Art August 2015 II

ART
Celeste Boursier-Mougenot
Palais De Tokyo 2015 ISBN 9782840668015 Acqn 25383
Pb 16x24cm 96pp 47ills 12col 14.50
Cleste Boursier-Mougenot produces systems from everyday situations and objects, as well as
devices, of which he then extracts their musical and sound potential. In this way, the artist
reconfigures both the rhythmic and melodic possibilities of his materials, which he uses to
generate sonic forms that he describes as being living. Based on a close relationship with the
architectural and spatial nature of the exhibition space, each system creates a framework
favouring a multi-sensorial experience for the visitor. In 2015, Cleste Boursier-Mougenot is
representing France at the 56th Contemporary Art Biennial in Venice. For the Palais de Tokyo, he
has conceived a lakeside landscape, leading visitors into a tactile, visual and sonic experience,
thus changing their perception of the space. Visitors are drawn into a flow of images, creating
doors leading into a hallucinatory journey.
This monograph gathers a conversation with Cleste Boursier-Mougenot and Daria de Beauvais,
curator of the exhibition at the Palais de Tokyo, an essay by Frdrique At-Touati, a portfolio of
views of the exhibition, a selection of images of works by Cleste Boursier-Mougenot in relation
to the installation, and notes on a selection of the artist's works.
Published in cooperation with Les presses du rel, this series of monographic books
accompanies the Palais de Tokyo's exhibition program. Richly illustrated, with many views of the
exhibition, accessible to all, each book will offer the reader an extended experience of the
encounter with the artists' work. The artists' words will appear alongside original contributions by
theoreticians, art critics, and curators, providing the reader with a deeper understanding of each
artist's background and of the genesis of their project for the Palais de Tokyo. These books will
allow the reader to follow the evolution of the artists' reflection on their work.
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Patrick Neu
With each piece, Patrick Neu turns traditional technique on its head and embarks on new
experiments, which he extends for as long as required. The artist works with materials not often
found in the art world: bees' wings, lampblack on glass, crystal, wax, blocks of Chinese ink,
butterfly wings, sloughed snakeskin, eggshells, charred paper, etc. For 30 years, Patrick Neu has
been developing his art discreetly. The works selected for his exhibition at the Palais de Tokyo
are a nod towards this perilous dialogue with the materials and the memory of the world. Daring
decisions, the adventure of thought, an insistence on duration and a dialogue with history are all
ingredients in the artist's researches into memory and forgetting processes, the macabre
blooming of flowers and the endurance of ancient images.
This monograph gathers a conversation with Patrick Neu and Jean de Loisy, an essay by Katell
Jaffrs, curator of Patrick Neu's exhibition at the Palais de Tokyo, a portfolio of views of the
exhibition, a selection of images of works by Patrick Neu and notes on a selection of the artist's
works.
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Jesper Just
In his film work, Jesper Just links images of an exceptional quality to sound and music. Enigmas
disrupt the narrative, creating a poetry-liberating tension. The artist leaves spectators with their
own doubts and emotions. The work conceived for the Palais de Tokyo consists of an audiovisual
installation and a spatial intervention, which transforms both the space and the visitor's journey.
This monograph gathers a conversation with Jesper Just and Katell Jaffrs, curator of Patrick
Neu's exhibition at the Palais de Tokyo, an essay by Fabien Danesi, a portfolio of views of the
exhibition, a selection of stills from films by Jesper Just created between 2002 and 2013, a group
of stills from Servitudes, Jesper Just's nine new films, and notes on a selection of the artist's
works.
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Liu Wei Density

White Cube 2015 ISBN 9781906072964 Acqn 25328
Hb 21x28cm 96pp 48ills 24col 31.50
Working across a range of media Liu Wei creates work that reflects Chinas rapidly transforming
socio-political and urban landscape.
Part of a new generation in China that grew up in a period of urban expansion, the artist has
frequently turned to urban themes in his work. Gleaning the materials for his work from his
immediate environment, - he alters and reassembles detritus found on building sites - such as
metal piping, wooden slats, old doors and large sheets of canvas - into highly complex sculptural
and architectural installations.
His installations often follow a geometrical formula that evokes a minimalist simplicity of line and
form. This geometrical motif that recurs throughout his practice follows its own inverted and highly
imaginative schema. Liu Wei creates an idiosyncratic system in which all materials - scrap metal,
window frames and even the pages of books - are broken down into pure matter and re-ordered
according to an unfamiliar set of governances and rules. The title for the exhibition, Density,
evokes the spatial crowdedness of recent urban growth. It also suggests a metaphorical state of
pressure and impenetrability, in which art poses questions and prompts new ways of thinking,
rather than proclaiming ultimate truths.
Often returning to and reworking previous pieces, Liu Wei vividly conveys the material flux of an
architectural and societal infrastructure that is subject to constant change and revision. Balancing
between structure and unpredictability, fixity and impermanence, he forges a personal sense of
order and meaning out of the turbulence of the contemporary urban landscape.
Text by Owen Hatherley.
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Georg Baselitz - White Cube At Glyndebourne

The treble clef, the lines of the staves, the notes, and things start dancing, round and round, up
and down, spaced out, back and forth, shifting towards the edges Georg Baselitz, 2015
For this exhibition, Baselitz has created a series of new paintings all of which focus on the leg and
the foot. An important early motif, which he has returned to and explored so often it, also
functions as emblematic self-portrait.
The Glyndebourne paintings should be seen as part of an evolution of this motif a series of
differently sized canvases on pale ground, enclosed in golden frames mining and testing the
motif again with stubborn insistence. Legs spin clockwise and counter-clockwise like mysterious
turntables, while their cryptic titles accentuate this musical association by referencing Bach,
Mozart and Wagner as well as hurdy-gurdy and folk music: these new paintings embody
lightness, playfulness, expectation and musicality.
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Virginia Overton
Hb 17x25cm 88pp 47col ills 37.50
For this exhibition Overton worked with the gallery space, created site-responsive works using
locally sourced, recycled materials that continued her playful use and investigation of different
materials.
Marked by a minimal and elegant economy, Overtons large-scale sculptures and installations are
intuitive and adaptable, focusing on volume and space and the inherent physicality of their
component parts. Her process is a journey of trial and error whereby works are mostly created on
site. Overton uses materials more commonly associated with building or construction, such as
wood, metal, fluorescent lighting, mirrored acrylic, lumber, rope and cement. These, as well as
appropriated readymades such as sandbags, chairs, ladders or pipes, which often obstruct and
bisect the space, are used to highlight the specific dynamics and architectural motifs or to alter
the spaces layout and flow.
Overtons sculptures are able to phenomenologically transform a space, while still retaining traces
of their original use. Although they relate to minimalism, they complicate any suggestion of
material essentialism by problematising notions of use and commodity value.
Includes an interview with Lisa Le Feuvre.
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Imi Knoebel
Knoebels practice is resolutely formal, exploring the effect and power of colour and materials in
ways that continue the gestures and investigations of Modernism, in particular drawing influence
from the geometrical abstractions of Malevich and Mondrian. His work is open-ended, it rejects
any notions of spirituality potentially attached to pure abstraction. I dont want to enter into [an]
abstraction, into true non-representationalism he has said . Frequently working in groups or
series, Knoebel revisits certain themes and materials time and again at different points in his
career. The works in this exhibition are all made from aluminium panels (first used in 1991) and
reflect his practice of expanding and reinterpreting earlier subjects to form building blocks for new
work.
For the 9x9x9 space Knoebel has conceived an entirely new work: seven Kites, large,
quadrilateral paintings, all in white, hung at varying heights on its walls. Always fascinated by
perception and the invisible, Knoebels dramatic installation transforms the gallery into a light,
introspective space.
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Michael Armitage - Inside the White Cube

Armitage weaves multiple truths into his lyrical, figurative paintings, which focus primarily on
narratives from his native country, Kenya. Using oil paint on Lubugo a traditional bark cloth from
Uganda he applies the paint in layers, sometimes scraping back, revising and repainting his
images which are fused together from a wide range of sources including media news, East
African legends, internet chat and images lodged in his own personal memory.
Armitages application of paint is visceral: drips, visible brush marks, washes and layers lend the
work a physical presence and charged energy. Using a flattened perspective and sinuous line,
faces are often reduced to a few defining shadows, backgrounds to abstract washes of paint and
vegetation particularly doum palms carriers of atmosphere or simplified, stylised shapes. In
these works, figuration evolves into passages of pure abstraction, and then back again,
seamlessly, within one painting.
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Arlene Shechet - Meissen Recast

Gregory R. Miller & Company 2015 ISBN 9781941366059 Acqn 25231
Arlene Shechet: Meissen Recast is an exploration of the acclaimed sculptor's recent residency at
the world-renowned German porcelain factory. The first porcelain manufacturers in Europe, the
Meissen Porcelain Manufactory has attracted artists and artisans from around the world since its
establishment in the early 1700s. During her residency, Shechet gained access to all areas of the
factory's production, learning their techniques, using their tools and familiarizing herself with their
traditions. The astounding body of work that emerged from her time at Meissen, including
adaptations and combinations of the original moulds, both celebrates this history and subverts
our very ideas of craftsmanship in porcelain.
Meissen Recast stunningly captures a groundbreaking project. This book will change the way you
view the traditions and future possibilities of decorative arts and their intersection with the realms
of contemporary art. Text by Dominic Molon, Maureen Cassidy-Geiger, Elizabeth A. Williams.
Interview by Judith Tannenbaum.
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Stephen Irwin
r/e Projects 2015 ISBN 9783000479977 Acqn 25275
Artist Stephen Irwin (1959-2010) worked in sculpture, drawing and installation, but he is best
known for his work altering vintage pornography: using steel wool to rub off a magazine page's
shiny coating and taking most of the picture with it, Irwin lovingly isolated fragments of the image.
Censoring much of what might have been shocking about the original photographs, Irwin's
images suggest instead a more expansive erotic landscape of tenderness and perversion,
chastity and lasciviousness.
Before his death, Irwin asked that his ashes be compacted and turned into graphite for pencils.
Although this ultimate performance never materialized, the gesture and thought is a testament to
his creative and conceptual mind, one that fully grasped the delicacy and absurdity of life. Text by
Vince Aletti, Pilar Ribal, Gerard A. Goodrow, Risa Needleman, Benjamin Tischer, Stephen Irwin,
Melvin Brown.
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5 Year Diary - Green Cover

The Ice Plant 2015 ISBN 9780989785938 Acqn 25287
Hb 9x17cm 376pp 19
Tamara Shopsin's classic 5 Year Diary is now available with a green cover. Designed by
Shopsin--whose illustration work is regularly featured in The New York Times--and produced by
The Ice Plant, the pint-sized 5 Year Diary helps you keep track of the next 60 months of your life
in just a few lines a day.
Each page of the diary is devoted to one day of the year and subdivided into five sections (each
with its own space for notes), so that, as time goes by, past entries can be read as the new ones
are written. Handsomely clothbound with a red ribbon bookmark, the diary can be started on any
day of any year--even a leap year. In the back of the diary are pages to record the books you've
read and the places you've travelled. As New York Magazine's Kendall Herbst noted, the 5 Year
Diary is an ideal gift for anyone, anytime, as well as the perfect way to "trace your life's highlights
and trim out the minutiae Think of it as a sort of CliffsNotes to your life."
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Nancy Davidson Cowgirl

Daylight 2015 ISBN 9780989798198 Acqn 24651
Hb 19x26cm 116pp 43ills 36col 51
In her sculpture and installation works, New York-based artist Nancy Davidson (born 1943),
recipient of a 2014 Guggenheim Fellowship, celebrates and satirizes popular culture. A central
example is the American cowgirl. This publication combines archival cowgirl photographs with
images of Davidson's sculptures, photographs of photographs and installations.
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Teresa Hubbard & Alexander Birchler - Sound Speed Marker

Ballroom Marfa 2015 ISBN 9781938922824 Acqn 25197
Hb 30x23cm 262pp 176ills 173col 34.95
Sound Speed Marker focuses on Hubbard / Birchler's recent trilogy of video installations--Grand
Paris Texas (2009), Movie Mountain (Mlis) (2011) and Giant (2014)--which explore the physical
conditions and social character of the cinematic experience, with particular respect to film's
relationship to place and the kinds of traces movies leave behind. Published on the occasion of
the touring exhibition Sound Speed Marker presented at Ballroom Marfa, the Irish Museum of
Modern Art, Dublin, and the Blaffer Museum of Art at the University of Houston, this richly
illustrated volume includes all three components of Hubbard / Birchler's newest trilogy, as well as
related photography and sculpture. Four essays and an interview with the artists contribute new
scholarship in examining the genesis of the works.
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Crochet Coral Reef

Institute for Figuring 2015 ISBN 9780977962235 Acqn 25235
Pb 22x27cm 208pp 83col ills 34.50
Now perhaps the world's largest participatory art and science project, the Crochet Coral Reef
combines mathematics, marine biology, environmental consciousness-raising and community art
practice. Almost 8,000 people around the world have contributed to making an ever-evolving
archipelago of giant woollen seascapes, which have been exhibited at the Hayward Gallery, the
Smithsonian and many other venues. This fully illustrated book, written by the project's creators-Margaret and Christine Wertheim of the Institute For Figuring--brings together the scientific and
mathematical content behind the project, along with essays about the artistic and cultural
resonances of this unique experiment in radical craft practice. With a wealth of colour illustrations,
the book serves as a record of the 30-plus Crochet Reefs worldwide and names all 7,000-plus
contributors in a specially designed section.
Edited with text by Margaret Wertheim, Christine Wertheim. Foreword by Donna Haraway. Text
by Marion Endt-Jones, Leslie Dick, Anna Mayer.
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Melvin Edwards - Five Decades

Nasher Sculpture Center 2015 ISBN 9780991233830 Acqn 25260
Hb 21x32cm 208pp 154ills 98col 49.95
Over the past five decades, New York-based sculptor Melvin Edwards (born 1937) has produced
a remarkable body of work redefining the modernist tradition of welded sculpture. Working
primarily in welded steel, Edwards is perhaps best known for his Lynch Fragments, small-scale
reliefs born of the turmoil of the Civil Rights Movement. Beyond the Lynch Fragments, Edwards'
oeuvre encompasses larger sculptures, installations, public projects, drawings, studies and prints.
Published on the occasion of a major retrospective originated by Nasher Sculpture Center, Melvin
Edwards: Five Decades presents a richly illustrated examination of Edwards' career, featuring
more than 90 works and numerous unpublished photographs from the artist's archive.
Edited with interview by Catherine Craft. Foreword by Jeremy Strick. Text by Catherine Craft,
Alex Potts, Tobias Wofford, Leigh A. Arnold.
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Sean Landers - North American Mammals

Petzel 2015 ISBN 9780980140408 Acqn 25267
Hb 23x30cm 80pp 44col ills 30
Sean Landers' North American Mammals presents three groups of paintings, each of which refer
to one another on various levels. These include paintings depicting bookshelves holding books
whose spines contain a continuous text by Landers; portraits of animals with fur rendered in
Scottish tartan designs; and a series of ocean paintings. Landers' text here is existential and
emotional, his animals symbolic, overt caricatures but also characters in a story.
Much like Magritte, Landers' paintings often negotiate the visual relationships between image and
word. His newest body of work offers a layered story of mortality, artistic legacy and the posterity
of art, as symbolized in the books--made up of his words--that sit upon the shelves. This
clothbound hardcover beautifully presents Landers' work, with text printed on paper between
images and several gatefolds.
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The Body of Energy - (of the mind)

Revolver Publishing by VVV 2015 ISBN 9783957632715 Acqn 25375
The project by Stefano Cagol documented in this book is a journey across Europe during in which
he carried out a metaphorical and symbolic survey to give body to energy, immaterial and
invisible: cultural energy, individual energy, collective energy, exchanges of energy among people
and environment. It has been realized in 15 museums and art initiatives like Museum Folkwang,
Essen; MAXXI, Rome; Museion, Bozen; Kunst Halle Sankt Gallen; ZKM, Karlsruhe crossing 10
nations from Norway to Gibraltar during the 6 months trip.
By each stop the artist achieved participative actions that involved the public and have been
captured by photo, video and an infrared camera as symbolic energy keeper.
The book contains an introduction by Veit Loers and statements, among others, by Andreas
Beitin, Tobia Bezzola, Giovanni Carmine, Letizia Ragaglia, Andrea Viliani.
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A Set Of Lines, A Stack Of Paper

A Set of Lines, A Stack of Paper is the second in a series of exhibitions and publications based
on wide-reaching research about writing with the title Possible Content for 18 Pages. The
original typewritten manuscript of Vilm Flussers essay The Gesture of Writing provides the
thematic and formal-aesthetic foundation for reflecting the act of writing at the intersection of
linguistic, visual, physical and spatial communication.
To write, says the philosopher about the basic requirements that should lead to a complete
piece of writing, we need a blank surface, for instance a white leaf of paper; an instrument which
contains a matter that contrasts with the whiteness of the paper; the letters of the alphabet; the
convention which gives a meaning to the letters; orthography = correct writing; the rules which
order that language, what is called grammar; an idea to be expressed in a language; and a
motive to express that idea.
Understanding the act of writing as a culturally embedded gesture, A Set of Lines, A Stack of
Paper covers artistic, literary, as well as curatorial and editorial fields of action and combines
them. The publication comprises exhibition documentation with installation views and a curatorial
statement. Furthermore, the author Maria Fusco situates the concept of the exhibition in an actual
context of literature. The participating visual artists expand the topic of the exhibition with artistic
contributions especially made for the book.
Text contributions: Maria Fusco, Franz Thalmair
Artistic contributions: Ovidiu Anton, Peter Downsbrough, Heinrich Dunst, Maria Fusco, Egon van
Herreweghe, Ane Mette Hol, Birgit Knoechl, Karolis Kosas, Lotte Lyon, John Wood & Paul
Harrison.
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ReRevolver Publishing by VVV 2015 ISBN 9783957632753 Acqn 25428

From appropriation to copy, from loop to remake, from sample to quote it is impossible to
imagine current art production without the principle of reiteration. Working methods that use
repetitive moments are omnipresent and deeply anchored in artistic processes. However, despite
the sameness inscribed in it, reiteration contradictory it is both a linking as well as a separating
element of creative processes; it gives rise to boredom as well as ecstasy, it stays on the same
spot but nevertheless goes forward.
The artists book Re- and the eponymous exhibition in the Kunstraum Niederoesterreich get to
the bottom of this phenomenon. The multi-faceted types of reiteration are here not just the
essential starting point but are also made visible as an artistic process. Reiteration is the
connecting element in the contributions to the publication, which is to be encountered in content,
form and/or at the material level.
Some of the work collected in the book is based on existing works that the artists have translated
into the book format and which have been rescaled for this. Another part of the book pages were
specifically designed for the publication Re- and feeds off the interests of the people involved.
Other contributions, on the other hand, work exclusively within the formal aesthetic preconditions
of the publication and are thereby dedicated to questions that are inherent in the project and in
art.
Artists:
Julia Amelie, Manuel Beck & Jeremias Altmann, Christina Beller, Marie-Anna Christine, Maria
Cozma, Sebastian Ga rtner, Maria Gr n & Max Berner, Christiane Heidrich, Sebastian Kraner,
Nika Kupyrova, Rick Lins, Johanna Odersky, Rick Reuther, Antonia Rippel-Stefanska, Anna
Sophia Rumann, Janine Schranz, Bastian Schwind, Jakob Zacharias Steiner, Dorothea Trappel,
Gianna Virginia, Marit Wolters, Hui Ye.
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Hannes Schupbach - Talking About SPIN / VERSO / CONTOUR + DVD

Pb 17x24cm 176pp 18.95
This volume collects a series of conversations between Hannes Schupbach and Ruth Anderwald,
Leonhard Grond, Maja Naef, Francois Bovier, Andreas van Duhren, Amy Best and Vincent Katz
amongst others.
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ART
Mona Hatoum
Centre Georges Pompidou 2015 ISBN 9782844267115 Acqn 25040
Pb 25x30cm 196pp 250ills 150col 27.95
Text in French
In a world driven by contradictions, geopolitical tensions and diversified aesthetics, Mona Hatoum
offers us an output that achieves unrivalled universality, a body of work that has become a
"model" for numerous contemporary artists. The Palestinian-born British artist is one of the key
representatives of the international contemporary scene. Her work stands out for the relevance of
its discourse, the perfect match between the forms and materials used, the multidisciplinary
aspect of her work and her original, committed reinterpretation of contemporary art movements
(performance, kineticism and minimalism). After staging the first museum exhibition dedicated to
Mona Hatoum's work twenty years ago, the Centre Pompidou is now devoting its first major
monograph exhibition to her, featuring a hundred-odd pieces, and covering the multidisciplinary
aspect of her work from 1977 to 2015. With texts by Guy Brett, Edward W. Said, Christine Ross
and others.
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ART

Liu Wei Density

Georg Baselitz - White Cube At Glyndebourne

Michael Armitage - Inside the White Cube

Arlene Shechet - Meissen Recast

5 Year Diary - Green Cover

Nancy Davidson Cowgirl

Teresa Hubbard & Alexander Birchler - Sound Speed Marker

Crochet Coral Reef

Melvin Edwards - Five Decades

Sean Landers - North American Mammals

The Body of Energy - (of the mind)

A Set Of Lines, A Stack Of Paper

ReRevolver Publishing by VVV 2015 ISBN 9783957632753 Acqn 25428

Hannes Schupbach - Talking About SPIN / VERSO / CONTOUR + DVD

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