Edited by Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije. Text by Nick Aikens, Christina Aushana, Zdenka Badovinac, Manuel Borja-Villel, Tania Bruguera, John Byrne, Jesús Carrillo, Christina Clausen, constructLab, et al.
Pbk, 6.75 x 9.5 in. / 504 pgs / 100 color / 200 bw. | 7/26/2016 | In stock ISBN 9789492095121 | $35.00
Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Hbk, 9.5 x 12 in. / 352 pgs / 450 color. | 2/23/2016 | In stock ISBN 9780870709623 | $75.00
Introduction by Manuel J. Borja-Villel. Conversation with Ella Fontanals-Cisneros, Cecilia Fajardo, Jesús Fuenmayor. Text by Mari Carmen Ramirez, Juan Ledezma, Jesús Fuenmayor, Rafael Pereira, Elsa Vega.
Hbk, 9.25 x 11.75 in. / 400 pgs / 330 color. | 3/31/2013 | In stock ISBN 9788475069982 | $65.00
Edited by Jordana Mendelson. Introduction by Manuel J. Borja-Villel. Text by Jordana Mendelson, Jeffrey T. Schnapp, Paul Wood, James Oles, Janine Mileaf, Tyrus Miller, Robert S. Lubar, Jutta Vinzent, Romy Golan, Katarina Schorb, François Gentili, Marie Vacher, Rocío Robles Tardío, Belén García Jiménez, Karen Fiss, Josep Renau, Javier Pérez Segura, Juan José Lahuerta, Robin Adèle Greeley, Olga Alexeeva, Alicia Alted Vigil, et al.
Pbk, 6.75 x 9 in. / 432 pgs / illustrated throughout. | 4/30/2013 | Not available ISBN 9788415691013 | $60.00
Published by Walther König, Köln. Text by Xavier Antich, Manuel Borja Villel, Flàvia Company, Manel Guerrero, Carles Guerra, Clàudia Grego.
In works that occupy a unique midground between painting and sculpture, Catalan artist Antoni Tàpies (1923–2012) fused the material vocabulary of Arte Povera and the gestural energy of abstract expressionism with the mystical sensibility of Iberian Catholicism. Tàpies showed a preference for an austere palate and unconventional materials reflecting the limited resources of his political environment. He spent three decades of his long productive career in Barcelona, where he lived and died, under the dictatorship of Francisco Franco. In that time, Tàpies confronted many of the paradoxes a creative artist faces under an authoritarian and anti-intellectual regime. In painting, sculpture, writing and other mediums, his work existed in conversation with the currents of contemporary art in the West while within the strictures of an oppressive state. Antoni Tàpies: Political Biography illuminates the artist's responses to the conditions of his native Catalonia, reproducing documents such as letters, manifestoes and samples of the media reception Tàpies generated over the years alongside reproductions of works from across his career. Texts by artists, curators and critics discussing Tàpies and the context of his oeuvre, plus a comparative chronology, are also included.
Published by Walther König, Köln. Text by Ulrich Wilmes, Manuel Borja-Villel, Okwui Enwezor, Ulf Jensen, Pamela Kort, Johanna Adorján, Danièle Cohn, Feridun Zaimoglu.
The first major exhibition catalog on Jörg Immendorff (1945–2007) since his death, this volume offers a thematic overview of more than four decades of the artist’s work, with more than 120 iconic paintings.
Published by Hatje Cantz. Text by Manuel Borja-Villel, Giuliana Bruno, Joan Jonas, Elisabeth Lebovici, Andrea Lissoni, Roberta Tenconi.
Alongside reproductions of films, sculptures and light works, this volume on Sicilian filmmaker Rosa Barba (born 1972) features the new 35mm film From Source to Poem (2016), in which hundreds of archival images evolve into a collage of America’s cultural legacy.
Published by JRP|Ringier. Edited by Raphael Gygax, Heike Munder. Text by Barbara Biedermann, Manuel Borja-Villel, et al.
This publication on the French-Bosnian artist Maja Bajevic accompanies her comprehensive exhibition at the Migros Museum für Gegenwartskunst and focuses on her most recent bodies of works. Since the mid-1990s she has explored a wide variety of issues related to globalization and migration, inclusion and exclusion, exploitation, neoliberalism and the interactions between these notions. Bajevic also consistently investigates her own identity, and the meaning of “home” and what this constitutes. Her oeuvre is part of a tradition in art that deals with social and educational issues, that aims to shake up the prevailing social consciousness. In this respect, Bajevic’s approach is all-encompassing; for example, when she compiles an archive of political slogans, she focuses on the entire political spectrum. By bringing together the core of Bajevic’s oeuvre with specially commissioned essays by art historians and curators, this publication reflects on her main artistic strategies and themes, standing as a reference monograph covering the last ten years of her work. The book is divided into three chapters: “Power,” “Governance” and “Labor,” and includes essays by Barbara Biedermann, Manuel Borja-Villel, Boris Buden, Raphael Gygax, and Ana Janevski. Maja Bajevic (born 1967) lives and works in Paris and Sarajevo. In recent years her work has been shown in a number of solo exhibitions in European institutions, e.g. at Daad Galerie in Berlin (2012), Museo Nacional Centro de Arte Reina Sofía in Madrid (2011), Kunsthaus Glarus (2009), and the National Gallery of Bosnia-Herzegovina in Sarajevo (2006). Bajevic has also been represented in group exhibitions, notably at the 56th Venice Biennale All the World's Futures (2015), the 4th Thessaloniki Biennale in Greece (2013), the Royal Academy of Arts in London (2010), and Zacheta National Gallery of Art in Warsaw (2010).
Constellations of Art, History and Knowledge: A Critical Reader
Published by Valiz. Edited by Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije. Text by Nick Aikens, Christina Aushana, Zdenka Badovinac, Manuel Borja-Villel, Tania Bruguera, John Byrne, Jesús Carrillo, Christina Clausen, constructLab, et al.
Is art only art insofar as it refuses to be useful? At a moment when the boundaries between public and private have been radically redrawn—politically, economically and culturally—how do we understand art’s ability to know the world, to develop our ethics, to express our sense of historical belonging and to be, in different ways to different people, useful? What’s the Use? takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out. Propositional and speculative—and deliberately inconclusive—the theorists and artists included in this volume seek an answer to a familiar question: how can art know, and change, the world?
Published by The Museum of Modern Art, New York. Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
The catalog for the Museum of Modern Art's acclaimed Broodthaer's exhibition
Marcel Broodthaers’ extraordinary artistic output placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussel shells, eggshells and books of his own poetry, to his most ambitious project, the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany Broodthaers’ first retrospective in New York, this volume examines the artist’s work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H.D. Buchloh, Jean François Chevrier, Thierry de Duve and Doris Krystof, provide historical and theoretical context for the artist’s work. The book also features new translations of many of Broodthaers’ texts.
Marcel Broodthaers (1924–76) worked as a poet and critic until the age of 40, when he declared himself a visual artist. Over the next 12 years, he moved between Brussels, his birth city, and Düsseldorf and London. From 1968 to 1972 Broodthaers operated the Musée d’Art Moderne, Département des Aigles, an itinerant museum devoted to the exploration of the role of the institution itself and the function of art in society.
Published by JRP|Ringier. Edited by María Luisa Blanco, Manuel J. Borja-Villel, Teresa Velásquez. Text by Ivana Bentes, Guy Brett, Lauro Cavalcanti, et al.
Lygia Pape (1927–2004) was a founding member of Brazil's Neo-Concrete movement. Her early work developed out of European geometric abstraction (Concrete art), but Pape expanded these idioms, drawing on the visual traditions of her native country. Her paintings, sculptures, books and films have made a defining contribution to Brazil's artistic identity, as well as to the field of artist's books. Pape was closely affiliated with artists such as Lygia Clark and Hélio Oiticica and enjoyed comparable prominence and acclaim in Brazil. Outside of Brazil, however, Pape has remained less well known than her contemporaries, until the Reina Sofia and Serpentine Gallery's landmark show of 2011–12. The catalogue for that exhibition—the first English-language monograph on the artist—quickly went out of print and is now a rarity. This expanded, revised edition of that catalogue reveals her oeuvre for an English-speaking audience for the first time.
Published by AsaMER. Foreword by Manuel Borja-Villel. Text by Ben Okri, Carlos Gamerro, Victoria Noorthoorn, Beatriz Preciado, Bart Verschaffel. Interview by Jean-Christophe Ammann
Ghosts, Brides & Other Companions gathers new and early paintings and drawings on paper by Dutch artist Elly Strik (born 1961), spanning the entirety of the artist's career to date. It includes an interview conducted by Swiss curator and art historian, Jean-Christophe Ammann.
BOOK FORMAT Hardcover, 8.75 x 12 in. / 296 pgs / 150 color.
PUBLISHING STATUS Pub Date 9/30/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 186
PRODUCT DETAILS ISBN 9788480264839FLAT40 List Price: $50.00 CDN $67.50
AVAILABILITY In stock
in stock $50.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Turner. Introduction by Manuel J. Borja-Villel. Conversation with Ella Fontanals-Cisneros, Cecilia Fajardo, Jesús Fuenmayor. Text by Mari Carmen Ramirez, Juan Ledezma, Jesús Fuenmayor, Rafael Pereira, Elsa Vega.
Geometric abstraction found its most dynamic, sensual and enduring expression in Latin America. Between 1930 and 1970, concrete, neoconcrete art and other varieties of abstraction thrived on this continent as nowhere else, and nowhere is this rich vein better documented than in the famous Cisneros Collection. This volume draws on the collection to showcase works from Argentina, Brazil, Uruguay, Mexico, Cuba, Venezuela and Colombia, all of which are contextualized with historical and artistic documents and essays. Among the many artists gathered in this definitive overview are Carmelo Arden-Quin, Wilys de Castro, Lygia Clark, Waldemar Cordeiro, Carlos Cruz-Díez, Gego, Mathias Göeritz, Carmen Herrera, Anna María Maiolino, Tomás Maldonado, José Mijares, Hélio Oiticica, Alejandro Otero, Lygia Pape, Mira Schendel, Loló Soldevilla, Rafael Soriano, Jesús Rafael Soto and Joaquín Torres-García.
Published by La Fábrica/Museo Nacional Centro de Arte Reina Sofía. Edited by Jordana Mendelson. Introduction by Manuel J. Borja-Villel. Text by Jordana Mendelson, Jeffrey T. Schnapp, Paul Wood, James Oles, Janine Mileaf, Tyrus Miller, Robert S. Lubar, Jutta Vinzent, Romy Golan, Katarina Schorb, François Gentili, Marie Vacher, Rocío Robles Tardío, Belén García Jiménez, Karen Fiss, Josep Renau, Javier Pérez Segura, Juan José Lahuerta, Robin Adèle Greeley, Olga Alexeeva, Alicia Alted Vigil, et al.
Preceded by the heroic modernism of the 1920s and abruptly curtailed by World War II, the heterogeneous art movements of the 1930s have been comparatively neglected as concurrent cultural phenomena. The 30s were much more than a period of transition or crisis, witnessing as they did the massive expansion of Surrealism, and fervent debate between new movements in abstract and realist painting. Political turbulence was of course rife at this time, with the rise of totalitarian governments and the outbreak of the Spanish Civil War, provoking a fluid migration of artists across borders and unlikely exchanges of ideas. Published to coincide with a major exhibition at the Reina Sofía Museum in Madrid, Encounters with the 30s explores the micro-histories of the decade. Surrealism is covered in detail, along with abstract art (such as the Concrete Art, Circle, American Abstract Artist and Abstraction–Creation movements) and Mexican Realism, and key exhibitions of the period (such as the Nazis’ “Degenerate Art” shows and the World Fairs); photography, political poster art and the Spanish Civil War comprise other sections. The monograph is amply illustrated with works by Arp, Brassaï, Calder, Delaunay, Ernst, Gabo, Hepworth, Miró, Picasso, Weston and many lesser known artists of the era.
Published by Turner. Edited by Gabriel Pérez Barreiro. Foreword by Manuel Borja-Villel. Text by Gabriel Pérez Barreiro, Reinaldo Laddaga, Andrea Giunta, Olga Fernández López, Steve Roden.
The profile of Latin American abstract art in North America and Europe has dramatically increased over the past decade or so, thanks in large part to the activities of the Patricia Phelps de Cisneros Collection. However, this is the first publication to specifically address the Concrete and Neoconcrete movements, spanning the 1930s through to the 1970s, and focusing on centers of activity throughout Latin America, in cities such as Montevideo, Buenos Aires, São Paulo, Rio de Janeiro and Caracas. In these decades, artists such as Lygia Clark, Hélio Oiticica, Lygia Pape, Jesús Soto, Carlos Cruz-Diez, Judith Lauand, Geraldo de Barros, Hermelindo Fiaminghi, Luiz Sacilotto, Willys de Castro and Ferreira Gullar infused European Concrete art with fresh energy and warmth, extending it into the realms of performance and interactive sculpture (as seen in the works of Clark, Pape and Oiticica). The book organizes this rich range of work into five thematic sections: “Geometry,” “Illusion,” “Dialogue,” “Vibration” and “Universalism.” Accompanying an exhibition at the Reina Sofía, Concrete Invention also includes texts by several of the artists; an essay by sound artist and scholar Steve Roden; a questionnaire on the legacy of these movements answered by Luis Camnitzer, Jesús Carillo, Sofia Hernández Chong Cuy and Ana Longoni; and a series of geometric-abstract gatefolds designed for the catalogue by José León Cerrillo.
Published by La Fábrica/Museo Nacional Centro de Arte Reina Sofía. Text by Manuel J. Borja-Villel, Daniela Tilkin, Marc Dachy, Néstor García Canclini, Cecilia Novero, Celeste Olalquiaga, Isabel Tejeda, et al.
This retrospective of the witty and pioneering art of Antoni Miralda (born 1942) surveys the artist's 1960s "Eat Art" sculptures, and his development of sculpture into performance, for example, his wedding of the statue of Christopher Columbus in Barcelona and the Statue of Liberty in New York.
Published by Walther König, Köln. Text by Diedrich Diederichsen, Manuel Borja-Villel, Anton Herbert, Hans-Joachim Muller, Peter Pakesch, Anne Rorimer.
This beautiful, hefty catalogue of the most important works from one of the world's finest collections of Minimal, Arte Povera and Conceptual art includes work by Carl Andre, John Baldessari, Marcel Broodthaers, Hanne Darboven, Gilbert & George, Donald Judd, On Kawara, Mike Kelley, Martin Kippenberger, Joseph Kosuth, Sol LeWitt, Bruce Nauman, Gerhard Richter, Ed Ruscha, Robert Ryman, Robert Smithson and Lawrence Weiner, among others. In her essay, the esteemed independent curator and art historian Anne Rorimer writes, "Such is the breadth and depth of the Herbert Collection that an entire book on the art of the 1960s and 1970s could be written based on the many exemplary works included in it. As a group, works in the collection point to the revolutionary activity occurring at a time when long-held conventions associated with painting and sculpture were being questioned or overturned in the interest of aesthetic renewal. Each work, separately, speaks volumes about innovations in art production labeled by terms such as Minimal art, Arte Povera or Conceptual art. These terms, although by no means carved in stone, identify shared methods and goals pursued by artists on both sides of the Atlantic during the years leading up to and extending beyond 1968.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 7 x 9.5 in. / 430 pgs / 222 color / 190 bw.
PUBLISHING STATUS Pub Date 8/1/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 85
PRODUCT DETAILS ISBN 9788489771208FLAT40 List Price: $50.00 CDN $60.00