Académique Documents
Professionnel Documents
Culture Documents
This volume documents the installation at the Cranbrook Art Museum of Lou Reeds Metal
Machine Trio, a live ambisonic 3-D sound installation inspired by Reeds controversial 1975
album Metal Machine Music. Reed worked with acoustic specialists to recreate the live
experience.
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Hindeloopen is the name of a small village in the northern area of the sselmeer in the
Netherlands. This style of painting was born in the 17th century, and even now there are a small
number of craftsmen with workshops in town where they continue to produce traditional painted
furniture. In this style, flowers, birds, arabesque patterns, and other designs are painted over
serene base colours of red, dark blue, and green, giving off a sense of calm and grace. The
author, Mika Miyamoto, first encountered this style in Hindeloopen 30 years ago. Motivated by the
retirement of popular artists, Miyamoto has compiled this volume in an effort to preserve a
vanishing Hindeloopen.
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As indicated by the title of this exhibition catalogue, the theme of Malcolm Morleys recent work is
history and, more specifically, war and conflict. The paintings can be viewed as the multi-layered
products of a complex process of historical deconstruction and reconstruction, immersing the
viewer in a vibrant historical universe where past and present merge, fusing anachronistic
elements into a unified whole. As World War I biplanes fly over Spanish galleons, and scenes
from pivotal battles in British and American history play out, it is clear that Morleys sources of
inspiration are the models and figures he has collected over the years, from jousting knights to
Native Americans.
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of
reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with
Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which
accounts for who is who and why who is who. Inverted Commas follows pseudonym through
names, naming, bodies, brains, self, author, other, reader, labour.
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Showtitles is an ongoing work by Stefan Brggemann of titles for exhibitions. They may be used
freely by others. There is no need for any authorization, but their use must be credited to Stefan
Brggemann on the back of the invitation.
Stefan Brggemann is interested in words that become pictures and pictures that become
words. In this way he questions the idea of transferring or mirroring information. Language
becomes a way of remembering, of reflecting and refracting events. His laconic picture-signs act
as memorials to language that must be reactivated. They create imaginary spaces or
experiences for the audience, invoked by words. These spaces are produced through the
individual act of looking, and each look is always new, notwithstanding the familiarity of the
statement. Independently from many other materials and mediums Brggemann uses, one of his
principal strategies is to inject a Pop sensibility into Conceptual strategies in a simple but
refreshing way.
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The work of the British artist Richard Wright is often volatile, it is painted over or destroyed after
the exhibition. Not in the Rijksmuseum, where he hand-painted 47,000 black stars on the ceilings,
left and right of the Night Watch. In this English book this remarkable project is explained. The
book itself is a work of art designed by Karel Martens.
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Brimming with unearthly delights, this book tantalises the senses while presenting the rich culture
of Japanese sweets (wagashi) through the work of the world-renowned confection expert,
Chikara Mizukami. As a modern wagashi master, his active role in a wide range of interests is
focused not just in Japan or at Ikkoan, his shop in Tokyo. Mizukami has undertaken many
collaborations with international chocolate companies and patisserie houses, and performed
demonstrations and lectured internationally as well. Included are 72 gorgeously rendered
confections that trace a subtle arc through the seasons, plus explanations about flavours,
interpretations, and vocabulary.
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Published on the occasion of an exhibition at the Fondation Vincent van Gogh Arles, this
catalogue presents recent works from the often astonishing oeuvre of Swiss artist Urs Fischer.
Known for his subversive approach to art, Fischers installations, sculptures, drawings, collages,
and other pieces together invoke a world of visual and collective primary experiences entering
an exhibition conceived by him is to find oneself in an evocative space that is simultaneously
amusing and theatrical, yet undeniably forceful in its visual language. Closely aligned with its
venue, Mon cher is a clever and colourful homage to Van Gogh, the modern age, and anti-
classicism.
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Following a solo exhibition of portraits at the National Portrait Gallery in 2014, Catherine
Goodman exhibits new larger landscapes and figures at Marlborough Fine Art. Juxtaposing
portraits of people and objects alongside larger-scale landscapes and subjects drawn from film,
this exhibition reveals different facets of Goodmans creative imagination and its rich range of
references drawn from life and art.
The diverse landscapes of Tuscany and the Himalayan mountains in India where she has painted
for many years, continue to feed her recent works. Huts, palapas, and poplar trees become
powerful presences in scenes where a sense of spatial ambiguity often makes the landscape
seem unfamiliar. Typically painted from life on un-stretched canvas, her works are layered with
imagined scenes and memories in the studio, without losing the immediacy of her original
encounter with the subject.
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This exhibition brings together the work of two of South Africas foremost visual artists, William
Kentridge and Vivienne Koorland. Kentridge and Koorland come from the same generation of
South African artists. Born in the 1950s, they first met as university students in the mid-1970s and
have been talking about art ever since. This exhibition foregrounds a friendship of forty years and
a dialogue which has been mutually enriching as the practice of each has informed that of the
other.
Kentridge is known for his animated films, complex narratives and beguiling imagery drawn and
redrawn in charcoal, pastel and paint. Koorland makes huge paintings that are palimpsests of
found and original material, both text and imagery. The works of the two artists are very different,
yet there is much they share.
The selection of works for the exhibition highlights the formal and thematic links between the work
of Kentridge and Koorland, mapping their artistic friendship through shared artistic strategies and
a common sense of the urgency and agency of art.
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One of Britain's most celebrated living painters with a career spanning more than fifty years,
Hodgkins intimate oil on wood-panel paintings convey the relationship between hand, eye, and
memory that charges process, visual structure, and emotional temperature.
Hodgkin's compositions are distinctive for the ways in which abstraction and representation,
narrative and pure sensation, past and present are brought into urgent relation. Intimate,
thoughtful, and insightful, his paintings suggest great arcs of time and thought.
With paint strokes of varying depth and vigour, his works convey fleeting private moments and
intense recollections. Now (201516) embodies an interchange between light and dark, time and
feeling; while Always Afternoon (2016) transforms a temporal memory into an experience of pure
and exuberant colour. The layered greens and yellows of Dont Tell a Soul (2016) elide the weight
of hours with an emotional jolt; while In the Pink (200814) typifies Hodgkin's approach to what
James Lawrence calls his idiosyncratic assemblage of readings or misreadings. Completed
between 2014 and 2016, each painting creates a pocket of time and silence, demonstrating
afresh the expressiveness, candour, and mastery of a painter in his prime.
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As a fixture on the SoHo-based experimental art scene of the 1970s and 1980s, Argentine-
American video/television-art pioneer and conceptual artist Jaime Davidovich (born 1936) has
worked in a broad variety of mediums throughout his long career, including video, painting and
installation, while also establishing himself as an activist and TV producer. His weekly variety
program, The Live! Show (197984), featured performances and interviews with artists such as
Laurie Anderson, Eric Bogosian, Tony Oursler and Michael Smith, while other video works
included appearances by the artist Stuart Sherman. Davidovich embraced a postmodernists
eclecticism and a humorous aesthetic. In this lively conversation with scholar Daniel R. Quiles,
Davidovich recounts his early years in post-war Argentina, the 1963 coup dtat that led to his
relocation to New York and his long, influential career.
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Waltercio Caldas (born 1946) is one of Brazils most recognized and respected contemporary
artists. He occupies a key role in the generation that bridges the historical innovations of the
Concrete and Neo-Concrete artists of the 1950 and 60s and todays younger artists.
In this ninth volume of the Conversaciones series, writer, curator and art historian Ariel Jimnez
engages Caldas in a lively dialogue covering more than five decades of artistic production,
exploring the connections between perception and history, and the way in which artist, viewer,
context and history all play roles in how art is seen and experienced. Combining a formal
intelligence, eclectic materials and provocative games, Caldas works raise subtle questions
about the unique nature of art and its place in a world of redundancy.
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Fiona Tans latest book, counterpart to an exhibition at the Izu Photo Museum in Japan, takes
Mount Fuji as its theme. The work is a two-part installation comprising a 77-minute video and
many photographs. The latter is based on more than 4000 photographs contributed by the public
and selected from the museums collection. The project is simultaneously a rumination on the
singularity of the mountain and our relationship to it, an exploration of history as told through
visual culture, and a study of the history of film. The three-part publication (one volume of images
and two with texts) explores identity, memory, and history, wherein Tan also examines the nature
of the gaze itself.
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Based in Nagoya, artist Hiroshi Sugito is trained in Japanese-style painting. This catalogue for an
exhibition of his work at the Toyota Municipal Museum of Art, curated by Yoko Nose, aptly
expresses how his paintings contain everything from minuscule, barely visible objects to
raindrops, trees, houses, and clouds even the universe itself. His soft tones and pale hues
seem to extend outside the paintings frame and into the exhibition space, creating thoughtfully
considered interactions between artworks and the architecture. Sugitos sensitivity with regard to
paintings and the spaces in which they are placed can be seen in the catalogues numerous
installation views.
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Opening with a brief history of the Rijksmuseums collection of Asian art, this book is divided into
five chapters, each devoted to a particular region, which present various objects of outstanding
quality and significance. The selection represents different regional styles, and also offers a look
at sophisticated pieces of decorative art tailored to European tastes and produced specifically for
export to Western markets. From fine Chinese and Japanese porcelain to dancing Shiva statues
and imposing temple guards, the diversity and richness of this Amsterdam museums collection of
Asian art is impressive, including valuable objects from Indonesia, Korea, Bangladesh,
Cambodia, and more.
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Produced and designed by Joke Brouwer of the V2_Institute for the Unstable Media, this book
presents new essays by nine contributors, among them Paul Frissen, Graham Harman, Luciana
Parisi, Lars Spuybroek, and McKenzie Wark, plus artworks by Paolo Cirio, Wim Delvoye, Toms
Saraceno, and Diana Scherer. Two strategies (opacity and radiance) are developed against the
Enlightenment ideal of transparency, since transformed into a global state of mediation and
automation. Although they initially appear to be diametrically opposed, the strategies soon begin
to overlap, together evolving into a kind of spook-phenomenology that opens up new ways of
thinking and seeing.
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What is real and what is not? This is the essential question raised by the photography of Naoki
Honjo, whose use of the tilt-shift technique resulting in a very shallow depth of field with
selective areas of focus creates disorienting images of the real world that at first glance seem to
be photos of meticulously constructed toys and models. Shooting from a birds-eye view, Honjo
enables a fresh perspective on todays landscapes, buildings, and cityscapes that accentuates
the artificial nature of our environment. Kyoto, known for its cherished landmarks and temples,
traditional architecture that forms a stark contrast with the modern city, is the subject of this
series.
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Two years after her disappearance in a boating accident on the Mahakam River, on her way to
explore deep forest in Kalimantan, Indonesia, the first solo exhibition of work by young Dutch
artist Dana Moons was realised in Amsterdam. Published for the occasion, this book gathers her
diverse oeuvre, from prints and film stills to sculptural objects, in turn reflecting her fascination
with nature, stones, and the jungle. Through abstract and organic forms, she sought to express
the confrontation between humans and the world around them, and pursued her deep desire to
understand the foundations of this often paradoxical relationship. With a poignant text by Hans
den Hartog Jager.
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Publication dedicated to the Versos series, in which Philippe Gronon photographs the verso side
of paintings by ancient and modern masters. With a foreword by Hubert Besacier. With a
foreword by Hubert Besacier.
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Villains In Ukiyo-e
Seigensha Art Publishing 2016 ISBN 9784861525544 Acqn 26759
Pb 15x15cm 300pp 250ills 200col 18
Explore a wide array of evil through Ukiyo-E artwork. A compilation of approximately 100 works
featuring a diverse line-up of villains, from people who actually lived, including historical figures
who capture the essence of evil such as the likes of Nezumi Koz Jirokichi and Kira Kzuke no
Suke, minor villains, sorcerers and others, to legendary characters from folklore.
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Fear and fright are universal emotions that all human beings share. We usually try to avoid
anything that seems unknown, dangerous, or eerie. Yet such frightening things often arouse our
ghoulish curiosity and a desire to scrutinise them. This can even lead to a thrilling, pleasurable
sense of joy in the face of danger. This book explores the various ideas of fright and horror as
depicted through ukiyo-e prints made in Japan during the Edo period. Filled with images of
supernatural and deformed creatures, spirits armies, wrathful demons, sea monsters, vengeful
ghosts, and many other ghastly sights, the book is a treasure trove of chillingly titillating, wild
imaginations.
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32 postcards taken from Hiroshige Utagawas famous series 53 Stations at the Tokaido Road.
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The town of Onishi lies roughly 100 kilometres to the north-west of Tokyo, where legend has it
that a troll who once lived on a nearby mountain threw a big stone down the mountain; people
started to call the place where it landed Onishi. Mariko Kuwahara spent time there talking with
local inhabitants and photographing the stones and rocky landscapes she found. The people who
made the deepest impression on her were the men called Ishiya-san (stone dealers). On its
surface, this book is a document of her conversations with them, yet underneath it is a story of
disappearing towns and villages in Japan, of dialects soon to be lost, and ways of life in danger of
being forgotten.
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This exhibition catalogue explores the secret grounds (chemicals, paints, and plant juices
applied to fabrics, foils, and grids) and line structures (using arabesques by Drer or Altdorfer)
of Polkes painting, with a special focus on his resin and curlicue pictures. Ed by Helmut Friedel
fr Stiftung Frieder Burda. With texts by Helmut Friedel and Barbara Vinken as well as a talk
between Bice Curiger and Sigmar Polke.
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Dorian Gaudin
Palais De Tokyo 2017 ISBN 9782840669449 Acqn 27216
Pb 16x24cm 96pp 80col ills 14.95
Dorian Gaudin focuses on the interplay of correspondences between the organic, psychical, and
material worlds. Combining performance, sculpture and cinema, his oeuvre moves back and forth
between automation and living systems. He mobilizes, dislocates, and mechanizes in an
amalgamation of genres: absurdist theatre, science fiction cinema, burlesque and Minimalism. In
his exhibition at the Palais de Tokyo machines and social rituals, visual illusion and physical
presence set in motion a mechanism which is also that of the emotions. Revealing the capacity of
objects to generate narrative and elicit our emotional and intellectual involvement, his works
remind us of the way fetishization of objects and technology governs our relationship with the
world.
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Abraham Poincheval
Palais De Tokyo 2017 ISBN 9782840669432 Acqn 27217
Pb 16x24cm 96pp 59col ills 14.95
Abraham Poincheval is an insatiable explorer. Whether by crossing the Alps while pushing a
capsule he used as his shelter, or by enclosing himself for a week in a rock, hisitinerant or
staticexpeditions require total physical commitment. The inhabitable sculptures which the artist
conceives are laboratories allowing him to experience time, enclosure or immobility. They are the
envelope that hosts the performer, an object that disturbs the landscape, and which exists
through word of mouth. Abraham Poincheval's two new performances at the Palais de Tokyo lead
him to experience the temporalities of the animal and the mineral kingdoms.
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