally talented and significant historical figure. The book’s five chapters cover a wide spectrum, ranging from the purist paintings and early villas to Le Corbusier’s later reinterpretation of his values and his final works.
Perhaps the most important visionary of modern architecture, the Swiss-born Le Corbusier (1887–1965) broke new ground in reimagining residences, workplaces and urban environments--aiming to provide an enhanced quality of life for all--especially for the poorer classes. Prolific and an enthusiastic traveler, his work can be found at locations throughout Europe, India and America.
Published by Walther König, Köln. Edited by Daniel Birnbaum, Annika Gunnarsson. Text by Daniel Birnbaum, Ronald Jones.
By many art history accounts, the art of the twentieth century was decided by Pablo Picasso and Marcel Duchamp. In these versions, Picasso stands for prolific production, a fierce expressionism, endless research of the picture plane and a sense of voracious creativity; whereas Duchamp stands for cerebral brilliance, rejection of optical pleasure and a subtle but all-pervasive conceptual sabotage and irony. (Of course, they shared as many traits, including an appetite for provocation and the recognition of eros as a fundamental, animating life principle.) So who was right? This volume, published for a show at the Moderna Museet in Stockholm, argues for both sides of the coin, looking at various aspects of both oeuvres, including Picasso’s fascination with the Minotaur and Duchamp’s Rrose Selavy alter ego. The book is appropriately divided in two halves separated by a reverse binding.
Published by JRP|Ringier. Edited by Salome Schnetz. Text by Daniel Birnbaum, Roger M. Buergel, Christian Höller.
In 2007, Ai Weiwei (born 1957) presented a surprising new project titled Fairytale at Documenta 12 in Kassel, Germany. He invited 1001 Chinese citizens of different ages and from various backgrounds to travel to Germany, all expenses paid, to experience their own fairytale holiday for 28 days. The logistics for this project were complex and entailed a hefty budget, as the artist later recalled, enumerating the considerations: “to design the trip and activities for the tourists, to hope to get their passports, their visas, their insurance and air tickets, to organize the place where they can live in Kassel, to hire cooks, make products which are connected to the journey and would be needed for it...” Happily, Fairytale was a runaway success for the artist, the participants and for Documenta. It was judged by critics to be one of the most sensational artworks at Documenta that year, and led to an acclaimed documentary and global media coverage. This publication offers critical analyses of the project from Roger M. Buergel, Daniel Birnbaum, Christian Höller, Raphael Gygax and Ai Weiwei himself.
Published by Koenig Books. Edited by Ann-Sofi Noring, Daniel Birnbaum. Introduction by Magnus af Petersens. Text by Maguns af Petersens, Julia Robinson, Ming Tiampo.
In the years following the Second World War, artists across the world began to attack the most basic premises of painting, in ways that were both aggressive and playful. The creative act itself was deemed as important as the painting that resulted from it, creating an energetic interzone between painting and performance in which chance procedures, the movement of bodies and the participation of spectators were all recruited as tools. Explosion! Painting as Action explores the connections and cross fertilizations between painting, performance and conceptual art from the late 1940s to the present. Examining painting, photography, video, performance, dance and sound art, this volume includes works by Lynda Benglis, Niki de Saint Phalle, Cai Guo-Qiang, the Gutai Group, Allan Kaprow, Yves Klein, Alison Knowles, Ana Mendieta, Rivane Neuenschwander, Yoko Ono, Jackson Pollock, Robert Rauschenberg, Carolee Schneemann, Shozo Shimamoto, Lawrence Weiner and many others.
Published by JRP|Ringier. Edited by Fredrik Liew. Text by Daniel Birnbaum, Bruce Hainley, Fredrik Liew, Paul McCarthy, Stéphanie Moisdon, Beatrix Ruf, Elaine Sturtevant.
This new catalogue on legendary appropriation artist Elaine Sturtevant (born 1930) features 30 works, ranging from her repetitions of works by artists such as Andy Warhol, Marcel Duchamp, Jasper Johns and Felix González-Torres, to four of her most recent large video installations.
Published by Cabinet Books. Edited by Sina Najafi.
Since its launch in late 2000, Cabinet magazine has become a touchstone for a certain approach to understanding culture, one that shuns orthodox distinctions--high/low, serious/humorous, professional/amateur--in favor of a commitment to the idea that all objects, practices and discourses can, if read against the grain, teach us something important about the world. Its hybrid sensibility merges the visually engaging style of an arts periodical, the exuberance of a fanzine and the in-depth exploration of a scholarly journal to create a sourcebook of ideas for an international audience of readers, from artists and designers to scientists, philosophers and historians. Using essays, interviews and artist projects to present a variety of topics in language accessible to the non-specialist, Cabinet has aimed to encourage a new culture of curiosity. This anthology brings together some of the most interesting successes, and a few instructive failures, published in the first 40 issues of Cabinet, virtually all of which are sold out, along with essays specially commissioned for the volume. It includes contributions by more than a hundred writers and artists, including Jonathan Ames, Alain Badiou, Daniel Birnbaum, Matthew Buckingham, D. Graham Burnett, Paul Collins, Simon Critchley, Lorraine Daston, Mark Dery, Brian Dillon, Jeff Dolven, Spencer Finch, Joshua Foer, Leon Golub, Douglas Gordon, Anthony Grafton, Joseph Grigely, Shelley Jackson, Denis Johnson, Wayne Koestenbaum, Jonathan Lethem, Josiah McElheny, Helen Mirra, Albert Mobilio, Alexander Nagel, Francine Prose, Matthew Ritchie, Daniel Rosenberg, Luc Sante, Christopher Turner, Tom Vanderbilt, Marina Warner, Slavoj Zizek and many others.
Published by Walther König, Köln. Edited by Iris Müller-Westermann. Foreword by Daniel Birnbaum. Text by Isabelle Graw, David Joselit, Iris Müller-Westermann.
Garish and chaotic, the paintings, music and performances of German-born, New York-based artist Jutta Koether (born 1958) ooze youthful energy and a punk brashness that found her well matched as a collaborator with Kim Gordon for a 2005 project at the Tate Modern. This publication features nearly 50 color plates, spanning her work from 2005 to the present day.
Published by Hatje Cantz. Text by Daniel Birnbaum, Simon Starling, Carolyn Christov-Bakargiev.
Since 2006, Guillermo Faivovich and Nicolás Goldberg have been researching a 4,000 year-old meteorite shower. El Taco, one of the meteorites, was discovered in the 1960s and was divided between the Smithsonian and Buenos Aires' planetarium. Here, the artists reunite the parts.
Published by Hatje Cantz. Text by Daniel Birnbaum, Tacita Dean, Ingar Dragset, Michael Elmgreen, Hans Ulrich Obrist.
What Good is the Moon? is the first book to chronicle the exhibitions of the Fondazione Nicola Trussardi, which stages ambitious shows at historic landmarks and unusual sites throughout Milan. Works by Darren Almond, John Bock, Martin Creed, Tacita Dean, Urs Fischer, Fischli and Weiss, Paola Pivi and Tino Sehgal are featured.
Published by Walther König, Köln. Text by Daniel Birnbaum.
One of the most important artists of his generation, Olafur Eliasson (born 1967) creates immersive environments and spectacular public installations that probe the cognitive aspects of vision and transform the act of looking into a social experience. Merging art and science, Eliasson engages the observer as participant, challenging the passive viewing experience by utilizing such elements as temperature, smell, moisture and light to trigger physical sensations. Olafur Eliasson: Inner City Out documents the artist's first project in Berlin, where he has lived and worked for many years. Designed for the Martin-Gropius-Bau, and curated by Daniel Birnbaum, it examines the relationship between the museum and the city, bridging the two through ephemeral installations placed in various locations throughout the city as well as within the museum itself.
Published by Hatje Cantz. Text by Daniel Birnbaum, Amy Baker Sandback.
This publication gathers the interior photographs of Amy Simon (born 1957). Like the apartment depicted in these images, the places where Simon works hold special significance for her, attuned as she is to the mood and suggestiveness of interiors. Further exploring Simon's engagement with issues of domesticity, the book features a series of new drawings and wallpaper designs recently exhibited at the Venice Biennale.
Published by Walther König, Köln. Edited by Eva Ebersberger. Text by Daniela Zyman, Daniel Birnbaum, Francesca von Habsburg.
In Jorge Otero-Pailos' installations, the act of preservation is freed from its historic investment in stabilizing architecture. In The Ethics of Dust, he employs the cutting edge of conservation science to probe cultural, political, ethical and aesthetic definitions of architecture as it intersects with science and psychoanalysis.
Published by Charta. Text by Daniel Birnbaum, Claire Fontaine, Walter Guadagnini, Francesco Manacorda et al.
The Premio FURLA is Italy's premier art award. 2008 finalists include Giorgio Andreotta Calò, Meris Angioletti, Giulia Piscitelli, Alberto Tadiello and Ian Tweedy. The design and the title of this edition of the Award are by Marina Abramovic.
BOOK FORMAT Paperback, 5.75 x 8.25 in. / 168 pgs / 123 bw.
PUBLISHING STATUS Pub Date 8/31/2009 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 146
PRODUCT DETAILS ISBN 9788881587223TRADE List Price: $39.95 CDN $50.00
Published by JRP|Ringier. Edited by Markus Weisbeck. Text by William Forsythe. Interview by Daniel Birnbaum.
Around the world, the American-born avant-garde choreographer William Forsythe is considered one of the most significant and innovative figures in contemporary dance. As the Director of the Ballett Frankfurt from 1984 to 2004, he transcended the boundaries of the genre, creating abstract and geometric dances that were contorted, formal and difficult. Always a proponent of the use of text, he drew on architecture, art, linguistics, physics and philosophy, oftentimes presenting his work alongside distressingly stark lighting and electronic music scores. In 2005, Forsythe founded his own smaller and more flexible company, with which he has continued to redefine the parameters of the performing arts. Increasingly, he is working on multimedia collages--which he presents in art galleries and public spaces with the goal of destabilizing viewers and forcing them to acknowledge their bodies. This volume presents recent installation and film works alongside a text by Forsythe and a dialogue between Forsythe and critic-curator Daniel Birnbaum.
Published by Walther König, Köln. Edited by Nikola Dietrich. Foreword by Charles Merewether. Text by Daniel Birnbaum, Nikola Dietrich, Christine Macel, Christine Wood.
Founded in 1987 at the initiation of Kasper König, Portikus is Frankfurt's hottest venue for contemporary art and has quickly become one of Germany's leading venues, with an impressive roster of shows by artists such as On Kawara, Luc Tuymans and Franz West. In 2004 Portikus gained a new curator, Nikola Dietrich, a prominent presence on the European art scene. Dietrich has done much to further energize Portikus, and this volume presents a survey of the gallery's last three years under her guidance. Dietrich has mounted more than 20 exhibitions with international artists, among them Koo Jeong-a, Felix Gmelin, Yoko Ono (in collaboration with students from the Städelschule), Olafur Eliasson, Matthew Ritchie, Chung Seoyoung, Sean Snyder, Mark Leckey, Marjetica Potrc, Tomas Saraceno, Dan Perjovschi, Francis Alÿs, John Baldessari, Daniel Buren and Maurizio Cattelan.
Published by Hatje Cantz. Text by Daniel Birnbaum, Kaye Geipel.
Destroy, she said was the title of the first exhibition at the Düsseldorf-based Julia Stoschek Collection, which was widely acclaimed when it opened in 2007. Stoschek is a private collector, primarily of film and video, whose dramatic media-supportive gallery was designed by the Berlin architectural firm, Kühn Malvezzi. The collection includes classic works and newer pieces by sought-after and emerging artists. Among those represented in this volume are Doug Aitken, Paul Chan, Robert Smithson, Monica Bonvicini, Natasha Sadr Hagidhian, Dara Birnbaum, Klara Liden and Olafur Eliasson. The publication is rounded out by Daniel Birnbaum’s essay on contemporary time-based art and Kaye Geipel’s text exploring the history and architecture of the century-old industrial building that was completely gutted and custom designed to house the collection.
Published by Guggenheim Museum Publications. Essays by Michael Archer, Jan Avgikos, Daniel Birnbaum, Ina Blom, Stefano Boeri, Francesco Bonami, Nicolas Bourriaud, Xavier Douroux, Patricia Falguieres, Heike Föll, Hal Foster, Massimiliano Gioni, Michael Govan, Dorothea von Hantelmann, Jens Hoffman, Chrissie Iles, Branden Joseph, Emily King, Christy Lange, Maria Lind, Tom Morton, Molly Nesbit, Hans Ulrich Obrist, Beatrix Ruf, Stephan Schmidt-Wulffen, Barbara Steiner, Rachael Thomas, Eric Troncy, Giorgio Verzotti, Thomas Wulffen, Olivier Zahm
During the 1990s a number of artists claimed the exhibition as their medium. Working independently or in various collaborative constellations, they eschewed the individual object in favor of the exhibition environment as a dynamic arena, ever expanding its physical and temporal parameters. For these artists an exhibition can comprise a film, a novel, a shared meal, a social space, a performance or a journey. Their work engages directly with the vicissitudes of everyday life, offering subtle moments of transformation. This catalogue, which accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, is the first in the U.S. to examine the dynamic interchange among a core group of these artists--Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija--a many-sided conversation that helped shape the cultural landscape of the 1990s and beyond.
Published by Carnegie Museum Of Art. Edited by Douglas Fogle. Text by Daniel Birnbaum, Richard Flood, Eungie Joo, Chus Martínez.
Are we alone in the universe? Do aliens exist? Or are we, ourselves, the strangers in our own worlds? Conceived around the title Life on Mars, the 2008 Carnegie International, curated by Douglas Fogle, explores the increasingly relevant yet perplexing proposition of what it means to be human in the world today. The question, "Is there life on Mars?" is a rhetorical one, posing a metaphorical quest to explore humanity's response to a world where global events challenge and seem to threaten our everyday existence. Working in a range of media, from micro to macro levels of experience, from tragedy to comedy, the 40 artists from 17 countries in the exhibition explore the alien inside each of us. They include Doug Aitken, Kai Althoff, Vija Celmins, Bruce Conner, Peter Fischli and David Weiss, Daniel Guzmán, Mike Kelley, Barry McGee, Wilhelm Sasnal, David Shrigley, Rudolf Stingel, Paul Thek, Wolfgang Tillmans and Andro Wekua, among others. In questioning the absurdity of our lives while demonstrating hopeful aspirations for the future of humankind, these artists foreground the poetic over the monumental and the intimate over the heroic. In the end, the exhibition asks if we ourselves are already on Mars.
Published by Hatje Cantz. Text by Julie Ault, Daniel Birnbaum, Joachim Jaeger.
Since winning the Turner Prize in 2000 for his 1990s oeuvre of portraits and snapshots, German-born photographer Wolfgang Tillmans has increasingly gravitated towards the abstract and material-specific properties of his medium. Following Blushes, the Freischwimmer series and the monochromatic Silver series, his most recent abstract works--of which the creased and folded Lighter series is perhaps the most significant--treat the photograph, and especially photographic paper itself, no longer as a reproductive medium, but as a material object. In Tillmans' "paper drop" photographs, the paper's physical folds and curves are photographed to produce geometric, tactile compositions. Other works oscillate more elusively between photograph and object, always thriving in the interplay. "For me, the abstract picture is already objective because it's a concrete object and represents itself," Tillmans observes; "the paper on which the picture is printed is for me an object, there is no separating the picture from that which carries it. That's why I like to show photographs sometimes framed and sometimes not, just taped to the wall." These most recent works are gathered for the first time in this book. Lighter also includes an extensive section of installation views--taken by Tillmans himself--that offers the reader a direct experience of the artist's visual cosmos as presented in recent exhibitions, including his last retrospective, which was seen at various major venues in the United States.
Published by Hatje Cantz. Text by Daniel Birnbaum, Octavio Zaya.
In the 1980s, London-based Welsh artist Cerith Wyn Evans, born in 1958, worked as an assistant to filmmaker Derek Jarman, soon gaining a reputation for his own experimental shorts and his collaborations with the dancer Michael Clark. Since the 1990s, Wyn Evans has also been creating installations, often inspired by cinema history or literature, that incorporate elements like philosophical texts, mirrors, neon lights, fireworks, plants and Morse code to form a constellation of meanings that unravel into myriad poetic associations. Evans' desire to animate knowledge and reconceive the materials of the past make him analogous to Marcel Broodthaers, his erstwhile mentor Derek Jarman or even William Blake. This publication includes essays that delve into the artist's use of language and his experiments with time and perception. On the subject of Evans' purposeful inscrutability, critic Jens Asthoff has written, "Evans wants to go beyond that which we describe as understanding, to reach the untranslatable elements hidden in all experience. 'I hate the idea of being accessible,' he says." This volume includes nearly 200 images of the artist's installations, films, wall texts and sound works.
Published by Walther König/Thyssen-Bornemisza Art Contemporary. Edited by Eva Ebersberger. Text by Daniela Zyman, Daniel Birnbaum.
Olafur Eliasson, one of today’s most acclaimed contemporary artists, and David Adjaye, a rising architecture star, have engaged in a unique collaboration. Eliasson’s light installation “Your Black Horizon,” which debuted at the 2005 Venice Biennale, was conceived from the start as a hybridization of both of their practices. The piece consists of a light, representing a horizon line, that emanates through a narrow gap in an architectural structure. This is the only light source, and it runs around the entire dark gallery space, without any visual obstruction. The optical illusion that is achieved is that of a reversed horizon line. This publication is presented in conjunction with the installation of this project in Croatia. Critic and curator Daniel Birnbaum, writer Eva Ebersberger and curator Daniela Zyman contribute in-depth essays, which are accompanied by large-scale spreads of the project.
Published by Walther König, Köln. Edited by Peter Pakesch. Text by Daniel Birnbaum, Martin Prinzhorn, Elisbeth Hirschmann.
Painter Christopher Wool has written, “Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant.” Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria’s acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.
Published by Walther König, Köln. Edited and with Text by Daniel Birnbaum.
Hartmut Rausch is a janitor at the Städelschule in Frankfurt, Germany. Over the past 12 years he has collected works by alumni and professors including Hermann Nitsch, Thomas Bayrle and Per Kirkeby, changing his living room into an art space. This inventory is beautiful, funny and impressive.
Published by Walther König, Köln. Text by Daniel Birnbaum, Jerry Sheerin, Jan Verwoert.
This first monograph on the young Berlin-and-Tokyo-based American Conceptual artist features photography, video and text projects that question urban space and its representations in the media. In the densely-grouped systems of reference included here, Snyder uses original and reprocessed archival materials.
Published by JRP|Ringier/e-flux. Introduction by Daniel Birnbaum. Edited by Anton Vidokle. Interview by Hans Ulrich Obrist.
Using an archive of electronic announcements distributed by e-flux, The Best Surprise is No Surprise documents significant recent developments in art-related media releases, which are now global, instantaneous and linked coming and going. Readers can track the dissemination of information about exhibitions, publications, events and symposia organized and selected by some of the most active international curators, artists, critics and art historians of our time. That information is accompanied by brilliant color images of the events themselves, so that the book becomes a resource documenting recent contemporary exhibitions as well as the evolution of their self-portrayal and promotion. With an introductory essay by Daniel Birnbaum, an interview by Hans Ulrich Obrist, and 250 e-flux announcements selected by Zdenka Badovinac, Ariane Beyn, Mircea Cantor, Binna Choi, Hedwig Fijen, Elena Filipovic, Liam Gillick, Jens Hoffmann, Eungie Joo, Samuel Keller, Francesco Manacorda, Viktor Misiano, Naeem Mohaiemen, Jessica Morgan, Molly Nesbit, Ernesto Neto, Hans Ulrich Obrist, Natasa Petresin, Brian Sholis, Nancy Spector, Christine Tohme, Tirdad Zolghadr and many more.
Published by Hatje Cantz. Artwork by Neo Rauch. Text by Harald Szeemann, Daniel Birnbaum, Lynne Cooke.
One of the most original artists of his generation, Neo Rauch's paintings appear disturbingly detached and yet familiar, their figures, objects, and mood seemingly borrowed from old advertising posters, dusty book jackets, and forgotten comics. Rauch's formulistic visual symbols suggest a more profound meaning, yet it is difficult to decipher their message. The tension lurking under their almost frozen surfaces, washed with dusky, sinister colors, is fueled by paradox: as vivid as the structure of the work comes across, the impression is rigid; as powerful as the strokes of broken colors are, they appear faded, from bygone times.
Published by Hatje Cantz. Edited by Peter Noever. Essays by Daniel Birnbaum, Georges Didi-Huberman, Michael Rotondi, Paul Virilio.
In 1967, when 23-year old James Turrell created his first light projection, he broke new ground in a way that would decisively influence his generation and the development of art. Though Turrell worked in the context of Minimalism and the Earthwork movement, his art at this early stage displayed--as it still does--a sensibility all its own. This book reveals the ways in which Turrell's art has developed, and offers an extensive overview of his work from its earliest stages to the present. Turrell is above all preoccupied with the phenomenon of light--and his architectural projects and installations often transform their surroundings into transluscent sculptural bodies. From his first Projection Pieces to the Roden Crater Project in the Arizona desert, this volume presents over 30 years of this seminal artist's work, and includes critical essays by Daniel Birnbaum, Georges Didi-Hubermann, Michael Rotondi, and Paul Virilio.
Published by Hatje Cantz. Edited by Udo Kittelmann. Essays by Daniel Birnbaum and Udo Kittelmann.
Chosen to represent Germany in the 2001 Venice Biennale, Gregor Schneider has, since the 1980s, dedicated himself to building rooms as an expression of his art. The focus of his work has been an ordinary tenement building in Germany, known as "Haus u r," where he has lived while transforming it into a building of great atmospheric density though the process of continuous rebuilding.This book documents Schneider's work on the German Pavilion for the Venice Biennale.
Published by Hatje Cantz. Edited by Florian Matzner. Essays by Daniel Birnbaum, Francesco Bonami, Markus Muller, Pier Luigi Tazzi.
This is the first full-length publication devoted to Tobias Rehberger, a shooting star on the German art scene. Born in 1966, Rehberger studied at the Frankfurt St‚delschule, and has worked in a dizzying variety of media--architecture and sculpture as well as painting, design, and film--over the past five years. Rehberger is a new breed of artist--one whose work combines a future-oriented modernist ethic with a postmodern sense of play and disdain for categorical distinctions.Tobias Rehberger: 005-000 provides an overview of the artist's exhibition activities in museums and galleries as well as in public spaces, including the Tsutsumu garden, his recent installation at the Hanover EXPO 2000. This publication, one of the first books devoted to Rehberger alone, features personal and critical texts by such artists and scholars as Daniel Birnbaum, Francesco Bonami, Florian Matzner, Markus Mller, and Pierluigi Tazzi.
Published by media_city seoul 2000. Includes Ryu Byounghak, Anne-Marie Duguet, H.D. Gadamer, Udo Kittelmann, Alexander Kluge, Rem Koolhaas, Barbara London, Geert Lovink, Lev Manovich, Jeremy Millar, Paul D. Miller, Nam June Paik, Marian Pastor Roces.
Featuring an astonishing array of work by such artists and architects as Nam June Paik, Rem Koolhaas, Vito Acconci, Laurie Anderson, Chantal Akerman, Matthew Barney, Pierre Bismuth, Stefano Boeri, Christian Boltanski, Marco Brambilla, Angela Bulloch, Cai Guo-Qiang, Janet Cardiff and George Bures Miller, Dan Graham, Rodeny Graham, Lynn Hershmann, Gary Hill, Arthur Jafa, Joan Jonas, Kim Young-Jin, Charles Long and Stereolab, Bruce Nauman, Tony Oursler, Chan-Kyong Park, Paul Pfeiffer, Pipilotti Rist, Sam Taylor-Wood and Bill Viola--as well as a number of emerging Korean artists--media_city seoul 2000documents the recent international cultural festival in the South Korean capital city of Seoul.media_city seoul 2000 takes as its focus today's increasingly media-defined and media-centered cultural and physical landscape, and presents multimedia and video art along with architectural projects, as well as essays by Barbara London and Hans Ulrich Olbrist, and interviews with Nam June Paik, Rem Koolhaas and the philosopher Hans-Georg Gadamer.
PUBLISHER media_city seoul 2000
BOOK FORMAT Paperback, 7.5 x 9 in. / 392 pgs / 146 color / 25 bw reproductions.
PUBLISHING STATUS Pub Date 11/2/2000 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788995164501TRADE List Price: $40.00 CDN $54.00
AVAILABILITY In stock
in stock $40.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Walther König, Köln. Edited and with text by Daniel Birnbaum, Udo Kittelmann, Hans Ulrich Obrist.
Thomas Bayrle, born in 1937 in Berlin, has always been obsessed with Mao's China. He remembers seeing, as a young man, photographs of stadium-wide choreographed events there, where thousands of participants held up a sign on command, each sign a pixel in a giant picture. Of replicating that mass choreography in his early moving figurines--including Western figures who shaved or ate ice cream collectively--and of mixing Communist and capitalist elements in his work, he says, "irreconcilable ideological opposites thus become ever more similar--and down through the years become blurred--to the point of the global rock 'n' roll today." This volume drops viewers straight into Bayrle's prescient globalism through bright graphic works featuring repeating soldiers, Maos, chairs and chickens, in old-school silkscreen and recent digitized photographs. Softcover binding wraps all sides of the book, and pages are printed at full bleed, without text, except for the interview section.
Published by e-flux/Revolver. Edited by Hans Ulrich Obrist. Essays by Daniel Birnbaum and Harold Garfinkel.
The Do It book contains artworks by more than 100 international artists in the form of do-it-yourself text instructions to be completed by the reader. Based on the traveling exhibition and e-flux online project curated by Hans Ulrich Obrist, the book also includes a selection of essays and interviews, and offers comprehensive material on the groundbreaking show. Do It began in 1993 with a discussion among friends Christian Boltanski, Bertrand Lavier and Hans Ulrich Obrist. All three had been interested in various forms of instructional procedures since the early 1970s, and that evening they spoke of the instructions contained within their own work. From this discussion arose the idea of an exhibition of do-it-yourself descriptions and procedural instructions. Since 1993, the exhibition has taken place in venues in more than 40 cities worldwide, including Palo Alto, Pittsburg, Calgary, Atlanta, Toronto, Andover, Glasgow, Reykjavik, Helsinki, Bangkok, Copenhagen, Edmonton, Paris, Mexico City and Costa Rica. Meaning has been multiplied as various interpretations of the text accumulated while the exhibition traveled from venue to venue. The online component, which invites participants to upload images of the results of their chosen project, is less concerned with copies, images or reproductions of artworks than with human interpretation.
BOOK FORMAT Hardcover, 6.5 x 9.5 in. / 370 pgs / 30 bw.
PUBLISHING STATUS Pub Date 1/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 41
PRODUCT DETAILS ISBN 9783865880017TRADE List Price: $29.95 CDN $35.00
Published by Hatje Cantz. Edited by Friederiek Wappler. Essays by Marianne Brouwer and Florian Matzner. Foreword by Klaus Bumann.
Wolfgang Winter and Berthold H‡rbelt use plastic bottle-crates as their main structural material, transforming a banal, familiar and generally neglected item of our commercial and transportation landscape into a versatile building block. Their "box houses" can be found throughout the world: plastic public seating areas await loiterers in the parks and city streets of Hokkaido, Freiburg, Liverpool, Frankfurt, New York State and Houston; a plastic lighthouse stands bright on a rock island in Sweden; and plastic pavilions provide information access and rest/reading rooms at exhibitions like Skulptur: Projekte in Mnster and the 1999 Venice Biennale. But Winter and H‡rbelt's oeuvre is not just boxes. The artists have created useful, breathable structures from metal mesh (the gratings used for scraping dirty shoes), building a ticket booth in the Hamburger Kunsthalle; and their humorous cast objects and play structures provide some of the most accessible, pleasurable, creative explorations of sculpture today.
Published by Parkett. Essays by Daniel Birnbaum, Jan Avgikos, Dan Cameron, Rudi Fuchs, James Rondeau, Jens Hoffmann, Daniel Pinchbeck and Paul Bonaventura, et al.
Presenting unparalleled investigations and discussions of important international contemporary artists by esteemed writers and critics for 20 years, Parkett's investigations continue in issue No. 68, which features collaborations by German painter Franz Ackermann, Finnish artist and filmmaker Eija-Liisa Ahtila, and American Conceptual artist Dan Graham. Studies in the multiple perspectives of several simultaneous vantage points mark the pages of this volume. Authors include Joshua Decter, Douglas Fogle, and Raimar Stange on Ackermann; Gertrud Koch and Taru Elfving on Ahtila, with a conversation between Chrissie Iles and Ahtila; Marie-Paule MacDonald, Nicolas Guagnini & Karin Schneider, and Massimiliano di Bartolomeo on Graham, and an interview with Graham by Carmen Rosenberg-Miller. Also in this issue: Gregor Jansen on Dirk Skreber, Jens Hoffmann on Tino Sehgal, Bernard Frize interviewed by Hans Ulrich Obrist, and an insert by Jonathan Monk. For Parkett No. 69, the featured collaboration artists are Belgian Conceptual artist Francis Alÿs, German sculptor and mixed-media artist Isa Genzken, and the Indian-born, London-based sculptor Anish Kapoor. Authors include Saul Anton, Robert Storr, and Kitty Scott on Als; Pamela Lee and Jörg Heiser on Genzken, and an interview with Genzken by Michael Krajewski; and Norman Bryson, Marina Warner, and Kurt Forster on Kapoor. Other features include Philip Kaiser on Amelie von Wulffen, Stuart Comer on Swetlana Heger, and a special Parkett Inquiry on consensus in contemporary art world entitled, “The Economy of Attention.” The twentieth-anniversary issue, Parkett No. 70, will be published in summer 2004, with special collaborations and projects to be announced.
Published by Hatje Cantz. Edited by Max Hollein and Jesper N. JØrgensen. Essays by Nicolas Bourriaud, Will Bradley, Diedrich Diedrichsen, Russell Haswell, Blazenka Perica, Martin Pesch and Daniel Birnbaum.
Beyond the scope of the defining non-material characteristics of sound, sound becomes a formal material, a kind of audible sculpture accompanied by discourse on its constructive, societal, philosophical, and emotional aspects. At least, it does for the contemporary artists represented in Frequencies [HZ], each of whom works with sound within the context of visual art--Angela Bulloch, Farmersmanual, Ryoji Ikeda, Daniel Pflumm, Ultra-red, Mika Vainio, and others. With an audio CD ingeniously integrated into the book's cover design, and reproductions of sculptural and visual art, as well as specific, often minimalistic installations and interventions which employ sound or electronic experiments with sound, Frequencies [HZ] explores how sound impacts upon the perception of architecture and otherwise influences the components of individual experience. Participating artists reflect on the institutional context and the situation that evolves between the work of art and the viewer.
Published by nai010 publishers. Edited and with texts by Ben van Berkel and Caroline Bos. Essay by Aaron Betsky, Mark Wigley, Neal Leach, and Lidewij Edelkoort. Interview with Caroline Bos and Ben van Berkel by Greg Lynn and Daniel Birnbaum.
An hour by train north of Rotterdam, Ben van Berkel and Caroline Bos preside over the 45-person UN Studio they founded in 1998. To the tune of one partner's proclamation that "the box is dead," they have spent the intervening years conducting a network of researchers and specialists in architecture, urban development, and infrastructure, whose goal it is to create perceptive projects which seamlessly weld together brief, construction, infrastructure, circulation, form, and space. Their Erasmus Bridge, a sinuous arc of roadway suspended from a single soaring pylon, · la Star Wars, has become the icon of a new Rotterdam. Their science center for Carnegie Mellon University, in Pittsburgh, holds itself erect with a Euclidean grid of beams and columns, a structure van Berkel describes as "a sock being pulled back on itself." Following the success of their three-volume publication Move, and in search of new perspectives and concepts, UN Studio presents UNFOLd. Complete with documentation of the firm's most recent projects, UNFOLd takes a critical look at a welter of hitherto unpublished designs, including the restructuring of the station area in Arnhem, the generating station in Innsbrck, the Nuclear Magnetic Resonance laboratory in Utrecht, and the competition-winning design for the Ponte Parodi in Genoa. Draped with an ultra-personal layer, UNFOLd offers an immersion in the firm's design process through texts by Bos, and experiments in association and out-of-the-rut architectural photography.
Published by Oktagon. Artwork by Fiona Banner, Inka Essenhigh, Parastou Forouhar, Kendell Geers, Renee Green, Tsuyoshi Ozawa, Dan Peterman, Rosangela Renno, Adi Rosenblum, Carlos Amorales, Alicia Framis, Liam Gillick, Christian Jankowski, Aernout Mik, Jonathan Monk, Anri Sala. Edited by Saskia Bos. Contributions by Charles Esche, Joseph Grigely. Text by Nicolas Bourriaud, Annie Fletcher, Daniel Birnbaum.
This two-volume catalog offers essays, artist texts, and interviews, as well as documentation of every installation included in the Berlin Biennale. Featured artists include Carlos Amorales, Joseph Grigely, Inka Essenhigh, Aernout Mik, Jonathan Ocampo, Surasai Monk, Alicia Framis, Liam Gillick, and Renee Green.
BOOK FORMAT Paperback, 15 x 10.25 in. / 484 pgs / 160 color
PUBLISHING STATUS Pub Date 8/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9783896110978SDNR30 List Price: $39.95 CDN $50.00