Published by Bergen Kunsthall. Edited by Solveig Øvstebø, Åse Løvgren, Steinar Sekkingstad. Introduction by Solveig Øvstebø. Text by Lars Bang Larsen. Interview by Solveig Øvstebø.
Cerith Wyn Evans’ exhibition at Bergen Kunsthall consisted of various audio, neon and light works and his sequence appropriating Marcel Broodthaers’ erasure of Mallarmé’s poem “Un Coup de Dés.” This smartly designed volume records the occasion, and includes a conversation between the artist and the museum’s director.
PUBLISHER Bergen Kunsthall
BOOK FORMAT Paperback, 7.5 x 11 in. / 84 pgs / 31 color.
PUBLISHING STATUS Pub Date 3/31/2012 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 148
PRODUCT DETAILS ISBN 9788293101031TRADE List Price: $29.95 CDN $39.95
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Walther König, Köln. Edited by Hans Ulrich Obrist.
Cerith Wyn Evans’ gloriously uncategorizable oeuvre has spanned installation works, sculptures, photography, film, text and a recent collaboration with industrial-music pioneers Throbbing Gristle. Preoccupations with language and perception generally lead the works, from an exhibition at Tate Britain in which a computer randomly selected lines from William Blake’s poetry to be reflected off a disco ball in Morse code format to “Inverse, Perverse, Reverse,” a large circular mirror that showed viewers’ reflections upside down, referencing Lacan’s mirror-stage theory of identity while throwing a wrench into the expected experience of representation. Evans has said he wants his work to function as a “catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys.” In this series of conversations, Hans Ulrich Obrist draws Evans on these and other themes.
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/Lenbachaus München. Foreword by Helmut Friedel, Susanne Pagé. Text by Molly Nesbitt, Susanne Gaensheimer.
In Which Something Happens All Over Again For The Very First Time is the first comprehensive publication to deal with the sculptural installations, film projections, neon texts and sound productions of the Welsh artist, Cerith Wyn Evans. Evans began as an assistant to the American underground filmmaker Derek Jarman, concentrating on his own short experimental films throughout the 1980s. In the 1990s he began to produce installations that explored the phenomenology of language, time and perception. In recent years, he has expanded his arsenal of materials to include fireworks, neon, texts, film, photography and sculpture. Of his work shown at Tate Modern's 2006 Triennial, the Tate described his work: "Cerith Wyn Evans approaches knowledge like a magpie, borrowing from authors of the past to invigorate the viewer's perceptions of the present. Though comprising few elements, his work is decadent and intense, both with its use of references as well as in its magical and dramatic effect."
Published by Walther König, Köln. Edited by Peter Pakesch. Text by Mark Cousins, Martin Prinzhorn, Jan Verwoert, Adam Budak.
This collection of key works by the London conceptualist Cerith Wyn Evans features chandeliers and fireworks that speak, plants that are able to generate light and installations that dramatize our experience. Magical and uncanny, excessive and yet minimal, the works radically alter our perceptions and challenge our visions.