Published on the occasion of the Exhibition at Boo-Hooray, Jacqueline de Jong, Situationist Times 1962-1967 is the first book to document Jacqueline De Jong’s efforts to make “a completely free magazine, based on the most creative of the Situationist ideas.” Started in 1962, The Situationist Times showcased a broad representation of a movement that had already become divided into the political and the aesthetic, with contributions by artists Asger Jorn, Gruppe SPUR, and Pierre Alechinsky, as well as architects, mathematicians and composers.. At the center of this publication was the shockingly young De Jong, an artist who truly embodied the situationist spirit in both attitude and action.

This fully illustrated catalog features previously unpublished photos, artworks, and notes made in the creation of the SI Times, as well as an introduction by Curator Johan Kugelberg, an essay by art-historian Roberto Ohrt and a transcription of De Jong’s graphically handwritten ...

Published on the occasion of the Exhibition at Boo-Hooray, Jacqueline de Jong, Situationist Times 1962-1967 is the first book to document Jacqueline De Jong’s efforts to make “a completely free magazine, based on the most creative of the Situationist ideas.” Started in 1962, The Situationist Times showcased a broad representation of a movement that had already become divided into the political and the aesthetic, with contributions by artists Asger Jorn, Gruppe SPUR, and Pierre Alechinsky, as well as architects, mathematicians and composers.. At the center of this publication was the shockingly young De Jong, an artist who truly embodied the situationist spirit in both attitude and action.

This fully illustrated catalog features previously unpublished photos, artworks, and notes made in the creation of the SI Times, as well as an introduction by Curator Johan Kugelberg, an essay by art-historian Roberto Ohrt and a transcription of De Jong’s graphically handwritten text “Critic on the Political Practice of Detournement” from the magazine’s Inaugural issue.

Full color. Edition of 250 copies in silk-screened and rubber-stamped boards.

Issued with a letterpress prospectus for Boo-Hooray’s forthcoming facsimile edition of The Situationist Times laid in.

“Hymn To Pan” was recorded live on July 9, 2010 during a reading/performance by Karl Holmqvist at Badischer Kunstverein. The record features a selection of four texts from his anthology “What’s My Name” (2009).

Karl Holmqvist’s texts represent a writing method that is based on lengthy collages of quotes, song lyrics, lists, and other often pop-cultural or trivial sources. Through cut-ups or repetition, occassional rhyme and mantra-like rhythm, these minimal, geometric linguistic arrangements orbit a nucleus that is at the same time analytical and meditative, and that question the cultural hegemony of rationality and authority in any sort of authorship.

Karl Holmqvist’s work has been exhibited internationally. He took part in Frieze Projects 2010 with Ei Arakawa and was also part of Manifesta 8 in Cartagena, Spain in 2010. In 2011 his work can be seen in the group exhibition “Illuminations”, part of the 54th Venice Biennale.

This record is published as a complement to ...

“Hymn To Pan” was recorded live on July 9, 2010 during a reading/performance by Karl Holmqvist at Badischer Kunstverein. The record features a selection of four texts from his anthology “What’s My Name” (2009).

Karl Holmqvist’s texts represent a writing method that is based on lengthy collages of quotes, song lyrics, lists, and other often pop-cultural or trivial sources. Through cut-ups or repetition, occassional rhyme and mantra-like rhythm, these minimal, geometric linguistic arrangements orbit a nucleus that is at the same time analytical and meditative, and that question the cultural hegemony of rationality and authority in any sort of authorship.

Karl Holmqvist’s work has been exhibited internationally. He took part in Frieze Projects 2010 with Ei Arakawa and was also part of Manifesta 8 in Cartagena, Spain in 2010. In 2011 his work can be seen in the group exhibition “Illuminations”, part of the 54th Venice Biennale.

This record is published as a complement to the exhibition “Hymn to Pan” at Badischer Kunstverein (09.07.-05.09.2010).

Two epic tracks by two Düsseldorf residents.

Prepared pianist Hauschka aka Volker Bertelmann and Brasilian painter Rosliene Luduvico with an ad hoc recording session in preparation for their collaborative show “Unbestimmt” at Kunstverein Schwerte, Germany from Sept 01 to Oct 16, 2011 on invitation by Christian Freudenberger and Markus Karstieß.

Losely themed around the forests near the artists birthplaces in Northern Brasil and Western Germany with its gods, myths and Maerchen, we hear stories and chants over Hauschkas trademark piano experiments drenched in dark delay.

Tracklist:
Side A: Macunaíma (15:31)
Side B: Nachts der Wald braucht so ganz viel Ruhe (18:20)

All music composed, produced and recorded by Rosilene Luduvico and Volker Bertelmann at Studio Zwei, Düsseldorf. Volker Bertelmann published by Bosworth Music GmbH.
This recording is supported by Kunstverein Schwerte.
Cover concept & Artwork: Hauschka & Rosilene Luduvico
Layout: Adeline Morlon.
Lithography: ...

Two epic tracks by two Düsseldorf residents.

Prepared pianist Hauschka aka Volker Bertelmann and Brasilian painter Rosliene Luduvico with an ad hoc recording session in preparation for their collaborative show “Unbestimmt” at Kunstverein Schwerte, Germany from Sept 01 to Oct 16, 2011 on invitation by Christian Freudenberger and Markus Karstieß.

Losely themed around the forests near the artists birthplaces in Northern Brasil and Western Germany with its gods, myths and Maerchen, we hear stories and chants over Hauschkas trademark piano experiments drenched in dark delay.

Tracklist:
Side A: Macunaíma (15:31)
Side B: Nachts der Wald braucht so ganz viel Ruhe (18:20)

All music composed, produced and recorded by Rosilene Luduvico and Volker Bertelmann at Studio Zwei, Düsseldorf. Volker Bertelmann published by Bosworth Music GmbH.
This recording is supported by Kunstverein Schwerte.
Cover concept & Artwork: Hauschka & Rosilene Luduvico
Layout: Adeline Morlon.
Lithography: Henning Krause

With Fulll Firearms by Emily Wardill, Apparent Extent continues its series of film soundtracks by artists who also work in the medium of music.

Fulll Firearms features music from the film of the same title by the British artist Emily Wardill, which celebrates its German debut with an extensive solo exhibition curated by Anja Casser at Badischer Kunstverein, Karlsruhe (January–April 2012). The film is an exploration of the narrative structures of melodrama and the conflict constellations of psychodrama following the real story and popular myths around Sarah Winchesters Mystery House in San Jose, CA. Fulll Firearms is about guilt and ghosts, instability, paranoia and loss of reality. The soundtrack is heavily inspired by the 1970s thriller and horror movie soundtracks by the Italian prog rock band Goblin. And yet Wardill’s music stands on its own.

The artist-composer takes sometimes poetic, sometimes definite, roughly sketched stylistic elements from the Goblin repertoire: church ...

With Fulll Firearms by Emily Wardill, Apparent Extent continues its series of film soundtracks by artists who also work in the medium of music.

Fulll Firearms features music from the film of the same title by the British artist Emily Wardill, which celebrates its German debut with an extensive solo exhibition curated by Anja Casser at Badischer Kunstverein, Karlsruhe (January–April 2012). The film is an exploration of the narrative structures of melodrama and the conflict constellations of psychodrama following the real story and popular myths around Sarah Winchesters Mystery House in San Jose, CA. Fulll Firearms is about guilt and ghosts, instability, paranoia and loss of reality. The soundtrack is heavily inspired by the 1970s thriller and horror movie soundtracks by the Italian prog rock band Goblin. And yet Wardill’s music stands on its own.

The artist-composer takes sometimes poetic, sometimes definite, roughly sketched stylistic elements from the Goblin repertoire: church choirs, pseudo-baroque piano phrases, prog-rock keyboards, eerie suggestive sound effects, and suspense-genre dramaturgy. The music seems to complete the action and acoustic imagery of the film, but as a matter of fact only about 10 seconds of the music –directed by Emily Wardill and transcribed by composer Marc Shearer– made it to the final cut of the film. The soundtrack is to be understood literally as music for, not from, the film. The music was finished before a single scene was shot and served Wardill – along with workshops with actors and friends – as a source of inspiration for the development of characters and screenplay. The music for Fulll Firearms is a sort of sonic mood board, an original foundation for her film project.

Wardill’s cover concept reproduces Fulll Firearms as an anonymous and obscure cinematic experience, as it conveys in her experimental psychodrama: The outside gatefold sleeve and the label of the vinyl record are completely black, the tracks have no titles, the most necessary remaining information (artist, album title) can only be found in the vinyl’s groove message. But as you open the gatefold album you find yourself face to face with a glamorous cinematic 16:9 contour of singing Imelda, the delusional ghost ridden protagonist of Wardill’s film, played by French actress Catherine Schaub-Abkarian, wearing a glorious black fez, enormous oversize golden creoles and necklaces, the dark felt hat itself decorated with a brooch repeating the conture-fez-and-gold imagery.

Amidst the darkness this is opulent: and the film in the head of the listener can begin … (Olaf Karnik)

Published as part of the exhibition Emily Wardill – Fulll Firearms, Badischer Kunstverein, January – April 2012.

Music by Marc Shearer directed by Emily Wardill.
Mastered by Nicholas Bussmann.

Cover concept by Emily Wardill.
Still photo taken from “Fulll Firearms”, 2011.

Record produced by Badischer Kunstverein, Karlsruhe
with LUX, London.

“Vision Vulkano” documents two performances by the Düsseldorf-based artists Angela Fette and Christian Jendreiko, made during their collaborative show at Kunstverein Schwerte “Orakel Konkret” in spring 2011.

The A-side contains “Orakel Konkret”, a live recording of an action commissioned for the opening. Christian Jendreiko plays a vintage Vibraphone and Angela Fette performs as a blindfolded oracle. While a chatty premiere audience is slowly settling down and beginning to listen, Jendreiko starts, using his trademark non-repetitive modal playing method, as Fette turns in circles, predicting obvious, tiny, very concrete future events that will happen in this very room.

The B-side is a playful dialogue between the artists, playing with the terminology of will and imagination in their positive and negative variations. “Yes, I am able to envision this”. “No, I am not able to envision this”. And so on, deliberately changing perspectives ...

“Vision Vulkano” documents two performances by the Düsseldorf-based artists Angela Fette and Christian Jendreiko, made during their collaborative show at Kunstverein Schwerte “Orakel Konkret” in spring 2011.

The A-side contains “Orakel Konkret”, a live recording of an action commissioned for the opening. Christian Jendreiko plays a vintage Vibraphone and Angela Fette performs as a blindfolded oracle. While a chatty premiere audience is slowly settling down and beginning to listen, Jendreiko starts, using his trademark non-repetitive modal playing method, as Fette turns in circles, predicting obvious, tiny, very concrete future events that will happen in this very room.

The B-side is a playful dialogue between the artists, playing with the terminology of will and imagination in their positive and negative variations. “Yes, I am able to envision this”. “No, I am not able to envision this”. And so on, deliberately changing perspectives and moods. The 15-minute-long piece is reminiscent of Beuys’ classic/infamous performance piece, “Jaa, Jaa. Nee, Nee.” (and/or Kippenberger’s later ironic Techno versions of the same.) The very same recording of “Die Welt als Wille und Vorstellung” was used as a backing track for a guitar performance by Fette and Jendreiko during the finissage of the exhibition.

The front cover and labels present views of the exhibition. “Vulkano” is a painting by Fette from her ongoing series based on the concepts of natural disasters, accompanied by a Jendreiko installation – a classic Flying V electric guitar placed atop bones, ancient symbols for aleatoric oracles. The inner sleeve reproduces Jendreikos action text used for “Orakel Konkret” as well as a transcription of Fette’s oracular predictions.

Painter and poet Angela Fette is known for her powerful, sharp paintings, installations, and mask performances. Recently, Christian Jendreiko’s large-scale actions have been realized in a number of different cities and countries, involving the collaboration of large collectives over several hours. For “Vision Vulkano” he returns to a singular, individual form of his signature playing style.

Text by Volker Zander

Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices. It has included contributions and original pieces from an extensive range of artists over its eighteen issues. Since 1965, the magazine has published work and writing by over 150 artists, including John Latham, Roy Ascot, Anthony Benjamin, Dan Graham, Mary Kelly, Helen Chadwick, Tony Cragg, Dennis Adams, Lawrence Weiner, Anish Kapoor, Martha Rosler, Jeremy Deller, alongside collectives and collaboratives such as Gallerie in Friedrichstrasse, Artists Placement Group and early producer’s galleries such as that of Dieter Hacker. Many of the artists have made artwork specially for the magazine.

Control Magazine’s function has always ...

Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices. It has included contributions and original pieces from an extensive range of artists over its eighteen issues. Since 1965, the magazine has published work and writing by over 150 artists, including John Latham, Roy Ascot, Anthony Benjamin, Dan Graham, Mary Kelly, Helen Chadwick, Tony Cragg, Dennis Adams, Lawrence Weiner, Anish Kapoor, Martha Rosler, Jeremy Deller, alongside collectives and collaboratives such as Gallerie in Friedrichstrasse, Artists Placement Group and early producer’s galleries such as that of Dieter Hacker. Many of the artists have made artwork specially for the magazine.

Control Magazine’s function has always been to provide a resource for artists to discuss their work and, in particular, to make connections with other disciplines such as social or computer sciences, technology etc. Its eighteen issues provide a unique record of a specific area of art practice over four decades and this non-profit making publication has had an acknowledged influence on the practice of artists.

Alongside the magazine itself, there have been events held to launch certain issues, such as Cognition Control, Midland Group Gallery, Nottingham, 1972; the Symposium Art Creating Society at MOMA, Oxford, 1989; Art and Intervention at Wilma Gold, London, 2003.

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I ...

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst”.
TOILET PAPER

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. ...

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst”.
TOILET PAPER

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. ...

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst”.

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. ...

“Toilet Paper”, a visual communication project that grew out of a collaboration between artist Maurizio Cattelan and photographer Pierpaolo Ferrari, is a next-generation magazine that combines commercial photography, twisted narratives and surreal imagery to create a series of powerful, ambiguous visual tableaux.

Maurizio Cattelan is once again challenging the rules of the contemporary cultural system that he himself belongs to, subverting its paradigms: this time, by poking fun at the world of slick magazines and stuffy, self-referential art critics. “Toilet Paper” fearlessly builds a bridge between commercial photography and fine art, relying on the camera of well-known Italian photographer Pierpaolo Ferrari to create an archive of images that seem to bring Cattelan’s dreams, fixations and nightmares to life.
In an interview with the Italian edition of Vogue, Pierpaolo Ferrari commented, “The magazine springs from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst”.
TOILET PAPER

Revolution: A Reader is a 1000+ pages anthology, compiled and annotated by Lisa Robertson and Matthew Stadler.

It includes texts by Kathy Acker, Etel Adnan, Giorgio Agamben, Arakawa + Gins, Hannah Arendt, Dodie Bellamy, Hakim Bey, David Brazil, Edmund Burke, Thomas Carlyle, Bernal Diaz del Castillo, Mahmoud Darwish, Guy Davenport, Angela Davis, Gilles Deleuze, Stacy Doris, Hal Draper, Frantz Fanon, Shulamith Firestone, M.F.K. Fisher, Michel Foucault, Charles Fourier, Mavis Gallant, Jean Genet, George Grosz, Ian Hamilton Finlay, Alan Halsey, Donna Haraway, Harry Hay, William Hazlitt, Christopher Hill, Langston Hughes, Ivan Illich, The Invisible Committee, Calvin Johnson, J. Krishnamurti, Thomas Kuhn, Violette Leduc, Mina Loy, Lucretius, Asmaa Mahfouz, Agnes Martin, Marshall McLuhan, Louise Michel, Eileen Myles, Elena Poniatowska, Miguel Leòn-Portilla, Michel Ragon, Jacques Rancière, Kristin Ross, Edward Said, Saskia Sassen, Percy Bysshe Shelley, Situationist International, Valerie ...

Revolution: A Reader is a 1000+ pages anthology, compiled and annotated by Lisa Robertson and Matthew Stadler.

It includes texts by Kathy Acker, Etel Adnan, Giorgio Agamben, Arakawa + Gins, Hannah Arendt, Dodie Bellamy, Hakim Bey, David Brazil, Edmund Burke, Thomas Carlyle, Bernal Diaz del Castillo, Mahmoud Darwish, Guy Davenport, Angela Davis, Gilles Deleuze, Stacy Doris, Hal Draper, Frantz Fanon, Shulamith Firestone, M.F.K. Fisher, Michel Foucault, Charles Fourier, Mavis Gallant, Jean Genet, George Grosz, Ian Hamilton Finlay, Alan Halsey, Donna Haraway, Harry Hay, William Hazlitt, Christopher Hill, Langston Hughes, Ivan Illich, The Invisible Committee, Calvin Johnson, J. Krishnamurti, Thomas Kuhn, Violette Leduc, Mina Loy, Lucretius, Asmaa Mahfouz, Agnes Martin, Marshall McLuhan, Louise Michel, Eileen Myles, Elena Poniatowska, Miguel Leòn-Portilla, Michel Ragon, Jacques Rancière, Kristin Ross, Edward Said, Saskia Sassen, Percy Bysshe Shelley, Situationist International, Valerie Solanas, Rebecca Spang, Gertrude Stein, Jalal Toufic, Edward John Trelawney, Flora Tristan, Oscar Tuazon, Vivienne Westwood, Oscar Wilde, Raymond Williams, Mary Wollstonecraft, and George Woodcock.

The texts are organized along a chronology of living: from “beginning,” to “childhood,” “education,” “adulthood,” and “death.” The hope is to bring the embodied fact of revolution into the lived present by engaging readers with language that takes them there, no matter where they are to begin with. We are all in revolution, now. Reading can make this fact primary and conscious, and shared.

“This book doesn’t represent revolution as a general concept, but it follows the specific revolutions we have experienced in our conversations with one another, in our friendships and communities, and with the writers we love. Every one of these texts is in this book because we have been moved by it, emotionally, intellectually, and bodily. And it was our need to bring revolution home into our bodies, to experience the radical potentials of our limit, our human embodiment, that energised our work. " – from the introduction.

Born out of fantasy and speculation, designed for fun and profit, Miami Beach has been, from its inception, a city of mythical composition. Its famed Art Deco District was designated a Historic District by the National Register of Historic Places in 1979, and today the area is basking in a revival of interest and attention. Nevertheless, while fashion photographers and entrepreneurs, artists, developers, restaurateurs and club owners flock to the neighborhood, it is still struggling, after years of deterioration and neglect, to recreate itself out of its own forgotten glamour. Despite a new palette of confectionery colors and the renovation of numerous buildings, the Art Deco District remains in need of urban cultivation, of a reinterpretation that transcends its original resort identity. Author Laura Cerwinske introduces Tropical Deco: The Architecture and Design of Old Miami Beach by discussing both the area’s past and its future. Throughout her comprehensive exploration of ...

Born out of fantasy and speculation, designed for fun and profit, Miami Beach has been, from its inception, a city of mythical composition. Its famed Art Deco District was designated a Historic District by the National Register of Historic Places in 1979, and today the area is basking in a revival of interest and attention. Nevertheless, while fashion photographers and entrepreneurs, artists, developers, restaurateurs and club owners flock to the neighborhood, it is still struggling, after years of deterioration and neglect, to recreate itself out of its own forgotten glamour. Despite a new palette of confectionery colors and the renovation of numerous buildings, the Art Deco District remains in need of urban cultivation, of a reinterpretation that transcends its original resort identity. Author Laura Cerwinske introduces Tropical Deco: The Architecture and Design of Old Miami Beach by discussing both the area’s past and its future. Throughout her comprehensive exploration of the most concentrated neighborhood of Art Deco buildings in the world, she details the style’s evolution and examines its design.

Tropical Deco: The Architecture and Design of Old Miami Beach treats its readers to a delightful view of a unique adaption of a historic architectural style. For, while Miami Beach’s Art Deco architecture derives its stylistic roots from the streamlined and electric visions of the cosmopolitan North, Tropical Deco design is much softer and more temperately seductive. These are buildings whose narrative and evocative nature is at once sophisticated, naive and filled with humor.

Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90’s he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.

In essence, Weisbecker’s art consist of depicting elements of our daily life untouched by the sometime devastating effects of fashion’s changing mood. These range from tools to appliances, from industrial buildings to
public housing and, in the present case, greenhouses. Greenhouses were created for the purpose of preserving an inner world from the outside world. they haven’t changed much over time. Their purpose ...

Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90’s he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.

In essence, Weisbecker’s art consist of depicting elements of our daily life untouched by the sometime devastating effects of fashion’s changing mood. These range from tools to appliances, from industrial buildings to
public housing and, in the present case, greenhouses. Greenhouses were created for the purpose of preserving an inner world from the outside world. they haven’t changed much over time. Their purpose created their form. There lies their eternal beauty. It is this beauty that Weisbecker invites us to share with him through his Greenhouses study book.

Call Ampersand Response is a collaborative artwork made of images exchanged via email. Over a period of several months, Dumontier and Lexier sustained an image-based correspondence by sending each other scans of book covers, found objects, drawings and illustrations belonging to each artist’s respective collection. The project is based on the idea that their collections speak of their shared artistic affinities while informing their practices. Two rules dictated their conduct: each image was to function as a “call” seeking a “response” from the other artist, and the dialogue was to end when an image recalling the project’s opening image emerged, thereby constituting a narrative loop. Their conversation gave rise to a bookwork co-edited by Nieves and Artexte.

Michael Dumontier (born 1974) is a Winnipeg-based artist whose work encompasses drawing, sculpture, painting, and collage. He is a founding member of The Royal Art Lodge (1997–2008), and has exhibited throughout Canada ...

Call Ampersand Response is a collaborative artwork made of images exchanged via email. Over a period of several months, Dumontier and Lexier sustained an image-based correspondence by sending each other scans of book covers, found objects, drawings and illustrations belonging to each artist’s respective collection. The project is based on the idea that their collections speak of their shared artistic affinities while informing their practices. Two rules dictated their conduct: each image was to function as a “call” seeking a “response” from the other artist, and the dialogue was to end when an image recalling the project’s opening image emerged, thereby constituting a narrative loop. Their conversation gave rise to a bookwork co-edited by Nieves and Artexte.

Michael Dumontier (born 1974) is a Winnipeg-based artist whose work encompasses drawing, sculpture, painting, and collage. He is a founding member of The Royal Art Lodge (1997–2008), and has exhibited throughout Canada and internationally. His distinct, minimalist style often features visual puns and references from how-to manuals and vintage children’s books. Beyond his individual practice, Dumontier has worked collaboratively with fellow Royal Art Lodge member Neil Farber with whom he has held weekly drawing sessions for over 15 years, and with Micah Lexier. He is represented in Toronto by MKG127 and by Paul + Wendy Projects, and in Montreal by Galerie Division.

Micah Lexier (born 1960) is a Toronto-based conceptual artist and curator. His work embraces notions of identity and its representation through a variety of media including sculpture, photography, drawing, printmaking and installations. Lexier’s work has been shown at institutions such as Printed Matter (2007), the National Gallery of Canada Library (2004), the Musée d’art contemporain de Montréal (1998), and the Art Gallery of Ontario (1993). He is represented in Toronto by Birch Libralato, in Calgary by TrépanierBaer, and in Sydney by Gitte Weise Galerie.

3 × 10″ Vinyl – Box mit Buch – limited 1000 hand-numbered copies

Kippenberger unplugged!

Martin Kippenberger skipped out on this world after just 44 years – in 1997, the art world’s flamboyant enfant terrible, one of Germany’s most famous painters and best known for his biting provocations and prolific output, died of the consequences of his equally prolific alcohol consumption.

In 1978, Kippenberger moved to Berlin, launched „Kippenbergers Büro“ (together with his future gallerist Gisela Capitain) and became the managing director of Kreuzberg’s seminal venue SO36 where he proceeded to confuse the local punks with acts like Red Krayola, Scritti Politti, Kleenex or Kevin Coyne. His own band Luxus (featuring Christine Hahn of Malaria, among others) released a limited edition single in 1979, available in homeopathic quantities. In subsequent years, he cranked out a steady stream of further singles, a. o. with fellow painter Albert Oehlen. Kippenberger’s ...

3 × 10″ Vinyl – Box mit Buch – limited 1000 hand-numbered copies

Kippenberger unplugged!

Martin Kippenberger skipped out on this world after just 44 years – in 1997, the art world’s flamboyant enfant terrible, one of Germany’s most famous painters and best known for his biting provocations and prolific output, died of the consequences of his equally prolific alcohol consumption.

In 1978, Kippenberger moved to Berlin, launched „Kippenbergers Büro“ (together with his future gallerist Gisela Capitain) and became the managing director of Kreuzberg’s seminal venue SO36 where he proceeded to confuse the local punks with acts like Red Krayola, Scritti Politti, Kleenex or Kevin Coyne. His own band Luxus (featuring Christine Hahn of Malaria, among others) released a limited edition single in 1979, available in homeopathic quantities. In subsequent years, he cranked out a steady stream of further singles, a. o. with fellow painter Albert Oehlen. Kippenberger’s not so secret love and passion, however, was swing music – expansive, and possibly pompous, big band jazz – and traces of this have found their way onto a Golden Kot Quartett release, which lists Kippenberger as its drummer. Yuppi Du, on the other hand, makes the most of his Dadaist humour, while several versions of Ja, Ja, Ja, Nee, Nee, Nee pay tongue-in-cheek homage to Joseph Beuys.

Now, give or take three decades later, Edition Kröthenhayn releases the surviving works of Kippenberger and his friends on vinyl. Expect 60 minutes of music: jazz, noise and obscure sound experiments squeezed into a limited, hand-numbered (1000 copies) 10” vinyl box containing three records and a book. The edition comes replete with a slip lid box and banderole and are prime examples of luxurious, high-quality bookbinding. In addition, essays and writing by Max Dax (Spex), Wolfgang Müller (Die Tödliche Doris) and Frieder Butzmann are accompanied by many previously unpublished – and unseen – photographs.

The action art of Hermann Nitsch from past to present

Actions 1962–2003 (1 DVD-PAL) plus a CD containing recordings from the Burgtheater performance 2005.

Hand-numbered edition of 1000 copies. The packaging consists of a slip lid box with banderole, containing a 80 pages book with photos and texts.

Disputed and celebrated: Hermann Nitsch, Actionist and painter, composer and stage designer. He is one of the most renowned Austrian artists of today and nevertheless still divides the art world as before.

Nitsch belongs beside Günter Brus, Otto Mühl and Rudolf Schwarzkogler to the most important main actors of Viennese Actionism. At the beginning of the sixties he carried out his first ‘Actions’ in Vienna, which involved several trials and three terms of imprisonment. His main work, the “Orgy Mystery Theatre”, inspired by Greek mythology, as well as by Antonin Artaud or Sigmund Freud, has been introducing, building up and carrying on all art forms since this time.

On the ...

The action art of Hermann Nitsch from past to present

Actions 1962–2003 (1 DVD-PAL) plus a CD containing recordings from the Burgtheater performance 2005.

Hand-numbered edition of 1000 copies. The packaging consists of a slip lid box with banderole, containing a 80 pages book with photos and texts.

Disputed and celebrated: Hermann Nitsch, Actionist and painter, composer and stage designer. He is one of the most renowned Austrian artists of today and nevertheless still divides the art world as before.

Nitsch belongs beside Günter Brus, Otto Mühl and Rudolf Schwarzkogler to the most important main actors of Viennese Actionism. At the beginning of the sixties he carried out his first ‘Actions’ in Vienna, which involved several trials and three terms of imprisonment. His main work, the “Orgy Mystery Theatre”, inspired by Greek mythology, as well as by Antonin Artaud or Sigmund Freud, has been introducing, building up and carrying on all art forms since this time.

On the DVD there is a 4-hour overview of all ‘Actions’ of 1962–2003, as well as an interview from 2005. The 80-page book (German/English) with a text by Florian Schreiner and numerous photos explains the theoretical basis of Nitsch’s work. The CD contains recordings of the 122nd ‘Action’ from the castle theatre Vienna.