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Beloved artist Nick Mauss has conceived the exhibition's scenography at the NMNM in Monaco, and this amazing catalogue - for which he has hand-silkscreened the cover's textiles.\u003c\/p\u003e\n\u003cp\u003eRépondant à l’invitation du NMNM, l’artiste Nick Mauss a réinterprété l’œuvre de Bakst et mis en perspective son influence, en envisageant les éléments visuels et sensoriels de la scénographie d’exposition comme une forme d’art. Nick Mauss a conçu cette exposition en entremêlant les formes de la maquette, du livre et de l’exposition, réunissant des documents textuels et graphiques d’époque, telles que les arguments originaux de chacun des ballets exposés, au style et à la composition graphique si particuliers. 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In a riotous assemblage of more than 200 pages, we find comprehensive bibliographies and sinful synopses for more than 120 zines by Alex Gartenfeld, excerpted illustrations and writings by zine makers, reprints of important articles in and about queer zines, a directory of important zine archives, and a list of zine outlets around the world. [publisher's note.]\u003c\/p\u003e","brand":"Witte de With","offers":[{"title":"Default Title","offer_id":57356918260052,"sku":"A8B-24180","price":120.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/convert.jpg?v=1790811155"},{"product_id":"connect","title":"Connect","description":"\u003cp\u003eA reconstruction of a printed sheet of Ken Garland and Robert Chapman’s game Connect, designed by Ken Garland and Associates for the James Galt Toy Company in 1969. 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The LP consists of three audio pieces, each made using multiple in-sync microphones that were focused on a specific historical machine; a Dornier rapier loom from the 1980’s; a Hacoba weft winding machine from the 1950’s; and a loom with shuttles, equipped with a jacquard attachment from the late 1940’s, notable for its importance in the development of programmable machines pivotal to early computing.\u003c\/p\u003e\n\u003cp\u003eIn 1958 Bayrle apprenticed at a weaving factory, a formative experience that continues to inspire his practice today. Bayrle recalls that, “the sound from the looms was often more important than what they produced.” Bayrle and Schreiner have collaborated on sound installations and sculptures that utilize motors in combination with recorded sound. Audio releases together include \u003cem\u003eRosenkränze\u003c\/em\u003e, 2012, published by Walther König, and a 7-inch titled \u003cem\u003eRosenkranz\u003c\/em\u003e, published by Galerie Mezzanin, Vienna, 2010. 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Il s’agit d’une réflexion sur la sculpture dans le cadre d’un questionnement plus général sur la notion d’espace public et des « pratiques d’espaces » des habitants, proche des réflexions de Michel de Certeau.\u003cbr\u003e« Les passants, les critiques d’art, l’histoire, jugent les œuvres d’art sur des critères esthétiques et conceptuels (c’est beau ou c’est intéressant). Les critères des skateurs sont avant tout mécaniques : l’intérêt d’une sculpture tient à la variété des mouvements qu’elle suggère. Plus irrévérencieuse que vandale, cette pratique de l’œuvre d’art souligne le dynamisme explicite de tout un pan de la sculpture moderne. Sur des sculptures le plus souvent abstraites et géométriques, d’inspiration cubo-futuriste ou constructiviste, les skateurs rendent effective l’idée de mouvement littéralement mis en œuvre par les artistes. » Raphaël Zarka\u003cbr\u003eDix images manquent à cette collection, les sculpteurs ayant refusé la reproduction de leurs œuvres. Les espaces dédiés aux images correspondantes ont volontairement été laissés vacants. 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In the early ’60s, she developed a painting method that coalesced several styles in order to relate her radical imagery to the feminist ideas that comprised the overarching beliefs in her life. “Imagine,” writes curator Bob Nickas, “a fluid intermingling of Abstract Expressionism in terms of a figurative disfiguration (after de Kooning), Pop comic rendering (pre-Guston), a heady Surrealism that anticipates the mind-expansion of the Wave series … and a cubism that is circular rather than faceted by geometry.” Packed with humor, sexual imagery and a heaviness of spirit, the 31 paintings in this book are intimate works, difficult to assign to an obvious tradition of painting. Essays by Helen Molesworth and Nickas further illustrate that, even when Lozano was using traditional material to make her art, her career was anything but. 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Following the fall of the Berlin Wall in November 1989 and the collapse of the Soviet system, the engraved copper plates travelled to USA for the production of a limited commercial edition of the works, which requested for the original printing plates to be destroyed. From Autumn 1989 to Spring 1990, from Communism to Capitalism, the mutilated etchings bare the mark of that transition. In \u003cem\u003eCancelled 6\/21\/90\u003c\/em\u003e, published by l’Esprit de l’Escalier, the deep diagonal trench is the cancellation of the artwork as much as the creation of a new one. [publisher’s note]\u003c\/p\u003e","brand":"l’Esprit de l’Escalier","offers":[{"title":"Default Title","offer_id":57357068206420,"sku":"A8B-25338","price":280.0,"currency_code":"EUR","in_stock":false}]},{"product_id":"yu-contemporary-vs-dept-of-revenue-oregon-and-mult-co-assessor","title":"YU Contemporary VS Dept. of Revenue Oregon \u0026 Mult. Co. Assessor","description":"\u003cp\u003emmhmm 10:15 14:1,6 24:3 26:3 27:25 28:18 28:18 34:17 39:5 47:7 47:13,17 48:13,17 59:13 62:5 67:20,23 80:15 83:7 84:20 86:11,18 89:14 91:20 92:4 93:2 95:5 96:12 97:9 99:18 100:11 107:4 110:22 116:4 117:13 119:16 120:22 121:1,16 126:21 127:4 134:11 137:12 138:23 143:5 145:19 146:22 148:16 155:12 157:20 165:16 168:8 173:9 180:1,18 184:21 195:25 198:22 199:19 204:9 210:7 210:24 214:9 215:19 215:22 218:12,22 222:16 224:1 225:6,8 228:14 229:4 230:2 234:1 235:19 238:25 248:10 255:21 260:4 262:13 263:25\u003c\/p\u003e\n\u003cp\u003eAaron Flint Jamison’s YU Contemporary vs. Dept. of Revenue Oregon \u0026amp; Mult. Co. Assessor gathers all the official legal documents related to the eponymous 2016 court case. The case, brought by the Portland art center Yale Union, of which Aaron Flint Jamison is co-founder and Board Chair, contested a ruling by Multnomah County[1] that disregarded the institution’s status as an non-profit “art museum” in the setting of property tax rates. In a section of YU Contemporary vs. Dept. of Revenue Oregon \u0026amp; Mult. Co. Assessor devoted to the transcription of the court hearing in which Jamison gave testimony (the “Verbatim Report of Proceedings”), a comprehensive index is provided, including the above entry. “mmhmm” is uttered ninety-four times in the course of the hearing, sixteen times by Jamison.\u003c\/p\u003e\n\u003cp\u003eThe index, the ledger, the inventory, and the spreadsheet: these are systems that organize information, record transactions, and codify exchanges in pursuit of administrative efficiency. This exhibition is comprised of a number of such mechanisms, both in familiar and unfamiliar forms. They uniformly take stock, however, of one particular relationship: that of Jamison with Yale Union. Jamison respects that—underneath and perhaps within all its social, material, affective, and intellectual aspects—this relationship is contingent on a particular set of property relations.\u003c\/p\u003e\n\u003cp\u003eThe non-profit art institution in the United States conspicuously operates under the pretense of disavowing property. Or, at least, it aspires to remove from the instance of presentation of artwork speculation over material ownership, maintaining it in its “uncontested” state of intellectual property. But of course this notion of detachment from the exertions of rights of possession and use is by and large delusional, particularly in the U.S. The value within a non-profit art institution, both that held by artworks and that which is formed through the circulation of ideas and knowledge, is put to work and possessed in many ways. If rights to physical or intellectual property determine who can use, alter, sell, or capture the payoffs accruing to it, then the non-profit art institution constitutes a plethora of banked and uncontested rights claims – from artists, directors, curators, and board members. The non-profit art institution is a peculiar kind of battleground for conflicting modes of libertarianism. Jamison here captures this conflict as material.\u003c\/p\u003e\n\u003cp\u003eThe capturing of materials is a possessive act, a point of articulation of that entity as discursively operative within a secured and governed field. Yale Union is a form of property management system in the capacity of cultural producer. This exhibition constitutes a prosthetic extension of this system, one in which Jamison implicates the global art market through the redirection of funds accrued through the sale of property.[2] These are not discrete pockets of property, but traceries of individual and institutional intellectual, physical, and affective labor, social and cultural capital, presented in full awareness of these complications and complicities. YU Contemporary vs. Dept. of Revenue Oregon \u0026amp; Mult. Co. Assessor serves as a document of Yale Union’s layered sovereignties in its exhaustive and “verbatim” survey of YU’s historical constitution and programming, all in service of establishing the value of its productive relations to “civil society,” as opposed to private gain.\u003c\/p\u003e\n\u003cp\u003e—Richard Birkett\u003c\/p\u003e\n\u003cp\u003ePrinted, sewn, and glued in Portland, OR, at Yale Union. Published by Galerie Max Mayer, Düsseldorf, Germany as part of Aaron Flint Jamison’s exhibition on view May 6–July 1, 2017\u003c\/p\u003e","brand":"Galerie Max Mayer","offers":[{"title":"Default Title","offer_id":57357070238036,"sku":"A8B-25367","price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/flint.jpg?v=1790811491"},{"product_id":"the-gift","title":"the Gift","description":"\u003cp\u003e*OUT OF PRINT* In a career spanning more than four decades, Lutz Bacher has built a highly heterogeneous oeuvre that defies classification. The American artist, who adopted her male pseudonym when she first started out, has produced conceptual work in a variety of media. Bacher’s photographs, sculptural arrangements, videos, sound pieces, and expansive installations incorporate images and objects that are fixed in collec-tive memory and easily retrieved: press photographs of public figures that, copied several times over, begin to lead a strangely aesthetic new life, everyday stuff and detritus from thrift shops she integrates into her installations as objets trouvés and secondhand readymades, or time-worn baseballs, marbles, and sand. Her appropriations draw on trivial pop culture sources such as dime novels, porn magazines, self-help literature, and paparazzi snapshots, and occasionally include references to art history. The human body, sexuality, power, and violence are key issues in her art, as are our current state of being and the deliberate blurring of the line separating the private from the public sphere.\u003cbr\u003e\u003cem\u003ethe Gift\u003c\/em\u003e, designed by her, also works with this idea of finding and collecting, of fragmenting and referencing and joins perfectly into her former books. [publisher's note]\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/lutzbacher.com\/\" target=\"_blank\"\u003eand a secret share\u003c\/a\u003e\u003c\/p\u003e","brand":"Secession,Revolver","offers":[{"title":"Default Title","offer_id":57357077414228,"sku":"A8B-25403","price":65.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/BACHER_LUTZ_The_Gift.jpg?v=1790811502"},{"product_id":"the-beautiful-book","title":"The Beautiful Book","description":"\u003cp\u003eThe only autonomous collection of Jack Smith's photographs to appear during his lifetime, The Beautiful Book comprises 19 hand-tipped black-and-white contact prints (2 1\/4 x 2 1\/4 inches), originally published in an edition of 200 copies.(1) The photographs were produced mainly during the course of extended shooting sessions in Smith's Lower East Side apartment. Most date from the winter of 1962, although a few are earlier—including the final \"signature\" photograph, a portrait of the artist on the steps beneath the Brooklyn Bridge taken by filmmaker Ken Jacobs. Nearly half the photographs feature the artist Marian Zazeela, who provided the design for the book's silk-screened cover. Smith and his associates assembled the books during the late spring and early summer of 1962, before shooting began on Flaming Creatures. (2) Published and distributed by Piero Heliczer¹s press, the dead language, The Beautiful Book was originally priced at \"4 dollars or 16 nouveau francs or 24 shillings,\" and advertised with a statement from the filmmaker Ron Rice: \"we studied these photographs with keen eye discovering new \u0026amp; more beautiful images hidden in every dissolve \u0026amp; curve of the draperies \u0026amp; silks which ran through these masterpieces like some long lost mysterious fume from byzantium.\" The 2001 Beautiful Book is a true facsmile produced by Granary Books in collaboration with the Plaster Foundation, Inc. New prints have been made from the original negatives and hand-tipped onto Canford Buttercup paper. The covers are silk-screened in two colors on Tweedweave paper and saddle-stitched. The printing and arrangement of the photographs, choice of materials, and nature of the binding are consistent with the four copies of the book given by Smith to Marian Zazeela in 1962. [publisher's note.]\u003c\/p\u003e","brand":"Granary Books","offers":[{"title":"Default Title","offer_id":57357088391508,"sku":"A8B-25445","price":500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/IMG_0919.jpg?v=1790811516"}],"url":"https:\/\/after8books.com\/collections\/rares-and-specials.oembed","provider":"After 8 Books","version":"1.0","type":"link"}