Edited by Elena Filipovic, Marieke van Hal, Solveig Řvstebo. Texts by Carlos Basualdo, Daniel Buren, John Clark, Okwui Enwezor, Bruce Ferguson, Milena Hoegsberg, Ranjit Hoskote, Caroline A. Jones, Jakouba Konaté, Gerardo Mosquera, Rafal Niemojewski, et al.
Pbk, 2 vols., 6.5 x 10 in. / 568 pgs / 20 color / 100 bw. | 11/30/2010 | Not available $55.00
Published by Walther König, Köln. Edited by Carla Cugini. Text by Elena Filipovic.
Legendary Chicago-based painter Kerry James Marshall (born 1955) is as much an astute social critic and incredible authority on art history as he is a painter’s painter. In addition to reproductions of paintings, this book presents the text of a speech Marshall gave at Museum Ludwig in Cologne, Germany, upon receiving the Wolfgang Hahn Prize in 2014, a prize awarded annually to artists who have an “oeuvre that has consistently and substantially continued to develop and is recognized by international experts.” In the lecture he talks about his life, about his interest in Afro-American culture, about social injustice, race relations, power dynamics and ultimately calls for the black subject, so long ignored in art history, to finally be represented—in reaction to the fact that beauty has been synonymous with being white through almost all of art history.
Published by Walther König, Köln. Edited with text by Elena Filipovic. Text by Alexander Alberro, Monica Amor, Carlos Basualdo, Biljana Ciric, et al.
Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. The Artist as Curator: An Anthology, born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s foremost curators and illustrated with rare documents and illustrations.
Artists featured include the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broothaers; John Cage; Judy Chicago, Miriam Schapiro and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; and Andy Warhol, among other examples drawn from around the globe.
Published by New Museum/Kunsthalle Basel. Edited by Massimiliano Gioni, Natalie Bell. Text by Elena Filipovic, Chris Ofili, Robert Storr. Interview by Natalie Bell, Massimiliano Gioni.
These imagined figures are almost always black, an attribute Yiadom-Boakye sees as both political and autobiographical, given her own West African heritage. Her elegant characters come to life through the artist’s bold brushwork, appearing both cavalier and nonchalant. This catalog accompanying her New Museum exhibition features an interview with the artist by Natalie Bell and Massimiliano Gioni, new reflections on Yiadom-Boakye’s work by artist Chris Ofili, and art historians Elena Fillipovic and Robert Storr.
PUBLISHER New Museum/Kunsthalle Basel
BOOK FORMAT Paperback, 7.25 x 9.5 in. / 124 pgs / 38 color / 2 bw.
PUBLISHING STATUS Pub Date 6/27/2017 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2017 p. 138
PRODUCT DETAILS ISBN 9780915557141TRADE List Price: $24.00 CDN $33.00
Published by Koenig Books. Text by Elena Filipovic, Danh Vo, Carol Bove, Tino Sehgal.
Between 2010 and 2011, curator Elena Filipovic along with artists Danh Vo, Carol Bove and Tino Sehgal, organized a visionary Felix Gonzalez-Torres exhibition across three institutions: WIELS Contemporary Art Centre, Brussels; Fondation Beyeler, Riehen/Basel; and MMK Museum für Moderne Kunst, Frankfurt.
With the profound visual and conceptual potential of Gonzalez-Torres’ work in mind, Filipovic devised an exhibition structure that entailed two autonomous-yet-adjacent exhibitions of his work at each of the three venues: one iteration by her, and one by Vo, Bove and Sehgal respectively. This volume follows the show’s structure. Each venue has a dedicated section which includes a preface by Filipovic, photographic documentation of each exhibition and a contribution by Vo, Bove and Sehgal reflecting upon their positions as curators of Gonzalez-Torres’ work.
Danh Vo includes photographs of diagrammatic brass wall plaques as presented within his installation at WIELS; Carol Bove offers an essay describing her personal experiences with the work of Gonzalez-Torres and the curatorial scope of her installation; and Tino Sehgal recorded a conversation with Andrea Rosen—Gonzalez-Torres’ lifelong art dealer—which captures part of their rich dialogue around the artist’s work.
A comparative illustrated checklist documents each of the 85 works by Gonzalez-Torres featured in all their iterations. This invaluable resource showcases the radical and expansive nature of Gonzalez-Torres’ work as envisioned through the remarkable and unique voices of this important generation of artists, alongside the curatorial insight of Elena Filipovic.
Elena Filipovic is director and chief curator of Kunsthalle Basel in Basel, Switzerland.
Published by Fondazione Prada. Edited by Mario Mainetti. Foreword by Miuccia Prada. Text by Rosi Braidotti, Elena Filipovic, Ariane Koek, Lawrence M. Krauss, Dieter Roelstraete, Michael Taussig.
Polish-born, London-based Goshka Macuga (born 1967) adopts the roles of an artist, curator, collector, researcher and exhibition designer, working across a variety of media to explore how and why we remember both cultural and personal events. She particularly focuses on how we build our own classificatory systems for creating and remembering knowledge in times of rapidly advancing technology and information saturation.
This book, published for the exhibition To the Son of Man Who Ate the Scroll, is organized as an atlas and retraces for the first time Macuga’s career from 1993 to the present day. The volume is edited by Mario Mainetti and includes original essays along with an anthology of texts by the artist published for former projects.
Published by Koenig Books. Edited by Patrizia Dander, Elena Filipovic. Text by John Cussans, Alex Kitnick. Interview by Dan Fox.
On Pleasure Bent traces in reverse chronology the work of British artist Mark Leckey (born 1964), revealing the persistent centrality of popular culture, music and technology in his oeuvre. The book includes Leckey's recent video, sculpture and installation work, and earlier works from the 1990s.
Published by Walther König, Köln. Text by Giovanni Carmine, Elena Filipovic, Kathrin Rhomberg, Rein Wolfs, Moritz Wesseler.
Kosovan artist Petrit Halilaj (born 1986) creates sculptural installations relating to the Kosovo War of 1998-99 and attendant themes of displacement and home. This volume surveys his highly autobiographical works.
Published by Walther König, Köln. Text by Elena Filipovic. Interview by Eric Walther.
It seems only appropriate that this new publication from Franz Erhard Walther (born 1939) should take the form of an inviting, brightly colored pop-up book: since the 1960s, the pioneering German artist has been celebrated for the performative and inclusive nature of his sculpture.
Published by Ludion. Text by Anna Jackson, Elena Filipovic, Catherine L. Futter.
In this fascinating collection, Belgian photographer Ives Maes (born 1976) explores the unique architecture of World Fairs and Expos. Since the first world exhibition more than a century and a half ago, these fairs have represented the promise of a more harmonious world, with their ambitious displays of their respective era’s greatest artistic and scientific accomplishments. Here, Maes shows how time has taken its toll on these architectural monuments and pavilions--now often decayed, abandoned or adrift from their original purpose--highlighting their faded glory against their utopian aspirations. Despite their present condition, many of these buildings remain inspirational as architectural specimens, for the sheer adventurousness of their design. Maes’ photographs are ordered chronologically and range from London’s Great Exhibition (1851) through to the most recent expo in Shanghai, 2010.
Published by Mousse Publications. Edited by Elena Filipovic. Text by Elena Filipovic, Nicolás Guagnini. Interview by David Joselit.
If there are any taboos left in photography, then Seattle-born photographer Leigh Ledare (born 1976) is out to break them. Ledare made an instant splash with his extraordinary 2008 book Pretend You’re Actually Alive, in which he documented his mother having sex with her lovers and posing solo or with her son. Genuinely and unabashedly shocking, this volume took the Larry Clark school of candor and explicitness to new heights (Ledare worked for a while as Clark’s assistant), and now sells for large sums second-hand. This second monograph gathers selections from this previous volume, alongside new works, including a commission to make erotic photographs for an admirer (who remains anonymous) during a week-long residence at the subject’s home. The book shows Ledare’s underlying preoccupation with the power politics of sexuality; as he articulates it, in an interview with David Joselit printed here: “After the photographs with my mother, I’ve continued to implicate myself within new projects as a way, beyond simply recording the affects around these situations, to diagram the power relations that underwrite these situations.” Published on the occasion of his first institutional exhibition at WIELS Contemporary Art Centre in Brussels, it shows Ledare extending his unflinching examination of human intimacy into yet wilder terrain.
BOOK FORMAT Paperback, 8 x 11.5 in. / 144 pgs / 140 color.
PUBLISHING STATUS Pub Date 3/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 97
PRODUCT DETAILS ISBN 9789078937203FLAT40 List Price: $59.95 CDN $70.00
Published by Mousse Publishing. Edited by Jens Hoffmann. Foreword by Milovan Farronato. Text by Peter Eleey, Elena Filipovic, Juan A. Gaitán, Sofía Hernández Chong Cuy, Maria Lind, Chus Martínez, Jessica Morgan, Adriano Pedrosa, Joăo Ribas, Dieter Roelstraete.
It has become almost obligatory to introduce a book on curating by noting the plethora of recent publications on the subject. How, in just a few short years, did we reach this point of saturation? What questions, exactly, do all these books address? Many attempt to offer an overview of the curatorial field as it exists today, or attempt to map its historical trajectory. Others propose a series of case studies under a common curatorial theme. All are hoping to contribute to this relatively new discipline and its accompanying canon. Edited by Jens Hoffmann, Ten Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the questions that others have missed, ignored or deemed already answered: What is a curator? What is the public? What is art? What about collecting? What is an exhibition? Why mediate art? What to do with the contemporary? What about responsibility? What is the process? How about pleasure? Here, Peter Eleey, Elena Filipovic, Juan A. Gaitán, Sofía Hernández Chong Cuy, Maria Lind, Chus Martínez, Jessica Morgan, Adriano Pedrosa, Joăo Ribas and Dieter Roelstraete each propose and then address one question. Ten Fundamental Questions of Curating takes a back-to-basics approach--a return to a kind of zero-degree state--at a time when a recalibration of what a curator is and does seems both necessary and urgent.
BOOK FORMAT Paperback, 6 x 9.5 in. / 144 pgs.
PUBLISHING STATUS Pub Date 10/31/2013 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 146
PRODUCT DETAILS ISBN 9788867490530TRADE List Price: $27.50 CDN $37.50
Published by Hatje Cantz. Text by Elena Filipovic, Friedhelm Hütte, Catrin Lorch, Christian Rattemeyer.
In 2012 Slovakian artist Roman Ondák was honored as the Deutsche Bank’s “Artist of the Year,” an achievement celebrated in this catalogue. One of the world’s most distinguished contemporary conceptual artists, Ondák creates (often participatory) works that elaborate philosophical and political dimensions from everyday experience.
Published by The Museum of Modern Art, New York. Edited by Elena Filipovic, Joanna Mytkowska. Text by Cornelia Butler, Jola Gola, Allegra Pesenti.
A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but of her own body. Though her career effectively spanned less than two decades (cut short by the artist’s premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Réalisme and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Well-known in Poland, where her work has been highly influential since early in her career, Szapocznikow’s compelling oeuvre is ripe for art-historical reexamination. Alina Szapocznikow: Sculpture Undone, 1955–1972 offers a comprehensive overview of this important artist’s work at a moment when international interest is blossoming. Richly illustrated with over 150 color plates, the catalogue features essays that touch on key aspects of her practice and historical reception, as well as an extensive annotated chronology that provides an in-depth exploration of the intersection of her life and art. Working in one of the most rich and complex periods of the twentieth century, Szapocznikow responded to many of the ideological and artistic developments of her time through artwork that is at once fragmented and transformative, sensual and reflective, playfully realized and politically charged.
Alina Szapocznikow was born in Poland in 1926, and gained critical attention there for her early sculpture of the 1950s. She re-settled permanently in France in 1963, where her continued exploration of new materials such as polyester and polyurethane brought her into dialogue with the contemporary art scene of her time. She continued to push the boundaries of sculptural form and subject matter up until her premature death in 1973.
Published by Blaffer Art Museum. Text by Claudia Schmuckli, Elena Filipovic, Abraham Cruzvillegas.
Over the past decade, Gabriel Kuri (born 1970) has been ransacking the paradoxes of material consumption, extracting both visual and linguistic value from the tracking systems and trivial marketing mechanisms that fill our daily lives. Kuri's sculptures and collages are often fashioned from the residue of monetary exchanges and consumed goods that the artist collects on a daily basis, but their richness lies in their unusual calibration of manual and conceptual properties: his works reward eye and mind equally. "Model for a Victory Parade," for example, consists of a conveyor belt with a crumpled energy-drink can trapped and perpetually tumbling at one end. The visual appeal of this work quickly opens out into speculations on the ironies of humankind's energy consumption. Nobody Needs to Know the Price of Your Saab is presented in conjunction with Kuri's survey at Blaffer Art Museum.
PUBLISHER Blaffer Art Museum
BOOK FORMAT Paperback, 6.75 x 9.75 in. / 130 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 3/31/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 85
PRODUCT DETAILS ISBN 9780941193498TRADE List Price: $39.99 CDN $53.95 GBP £35.00
Published by Hatje Cantz. Edited by Elena Filipovic, Marieke van Hal, Solveig Řvstebo. Texts by Carlos Basualdo, Daniel Buren, John Clark, Okwui Enwezor, Bruce Ferguson, Milena Hoegsberg, Ranjit Hoskote, Caroline A. Jones, Jakouba Konaté, Gerardo Mosquera, Rafal Niemojewski, et al.
Born as a vehicle for national propaganda, the art biennial today has become an outsize phenomenon mobilizing not only artists, curators and gallerists but sponsors, celebrities and politicians, commanding huge press attention and deciding the careers of artists worldwide. For a city to host a biennial today has colossal ramifications. This anthology on the art biennial gathers previously published seminal texts from around the world alongside commissioned contributions from the leading scholars, curators, critics and thinkers today--among them Carlos Basualdo, Daniel Buren, John Clark, Okwui Enwezor, Bruce Ferguson, Milena Hoegsberg, Ranjit Hoskote, Caroline A. Jones, Jakouba Konaté, Gerardo Mosquera and Rafal Niemojewski. Tracing the genealogy of the standard exhibition format--including biennials but also other recurrent exhibitions such as triennials and quadrennials--and examining some of the most famous examples of the twentieth and twenty-first century, from the Venice Biennale to the Johannesburg Biennial and the Havana Bienal to Documenta and the Asian biennials, this reader explores the artistic, theoretical, political and other ambitions of such large-scale exhibition projects. It is certain to be a vital resource for scholars, students, curators, artists and critics alike.
Published by JRP|Ringier. Edited by Elena Filipovic, Adam Szymczyk.
In a supportive article covering the 4th Berlin Biennial, critic Steven Henry Madoff took a moment to question what many have termed "Biennial Fever," writing, "Are [biennials] here to capture trends or to advance artists' voices in a larger social dialogue? Do they promote international understanding or local interests? Are they bully pulpits for curators turned ideologues, or are they simply there to tap the art market's stopwatch till the next survey of hot new things draws the attention of an ever expanding universe of collectors?" For the 2008 edition of this always-provocative international fair, Curators Adam Szymczyk and Elena Filipovic brought together primarily newly commissioned work by 50 emerging and established international artists for a round-the-clock exhibition that included 63 nightly events. This expansive volume documents it all, and contains contributions by writers, critics and artists including Beatriz Colomina, Bettina Viesmann, Cameron Jamie, Gabriel Kuri, Babette Mangolte, Ahmet Ögüt and Katerina Seda.
Published by JRP|Ringier. Edited by Stuart Krimko, Thom Collins. Text by Elena Filipovic, Elizabeth Guffey.
New York-based sculptor and conceptualist Tobias Putrih, who was born in Slovenia in 1971, created this exhaustive 180-page monograph--his first--between 1999 and 2007. Conceived of as an archive, both visual and textual, the publication illuminates Putrih’s thought processes and methodology. Published with the Neuberger Museum of Art, New York.