{"title":"Institutional Critique","description":null,"products":[{"product_id":"public-collectors","title":"Public Collectors","description":"\u003cp\u003e“Owning things isn’t all that interesting; it’s easy to own things. What we do with those things is what matters—we can use the to tell stories, gain new insights about our lives and the worlds of others, and inspire other people to make more interesting and meaningful things. This is the ambition of Public Collectors, established in 2007 by Marc Fischer, which encourages collectors of material culture—the kind that most museums won’t exhibit: tea bags, South African herbalist ads, QSL cards, homemade packaging, Black college yearbooks…—to “open” their collections to the public.\u003c\/p\u003e\n\u003cp\u003eExtending \u003ca href=\"http:\/\/www.publiccollectors.org\"\u003ethe popular website of the same name\u003c\/a\u003e, \u003cem\u003ePublic Collectors \u003c\/em\u003epresents a wide array of collections—some featured on the website, most newly assembled for publication—interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value. 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While registering and collecting reference projects in a new archive of \u003cem\u003eSupport Structures\u003c\/em\u003e alongside its ten-phase project, different writers, thinkers, and practitioners were invited from various fields to elaborate on frameworks and work on texts, which form the theoretical backbone of the publication.\u003c\/p\u003e\n\u003cp\u003eWith texts by Michael Asher, Artist Placement Group, Can Altay, Conrad Atkinson, Adam Broomberg \u0026amp; Oliver Chanarin, Lonnie van Brummelen \u0026amp; Siebren de Haan, Banu Cennetoglu, Christopher D'Arcangelo, Martin Beck, Cevdet Erek, Andrea Fraser, Buckminster Fuller, Ryan Gander, Ella Gibbs, Frederick Kiesler, Lucy Kimbell, James Langdon, El Lissitzky, Peter Nadin, “The offices of Peter Fend, Coleen Fitzgibbon, Jenny Holzer, Peter Nadin, Richard Prince \u0026amp; Robin Winters,” Gordon Matta-Clark, Antoni Muntadas, Lilly Reich, Support Structure, Rirkrit Tiravanija, Lawrence Weiner, Christopher Williams, Carey Young, and many more. \u003c\/p\u003e\n\u003cp\u003eSecond edition.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":57356364906836,"sku":"A8B-22352","price":40.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Capture_20d_E2_80_99_C3_A9cran_202019-04-08_20_C3_A0_2015.27.20.png?v=1790810615"},{"product_id":"unlearning-exercises","title":"Unlearning Exercises: Art Organizations as Sites for Unlearning","description":"\u003cp\u003eLearning is often progress-oriented, institutionally driven, and focused on the accumulation of knowledge, skills and behaviour. In contrast, unlearning is directed towards embodied forms of knowledge and the (un)-conscious operation of ways of thinking and doing. Unlearning denotes an active critical investigation of normative structures and practices in order to become aware and get rid of taken-for-granted \"truths\" of theory and practice. This book shares the process of unlearning, taking art and art institutions as sites for unlearning and Casco Art Institute: Working for the Commons as an experimental case.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUnlearning Exercises: Art Organisations as Sites for Unlearning\u003c\/em\u003e shares a set of \"unlearning exercises\" as propositions to be useful for and adapted within other specific (institutional) contexts in and beyond the arts. These exercises range form daily practices like \"Cleaning Together\", to seemingly unresolvable issues of collective authorship and fair wage. They also offer insights into the lively and long-term collective unlearning process. The exercises are accompanied by personal accounts, essays, political criticism, and collective conversations, forming a multi-faceted critique of institutionalized habits while studying and practicing processes of unlearning. 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I hope to coe to NY in November and I’ll phone to you. \u003cbr\u003eBien amicalement,\u003cbr\u003eRoland Barthes”\u003cbr\u003e— letter sent Oct. 29, c. 1967, as O’Doherty has commissionned Barthes the essay, “The Death of the Author” for the magazine \u003cem\u003eAspen\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003eThis letter and many many many others—from and to Brian O’Doherty aka Patrick Ireland can be found in this unexpected and energizing collection, deftly edited by Brenda Moore-McCann.\u003c\/p\u003e","brand":"Sirius Art Centre","offers":[{"title":"Default Title","offer_id":57357216317780,"sku":"A8B-26174","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser_2014_05f020db-08f1-48f3-9f4f-4202139ffa75.jpg?v=1790811711"},{"product_id":"art-and-contemporary-critical-practice-reinventing-institutional-critique","title":"Art and Contemporary Critical Practice. 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Engaging with the work of philosophers and political theorists such as Michel Foucault, Judith Butler, Gilles Deleuze, Antonio Negri, Paolo Virno and others, these essays reflect on the mutual enrichments between critical art practices and social movements and elaborate the conditions for politicized critical practice in the twenty-first century. [publisher's note]\u003c\/p\u003e","brand":"MayFlyBooks","offers":[{"title":"Default Title","offer_id":57357254361428,"sku":"A8B-26464","price":12.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/art_and_contemporary_20.jpg?v=1790811789"},{"product_id":"collected-interviews-1990-2018","title":"Andrea Fraser. Collected Interviews 1990–2018","description":"\u003cp\u003eThis substantial archive offers an ideal point of entry into the work and reception of Los Angeles–based performance artist and writer Andrea Fraser. 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Can an art institution go from being an object of critique to a site for organizing? How? Should the art institution play this kind of role? What other roles can or should it play? What other institutions, curators, or publics do you look to  in formulating your own institution’s position? Recent controversies over curatorial choices have foregrounded the different ways in which institutions envision their audience(s). In your experience, is this process changing? How should it proceed? How can an institution address the dichotomy between art as cultural entertainment and art as political inquiry? What is the role of the curator in mediating this? How does this compare to the artist’s role? 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Comment conférer à l’école et au musée des fonctions d’accompagnement et d’élucidation, plutôt que d’explication et d’encadrement ?\u003cbr\u003eAvec les lunettes du féminisme, les outils du logiciel libre, les utopies de la science-fiction et les influences des artistes et des philosophes qui l’ont accompagnée – de Chris Marker à Donna Haraway –, Laurence Rassel, aujourd’hui directrice de l’école de recherche graphique de Bruxelles, développe en pensée et en actes, et surtout avec d’autres, des manières de faire qui remédient à ce qui ruine les relations et freine l’émancipation : les hiérarchies, les héritages subis, le fatalisme. Elle déplace et réactualise les apports de François Tosquelles, Jean Oury et Félix Guattari, qui ont pensé, depuis le champ de la psychiatrie, la thérapie des institutions.\u003c\/p\u003e\n\u003cp\u003e [note de l'éditeur]\u003c\/p\u003e\n\u003cp\u003e(How to make institutions more liveable, more inventive and self-critical? 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Rich collectors, who must be presumed to be stupid and talked to like children? Other gallerists, to show them that they read the backs of theory books too? Artists? Students? Just who is being addressed by these things? The endless nonsnese they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too-convincing cover of offering free advice as to improvements. There was also a hopefully infuriating holier-than-thou tone to the whole project, and a hypocritical undercurrent.”\u003cbr\u003e—BANK\u003c\/p\u003e\n\u003cp\u003eBetween 1998 and 1999, the London-based art collective BANK operated “The BANK Fax-Bak Service.” For the project, the group’s members, Simon Bedwell, John Russell and Milly Thompson proof-read and copy-edited more than 300 press releases published by galleries in London and New York. 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Ooooh!\u003c\/p\u003e\n\u003cp\u003eThe legacy of the art and cultural scientist Aby Warburg offers many subjects for reassessment. Almost unknown until now are the artifacts he collected on a journey through the southwest of the US in 1895\/96 and donated to the Museum für Völkerkunde in Hamburg (today Museum am Rothenbaum). The results first unfolded in Warburg's famous lecture on the “snake ritual” of the Hopi (1923). Following Warburg’s transdisciplinary approach, this publication examines his guiding principles in assembling his collection as well as his reading of Pueblo art and culture. It pays tribute to the works and their artistic significance and sheds light on the circumstances of acquisition in the sociopolitical environment of the Pueblo communities of the time. The contemporary fascination with the snake ritual is also a topic. 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Scott, Bill Sherman, Matthew Vollgraff.\u003c\/p\u003e\n\u003cp\u003eThis book is published in conjunction with an exhibition at MARKK in Hamburg.\u003c\/p\u003e","brand":"Hatje Cantz","offers":[{"title":"Default Title","offer_id":57357759873364,"sku":"A8B-30489","price":75.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Scan_20220414_135403_005.jpg?v=1790812924"},{"product_id":"suckcess-magazine","title":"Suckcess Magazine #1","description":"\u003cp\u003eDrama, carrières, sabotage, compromissions... Le premier numéro de \u003cem\u003eSuckcess Magazine\u003c\/em\u003e débute par une sélection de poèmes du flamboyant Rene Ricard, effectuée avec le concours des éditions Lutanie, et se poursuit par les contributions de Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, et Bunny Rogers. Cartoons et joueurs de tennis sont également au programme.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDrama, careers, sabotage, compromises . . . The first issue of\u003c\/em\u003e Suckcess Magazine \u003cem\u003ebegins with a selection of poems by the flamboyant Rene Ricard, edited with the help of Editions Lutanie, and continues with contributions from Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, and Bunny Rogers. 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[publishers’ note]\u003c\/p\u003e\n\u003cp\u003eWith contributions by The Nest Collective, Jacky Kwonyike, Leonie Chima Emeka and Niklas Obermann, Chao Tayiana Maina, Sam Hopkins and Simon Rittmeier, George Abungu, Marian Nur Goni, Juma Ondeng', SHIFT Collective, Leonie Neumann and Frauke Gathof, Clara Himmelheber, Philemon Nyamanga and Lydia Nafula, Philip Jimbi Katana, Wandile Kasibe.\u003c\/p\u003e","brand":"iwalewabooks,Kwani Trust","offers":[{"title":"Default Title","offer_id":57357768425812,"sku":"A8B-30617","price":7.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser_2041_bb045bb0-180e-4739-ba1e-28854202baa2.jpg?v=1790812961"},{"product_id":"invisible-inventories-de","title":"Invisible Inventories [de]","description":"\u003cp\u003ePublished by iwalewabooks (Bayreuth\/Johannesburg) and Kwani (Nairobi), the contributions from IIP members and Kenyan museum professionals and practitioners critically reflect museum and restitution politics but also the limits of the cooperation between African and Europeans museums. 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Projects sited on walls, subways, and billboards targeted some of the most sensitive political conflicts of the era, from U.S. military interventions in Latin America to the AIDS crisis. In \u003cem\u003eArt Demonstration\u003c\/em\u003e, Claire Grace examines Group Material's New York–based collaboration across a decade that saw a wave of renewed interest in art as a domain of political mobilization. As Grace argues here, Group Material's art was never just a means to an end; looking itself held urgency.\u003c\/p\u003e\n\u003cp\u003eGrace distinguishes between two types of Group Material projects: room-scale interiors featuring distinctive wall treatments, soundtracks, and boundary-crossing arrangements of objects, and works in spaces usually reserved for advertising. Grace analyzes the group's practice in both categories, examining such well-known projects as AIDS Timeline (1989) and Democracy (1988–1989) and lesser-known works including Subculture (1983) and The Castle (1987). Grace shows that the politics running through Group Material's practice ultimately resides in the artists' particular recourse to the exhibition form. With that bearing, Group Material's work insisted on the material in the face of postmodern theory's privileging of the discursive, and redistributed authorship within protean and pivotally diverse collective structures, testing in so doing the ever fragile contours of democratic participation as art became a commodity for speculative investment. [publisher's note]\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":57357806141780,"sku":"A8B-30875","price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Art_20Demo.jpg?v=1790813030"},{"product_id":"after-institutions","title":"After Institutions","description":"\u003cp\u003eFaced with waning state support, declining revenue, and forced entrepreneurialism, museums have become a threatened public space. Simultaneously, they have assumed the role of institutional arbiter in issues of social justice and accountability. The canon of Institutional Critique has responded to the social embeddedness of art institutions by looking at the inner workings of such organizations. 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En donnant la parole à plusieurs chercheuses, militantes et collectives, l’objectif de ce volume est de donner à entendre des paroles tues, des histoires oubliées, des luttes invisibles et ainsi de proposer des alternatives par la construction de récits communs. [note des éditeur.trices]\u003c\/p\u003e\n\u003cp\u003eWe Know What Remains Unsaid \u003cem\u003eis the second volume of a series of publications by Wages For Wages Against collective, acting for better work conditions in the visual arts and against all forms of discrimination. This edition presents research on the mechanisms of invisibilisation of precarious realities and activist knowledges. It investigates what our silences and the unsaid reveal. By giving a voice to several researchers, activists and collectives, this volume records silent words, forgotten stories, invisible struggles and thus makes possible the construction of alternative common narratives. 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This book recounts the event through the eyes of its “Ambassador”, art historian Vittoria Martini, who was invited by the artist to be an eyewitness to the existence of this “precarious” work. A term Hirschhorn sees as positive and creative: a means of asserting the importance of the moment and of the place, of asserting the Here and Now to touch eternity and universality. Appreciating the art historian’s presence as a central element of his sculpture, Hirschhorn consciously challenged the certainties of the profession by empowering and activating the role, thus leading Martini to find a new working methodology that she calls “precarious art history”. Accompanying the readers through her experience of the physical existence of The Bijlmer Spinoza-Festival, Martini’s commentary leads to the profound understanding of how a work that no longer exists physically, can live on in the mind—elsewhere, at some other time—because in the meantime it has become universal. [publisher's note]\u003c\/p\u003e\n\u003cp\u003eContributions by Claire Bishop, Thomas Hirschhorn, Vittoria Martini, Lisa Lee, Mignon Nixon, Marcus Steinweg.\u003c\/p\u003e","brand":"Hatje Cantz","offers":[{"title":"Default Title","offer_id":57357892911444,"sku":"A8B-31992","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/bijlmer.jpg?v=1790813338"},{"product_id":"how-not-to-exclude-artist-mothers-and-other-parents","title":"How Not to Exclude Artist Mothers (and other parents)","description":"\u003cp\u003e For too long, artists have been told that they can't have both motherhood and a successful career. 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This first estate-approved monograph illuminates his momentous practice after many decades of limited access to the materials surrounding it.\u003c\/p\u003e\n\u003cp\u003eThe publication also includes new contributions from figures who have punctuated D’Arcangelo’s practice—such as Peter Nadin, Daniel Buren, Louise Lawler and Janelle Reiring—as well as photographic contributions by artist Heji Shin and a new text by Nicholas Martin.\u003c\/p\u003e\n\u003cp\u003e[publisher's note]\u003c\/p\u003e","brand":"Kunstverein Publishing","offers":[{"title":"Default Title","offer_id":57357976404308,"sku":"A8B-32986","price":36.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/darcangelo.jpg?v=1790813609"},{"product_id":"vandalisme-queer","title":"vandalisme queer","description":"\u003cp\u003eLa philosophe Sara Ahmed se présente parfois comme « une rabat-joie féministe, une alienne affective, une femme queer racisée en colère ». Depuis plus de dix ans, elle tient un blog, feministkilljoys.com, où elle publie des morceaux de ses livres et de ses conférences. Dedans, on trouve des bouts de rages - contre le harcèlement sexuel à la fac où elle enseigne, contre le racisme institutionnel, contre le capitalisme carcéral... — mais aussi des célébrations des solidarités et des activismes transféministes. De là sont extraits les trois textes rassemblés dans ce court recueil, « Vandalisme queer », « Usage queer» et « La plainte, méthode queer»; des textes qui ont tous pour point commun de réfléchir aux potentiels d'interruption du mot queer. Queer, oblique, pas droit.e.s, déviant.e.s : des termes pour se mettre en travers des chemins trop bien tracés. Des textes comme autant d'appels à multiplier les existences vandales.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUn tuyau percé peut mener à un autre; il peut le faire et il le fait. Il suffit parfois de desserrer un écrou, un petit peu, juste un tout petit peu, pour que l'explosion ait lieu. Et nous avons besoin de plus d'explosions. Les usages queers, les usages obliques, décrivent ce potentiel d'explosion. Ils décrivent la manière dont les petites déviations, les petits desserrements, la création d'une issue de secours, l'ouverture d'une échappée, peuvent aider à multiplier toutes sortes de fuites et de sorties. \u003c\/em\u003e[publisher's note]\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Editions Burn-Août","offers":[{"title":"Default Title","offer_id":57358026277204,"sku":"A8B-33703","price":7.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/vandalisme_20queer.jpg?v=1790813810"},{"product_id":"wages-for-wages-against-volume-3-how-are-artists-chosen-exclusivity-precarious-work-and-asymmetries-in-art-competitions","title":"Wages For Wages Against – Volume 3. 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In this context, we surveyed the artists who participated, are considering participating, or are not participating in the Swiss Art Awards competition, in the interest of understanding their experiences and sharing their demands. In a broader sense, we wish to rethink the founding principles of artists' support policies and work to build a less competitive art world.\u003c\/p\u003e\n\u003cp\u003eThis is the thrid volume of a series of publications by Wages For Wages Against collective, acting for better work conditions in the visual arts and against all forms of discrimination. [publishers’ note]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eC\u003c\/em\u003eontributions by \/ de Nathalie Stirnimann \u0026amp; Stefan Stojanovic and Amandine Gay.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLe 3e volume de de la série de publications du collectif Wages For Wages Against, qui agit pour de meilleures conditions de travail dans les arts visuels et contre toutes formes de discrimination, s’intéresse aux logiques de compétition et de sélection, et aux logiques de carrière normalisées dans l’art contemporain, notamment par les systèmes de prix. Une analyse qui s’appuie sur une étude réalisée en 2022 sur les Swiss Art Awards.\u003c\/em\u003e\u003c\/p\u003e","brand":"L’Amazone,Privilege","offers":[{"title":"Default Title","offer_id":57358066614612,"sku":"A8B-34189","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/wages3.jpg?v=1790813937"},{"product_id":"the-moma-plant-collection","title":"The MoMA Plant Collection","description":"\u003cp\u003e\u003cem\u003eThe MoMA Plant Collection\u003c\/em\u003e displays the tradition of including plant life in the Museum of Modern Art in NY. The book presents 340 photographs and drawings that pay tribute to the pairing of plants with art. What can the placement of greenery next to the works of Mark Rothko, Henri Matisse, and many others tell us about the relationship between culture and nature? A question that Meijer started to investigate in her first artist's book, \u003cem\u003eThe Plant Collection\u003c\/em\u003e (ROMA, 2019), on plants in the Stedelijk Museum in Amsterdam, and continues at this museum in New York. [publishers’ note]\u003c\/p\u003e","brand":"ROMA Publications","offers":[{"title":"Default Title","offer_id":57358067433812,"sku":"A8B-34209","price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/inge.jpg?v=1790813942"},{"product_id":"the-agency-of-access-contemporary-disability-art-and-institutional-critique","title":"The Agency of Access. Contemporary Disability Art \u0026 Institutional Critique","description":"\u003cp\u003e\u003cem\u003eThe Agency of Access\u003c\/em\u003e examines how access can be employed as a methodology for curating art exhibitions using a multi-sensorial approach. Crip curator and art historian Amanda Cachia illustrates how bodies take in information and process stimuli, making the inequities in museums and galleries more transparent. She also argues that, as contemporary disabled artists move away from representations of disability, they create an art of access, or access aesthetics, through works that center translation, sensory expansion, touch, and movement for audiences and offer an experience of “being with” disability.\u003c\/p\u003e\n\u003cp\u003eShowcasing artwork by contemporary disabled artists Corban Walker, Christine Sun Kim, and Carmen Papalia, among others, \u003cem\u003eThe Agency of Access\u003c\/em\u003e inscribes contemporary disability art in the broad canon of contemporary art, where the artistic past is regarded differently. [publishers’ note]\u003c\/p\u003e","brand":"Temple University Press","offers":[{"title":"Default Title","offer_id":57358182580564,"sku":"A8B-35759","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/cachiaccess.jpg?v=1790814382"},{"product_id":"programme-de-desordre-absolu-decoloniser-le-musee","title":"Programme de désordre absolu. Décoloniser le musée","description":"\u003cp style=\"font-weight: 400;\"\u003eLe musée occidental est un champ de bataille – idéologique, politique et économique. Si à peu près tout le monde veut aujourd’hui « repenser le musée », peu ont pourtant l’audace d’interroger les présupposés mêmes du musée universel, produit des Lumières et du colonialisme, d’une Europe qui se présente comme la gardienne du patrimoine de l’humanité tout entière.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eEn arpentant l’histoire du Louvre, en discutant les impasses de la représentation de l’esclavage, en examinant des tentatives inabouties de subvertir l’institution muséale, Françoise Vergès esquisse un horizon radical : décoloniser le musée, c’est mettre en œuvre un « programme de désordre absolu », inventer d’autres manières d’appréhender le monde humain et non humain qui nourrissent la créativité collective et rendent justice et dignité aux populations qui en ont été dépossédées. [note de la maison d’édition]\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eNouvelle édition augmentée d’une préface de Paul Gilroy.\u003c\/p\u003e","brand":"La Fabrique","offers":[{"title":"Default Title","offer_id":57358182613332,"sku":"A8B-31933","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/VERGESDESORDER.jpg?v=1790814382"},{"product_id":"catalogue-raisonnable","title":"Catalogue Raisonnable","description":"\u003cp\u003eEssential! Originating from a survey publication proposal found in Jef Geys’ archive,\u003cem\u003e Catalogue\u003c\/em\u003e \u003cem\u003eRaisonnable is\u003c\/em\u003e a meticulously assembled monograph that brings together extensive archival research, translations of original texts, previously unpublished works and documents, and more than 1000 illustrations. \u003c\/p\u003e\n\u003cp\u003eArt critics commonly describe the work of Belgian artist Jef Geys as “unruly and impossible to categorize in conventional art-historical categories.” Despite Geys’ subversive and critical attitude towards the art world, this ambitious publication shows that his work is not only deeply engaged and socially critical but also funny and sensory.\u003c\/p\u003e\n\u003cp\u003eSince the early 1960s, Geys had compiled an archive of everything he considered part of his artistic practice in to form of his “List of Works,” serving as his oeuvre's index. With a total of 844 entries, \u003cem\u003eCatalogue\u003c\/em\u003e \u003cem\u003eRaisonnable\u003c\/em\u003e is the first total survey of Jef Geys’ work. Through access to the artist’s archive, close collaboration with Geys’ next of kin, and thorough art-historical research, this publication offers a rare opportunity for understanding and appreciating the fascinating practice of one of Belgium’s greatest artistic figures.\u003c\/p\u003e\n\u003cp\u003eJef Geys (1934-2018) was a prominent Belgian conceptual artist known for his multifaceted and often provocative work that intersected art with everyday life. Born in Leopoldsburg, Belgium, Geys was a teacher by profession, a role that deeply influenced his artistic practice. His work is characterized by its exploration of social, political, and cultural themes, often challenging the boundaries between art and daily experience…\u003c\/p\u003e\n\u003cp\u003eWith texts by Dirk Snauwaert and Charlotte Friling. Bilingual English\/Dutch.\u003c\/p\u003e\n\u003cp\u003e[publishers’ note]\u003c\/p\u003e","brand":"WIELS,MER. B\u0026L","offers":[{"title":"Default Title","offer_id":57358191755604,"sku":"A8B-35995","price":59.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/geysrai.jpg?v=1790814446"}],"url":"https:\/\/after8books.com\/collections\/institutional-critique.oembed","provider":"After 8 Books","version":"1.0","type":"link"}