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0 S., Auflage: 100, keine weiteren Angaben vorhanden
fiktives Buch
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1. Auflage. Vermutlich unauthorisierte Kopie. Im Netz gefunden und aufgeklaubt.
The Invisible Book is a book produced in a limited edition at the affordable price of €0. It will work as a digital book too, on any platform. The edition is limited to 100 copies (neither numbered nor signed). This is a product without a single fault, available at the lowest price possible. The book was made as a reaction to both the trend of decreasing booksales and the trend of increasing expectations from audiences. Published by Elisabeth Tonnard, Leerdam, April 2012. A second edition became available in June 2012. It too was limited to 100 copies, neither numbered nor signed, but all made to perfection and available at the price of €0.
Text von der Website der Künstlerin
Das Buch kann man leider bei mir nicht anschauen. Es existiert nur in dieser Art als Datensatz auf einem Monitor
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4 S., 21x14,9 cm, 2 Stück. keine weiteren Angaben vorhanden
Einladungsflyer, beiliegend ein beidseitig bedrucktes Informationsschreiben zur Ausstellung
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zur Ausstellung vom 21.05.-04.06.2016 im Neo Toum - Neoterismoi Toumazou, Nikosia, Zypern.
He was dancing steadily. He could see the backs of people’s heads moving in the darkness and was aware of the shifting spaces between their bodies. He did not register the music except as a sort of vibration. He felt as if he was dancing in perfect silence. He saw the already dim room growing ever darker around him. He became less conscious of his surroundings and more aware of himself. His introspection grew but his body was now moving automatically, softly cycling through a short loop of set motions. He noticed dust under his feet, and soon the realisation reached him that he was slowly wearing a shallow hole in the wooden floor. His body was locked in an efficient cycle. Before too long he was six inches below floor level, his head parallel with some of the shorter dancers. Yet he could not stop. Gradually he sank deeper into the ground until his face was level with people’s waists. No one noticed, below the eye level of the crowd, he was almost invisible. Presently his eyes came level with the soles of dancing shoes. He could see shards of coloured light flashing through a forest of legs casting jagged shapes across the floor. There were points where soft reflected light shone through looming figures like sunlight into a clearing. Eventually he was entirely submerged. He could look up through the hole and see foreshortened bodies moving above him oblivious to his plight. Still his feet moved, wearing away damp, pungent earth. The vibrations from the music lessened until the dull thump of the kick drum was all that he could feel. When it stopped he realised he too was still, and looking up he saw the sphere of light was gone.
Text von der Webseite
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0 S., 21x29,7 cm, Auflage: 100, 2 Teile. keine weiteren Angaben vorhanden
fiktives Buch, mit Zertifikat, Laserdruck auf Papier, Kaufbescheinigung von ebay und Mitteilung an den Käufer
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1. Auflage. Mit Certificate of Ownership
The Invisible Book is a book produced in a limited edition at the affordable price of €0. It will work as a digital book too, on any platform. The edition is limited to 100 copies (neither numbered nor signed). This is a product without a single fault, available at the lowest price possible. The book was made as a reaction to both the trend of decreasing booksales and the trend of increasing expectations from audiences. Published by Elisabeth Tonnard, Leerdam, April 2012. A second edition became available in June 2012. It too was limited to 100 copies, neither numbered nor signed, but all made to perfection and available at the price of €0.
Text von der Website der Künstlerin
Das Buch kann man leider bei mir nicht anschauen. Es existiert nur in dieser Art als Datensatz auf einem Monitor
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Auflage: 500, keine weiteren Angaben vorhanden
Mit eingelegter Postkarte von Ben Vautier: Uly you are too esthetic
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Artist Books for a Global World
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96 S., 33,7x22,6 cm, ISBN/ISSN 978-3-775717373
Hardcover
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Edited by Chapin Library of Williams College, Williamstown, texts by Robert L. Volz, Wayne G. Hammond.
The books from the Kaldewey Press are important documents of contemporary bookmaking that have been featured in exhibitions all over the world. Since the 1985 founding of his handpress, which Gunnar A. Kaldewey set up in Poestenkill, in upstate New York, over sixty unique artist books have been produced in cooperation with artists such as Jonathan Lasker, Mischa Kuball, or Richard Tuttle. Among the authors are famous names such as Samuel Beckett, Paul Celan, Marguerite Duras, and James Joyce. Published in small limited editions, the books are produced according to the highest level of craftsmanship. Kaldewey does the typesetting and prints the books, sometimes making the paper himself, too. The bookbinding is done by renowned workshops such as Christian Zwang's in Hamburg, or Jean de Gonet's in Paris.
This bibliophilic book is a catalogue raisonné of the books published to date by the press
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13x13 cm, keine weiteren Angaben vorhanden
naivsuper Nr 013, Musik-CD in Papphülle und transparenter Kunststoffhülle, cover art: Stephane Leonard
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recorded at the Electronic Church in 2007.
Saxophon recorded at the Electronic Church in 2007. No overdubs, no manipulations.
When we (naivsuper) met Antoine in november 2007 to record his saxophone drones we didn´t really know what to expect because Antoine´s drones are perfect in a live situation. We weren´t sure if we could capture the richness of his sound, his working with the accoustics of a room and the strange almost discomforting breathing noises he makes when circular breathing on a CD. We basically wanted to hear him moving in the room, we wanted to see with our ears.
For the recording we chose the Electronic Church in Berlin because we have seen him perform there earlier the same year and it was absolutely fantastic.
The day of the recording was an incredible cold day in Berlin and due to the fact that the Church has no heating we could see our breath and feel the unbelievable cold humidity of a groundfloor room that hasn´t been aired in some time crawling up our pants.
It took Antoine almost an hour to warm up the saxophone and to get a satisfying tone. When he was finally ready to record the first take he was already a little bit out of breath. After 5 minutes of circular breathing his nose and lung started to freeze. We then tried a few more times but after another hour we were all coughing and sneezing and the saxophone was frozen so that we decided to postpone this session.
When we listened to the material at home we discovered that there was almost everything we wanted. We recorded how Antoine is fighting the cold and the exhaustion. There is the room, the breathing and movement. There is sound - almost an evolution of sounds - they are born slowly, grow up and then slowly disappear or extinguish.
We highly recommend you to listen with headphones. A follow up to this great document is planned, too
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16 S., 25,5x19,5 cm, ISBN/ISSN 978-3-905999402
Drahtheftung. First Edition, von Vitsoe Bookswap München
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"I paint rejects, misfits and their landscapes. My fixation on these characters is not intended to exploit deficiencies, but to find valor in adversity. Whether hobo clowns, misshapen animals or scarecrows ..."
Erschienen zur Ausstellung im Laguna Art Museum, 23. Feb. – 28.04.2013
Text von der Webseite
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10,5x14,8 cm, 6 Teile. keine weiteren Angaben vorhanden
Durchsichtige Kunststofftüte mit sechs Postkarten
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Titel: Peep, Next year, Common sense is a hungry bitch, And take this too, Thank you, Head and Shoulders. Karten aus den Jahren 2012-2014
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OWK 1 - Oi Wraioi Kypraioi. (Die wunderbaren Zyprioten) Culturally aroused art & design dialogues
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16 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, ein Sticker eingelegt. Cover mit Prägedruck. Risographie. In braunem Papierumschlag mit Aufkleber
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OWK is an independent visual library for words and images that create linear or abstract stories providing a structure for publishing and archiving projects. We focus on graphic design, illustration, photography, art and creative writing.
OWK is a Riso print project, meaning that color will fail to present photographs in its purest form. Registration too will fail and colors will be imperfect. It is what it is. An experimental electronic single drum screenprint with its own unique aesthetic and feel.
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Mousse #49 Contemporary Art Magazine
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312 S., 37,5x 26.5 cm, keine weiteren Angaben vorhanden
Broschur. Eingelegt das Heft: The artist as curator #8
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Schwerpunkt, die 8oer Jahre: The 80s, It's never too late to be what you might have been
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Mini Zine - Hockney on Stella
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[16] S., 14,7x10,9 cm, Auflage: 125, numeriert, 2 Stück. keine weiteren Angaben vorhanden
Drahtheftung, zweifarbiger Siebdruck, eine Farbe fluoreszierend
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09610672
Drahtheftung, Rückseite mit Silberprägung, eingelegtes gefaltetes Plakat, in transparenter Kunststoffhülle mit beigelegtem Blatt
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Mushrooms are among the mysterious plants on earth, therefore we thought it would be necessary to make a complete guide to mushrooms. This issue contains beautiful illustrations combined with good to know facts about mushrooms, and for the culinaric reader we even added some nice and delicious receipes. Many would maybe consider this issue of BLAD as a little far-fetched guide to the world of mushrooms. But remember nothing is too far out after you have tasted some nice and trippy mushrooms.
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B.L.A.D. NO. 09 - THE COMPLETE GUIDE TO MUSHROOMS
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[52] S., 13,5x9,5 cm, Auflage: 300, ISBN/ISSN 09620672
Drahtheftung, Rückseite mit Goldprägung, in transparenter Kunststoffhülle mit beigelegtem Blatt, Aufkleber
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Mushrooms are among the mysterious plants on earth, therefore we thought it would be necessary to make a complete guide to mushrooms. This issue contains beautiful illustrations combined with good to know facts about mushrooms, and for the culinaric reader we even added some nice and delicious receipes. Many would maybe consider this issue of BLAD as a little far-fetched guide to the world of mushrooms. But remember nothing is too far out after you have tasted some nice and trippy mushrooms.
Text von der Webseite
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We Do Not Know Too Much Of Tibet - Und Die Sterne Erst
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2 S., 12,5x10,9 cm, signiert, 2 Stück. keine weiteren Angaben vorhanden
Zeichnungen mit Wasserfarbe und Kugelschreiber, coloriert, In Briefumschlag mit handschriftlichem Gruß,
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[80] S., 21,2x14,8 cm, keine weiteren Angaben vorhanden
Drahtheftung, teils farbige Abbildungen
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Anlässlich der gleichnamigen Ausstellung im Plataforma Revolver - Independent Art Space, Lissabon, 17.09.-07.11.2015. Heft 19
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Fingerpainting on Mars edition 01
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[16] S., 29,6x21 cm, keine weiteren Angaben vorhanden
mehrfach gefaltetes Blatt
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Welcome to the amazon issue, a collection of kick-ass women and their work. some are well-known, some not so much. some are men, and that's ok too. ...
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MAX JOSEPH 2018/19 01 - Alles was recht ist: Skandal
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104 S., 28x21 cm, keine weiteren Angaben vorhanden
Broschur
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Das Magazin der Bayerischen Staatsoper mit dem Spielplan für die Spielzeit 2018/2019
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Paper News - Special Edition: Women in Print - November 2018
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4 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Ein Blatt, gefaltet
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Although the history of photography and the history of photo and artists’ books is widely documented, collected, exhibited, and discussed, the legacy of women using photography in print is underdocumented, cursory, fragmentary and too often, inaccurate. Women were always at the forefront of innovation and the political debate on photography, despite the harsh conditions in which they often lived and worked, but their voices and their historical contribution are still marginalised. As the feminist art historian Linda Nochlin asked, what are the implications of this rejection and what elements of these practices do we need to reevaluate? And why does it matter, beyond the historical inaccuracies? On the occasion of Paris Photo, Paper News is launching this Special Issue dedicated to women in print.
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OWK 9 - Oi oraioi Kypraioi. (Die wunderbaren Zyprioten) - Engaged objectivity of street life mobility -
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20 S., 29,7x21 cm, keine weiteren Angaben vorhanden
Drahtheftung, Prägedruck rechts unten, Risographie.
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Nr. 9, November 2018. Gedruckte Korrektur neben Jahreszahl 2019 in Pink.
OWK is an independent visual library for words and images that create linear or abstract stories providing a structure for publishing and archiving projects. We focus on graphic design, illustration, photography, art and creative writing.
OWK is a Riso print project, meaning that color will fail to present photographs in its purest form. Registration too will fail and colors will be imperfect. It is what it is. An experimental electronic single drum screenprint with its own unique aesthetic and feel.
Text von der Webseite
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MONO.KULTUR #36 Ricardo Bofill - The Future of the Past
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48 S., 20x15 cm, ISBN/ISSN 18617085
Drahtheftung, gedruckt auf verschiedenen Papieren
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where to begin with an architect as over the top as Ricardo Bofill, notorious since the 1970s for his vast city-like housing estates that look like surreal experiments in crossbreeding desert caves with Star Wars. an architect who has designed over 1000 projects in the space of five decades, from perfume bottles to city plans, and pretty much everything in between. who has worked in a style – or a hundred styles – that is as unique as it is impossible to describe. who founded a leftist collective that would eventually end up building airport terminals. whose life reads somewhat like a fairytale itself, taking us from fascist Spain under Franco’s rule to the celebrity frenzy of our modern times, with the Bofill clan holding a somewhat unique position among Spanish tabloids? To add any more is to inevitably leave out too much. With mono.kultur, Ricardo Bofill talked about fifty years of architecture, the vagaries of ambition and how Modernism killed the city. Visually, the issue offers a disorienting journey of architectural splendour with plenty of previously unpublished images from the archives of Ricardo Bofill (as well as the odd film still of naked bodies). Using partial high gloss varnish throughout, it is a pleasing juxtaposition of the natural and the artificial, the intellectual and the sexual, the disciplined and the decadent.
Text von der Website.
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[72] S., 29,7x22,5 cm, Auflage: 500, ISBN/ISSN 978-3-864851704
Hardcover, fadengeheftet, Cover schwarzer Prägedruck auf blauem Leinen
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he King’s Beards or Hair. As a tribute to Elvis Presley on the occasion of the 40th anniversary of his death, Volker Renner stages the King as a collectible silhouette complete with the beard he never wore. The lips and famous hip swing are missing, but the hairline and above all the forelock are unmistakable. Elvis’s haircut is an early example of the pop icon trademark feature; many other heads would follow. Yet he, too, may have emulated earlier stars—the quiff bears a dangerous resemblance to that sported by Captain Marvel, Jr., an eternally youthful superhero, exactly what Elvis wanted to become and became. Conscious of the fact that Elvis was actually blond, making his hair just as fake as a fake beard, Renner’s game of mistaken identities plays out in color and black-and-white.
Text von der Webseite.
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Wir wissen alle genau, wer die Täter sind - Guerrilla Girls im Kollektiv-Interview: Die Berliner Gruppe „Soup du Jour“ kämpft gegen Diskriminierung, Sexismus und Rassismus in der Kunstwelt
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57,5x39,5 cm, keine weiteren Angaben vorhanden
Ausriss aus der SZ Nr. 287 vom 12.12.2019, Feuilleton S. 11 HF2
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Lange schien es, als spare die Debatte um Gleichberechtigung und „Me Too“ die Kunstszene in Deutschland aus. Doch dann wurde es im vergangenen Jahr laut: Sowohl das Gallery Weekend in Berlin als auch die Ausstellung Milchstraßenverkehrsordnung im Künstlerhaus Bethanien wurden heftig kritisiert, weil nur wenige Künstlerinnen oder People of Colour eingeladen waren. Es wirkte, als seien die legendären Guerrilla Girls, eine in den Neunzigern gegründete feministische Aktivistengruppe, nach Berlin umgezogen. Doch hinter den Aktionen stand Soup du Jour, ein Kollektiv, das hier erstmals in einem – als Gruppe geführten – Interview über Ziele und Beweggründe spricht. ...
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[4] S., 14,7x10,4 cm, signiert, keine weiteren Angaben vorhanden
Klappkarte, Fotokopie auf gelben Karton
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I am afraid - it is too late.1984, Es kommt immer darauf an, daß Du Dein Ich behältst! ob 1914, 1933, 1984, ...
Schaffe die neue Ruinenarchitektur
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032c Fanzine - Quarantäne!
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[40] S., 29,7x21 cm, keine weiteren Angaben vorhanden
Farblaserdruck, gefaltete Einzelblätter, mit Gummiband zusammengehalten. PDF-Download von der Webseite
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“We want you to GO INSIDE — your house, and your self. Everything is about interiors now: the interior of your home, your mind, your archive, your hard drive. Mine it all for insight and purpose.
Once that’s done, show off what you find – just because you’re alone doesn’t mean you can’t share from within. There is no such thing as “too much information” now; COVID-19 took out “TMI.” In fact, there is no more “enough” — enough data, enough circulation, enough fodder. Binge on it. Burn out on it. Document it. Post it. Build a website for it. Get turned on by it. Get freaked out by it. Open up your screens, talk about your dreams, slide into those DMs. Get dressed up to go absolutely nowhere. Never go out, but leave nothing “behind the scenes” – there is no “behind,” and no “in front of” either. There is only “now,” and it is Big and Flat. Closeness happens at a distance here, but dialogue has never been this intimate. Your private hygiene is a matter of public health, your personal cloister backdrops community debate. Dualities — east and west, north and south, us and them, out and in — melt into each other and coat the old world like lava, like an act of god. In the New Interior isolation is a commons, the self that inhabits it is a collective. Historical moments stack vertically and occur simultaneously, around the globe. Welcome to the novel sanctum sanctorum, the single-occupant House of We.
Text von der Webseite
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[68] S., 27,5x21 cm, 2 Teile. keine weiteren Angaben vorhanden
Broschur, Katalog mit eingelegter Einladungskarte A5 zur Ausstellung in der Galerie Boutwell Schabrowsky, Theresienstr.48, München, 15.06 -20.06.2021
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"The Apple Tree Submarine is a unique art project with which artist Oh-Seok Kwon wants to create an “Art Community”.
You – as an art lover – will be involved in it. How? Learn more at the opening and the following days of the project week.
Apple Tree Submarine reflects the artist’s life stages, feelings and aspirations. In a series of drawings, he captures these milestones. The drawings are to be understood as Oh-Seok Kwon’s diary. Like the submarine, the artist looks at the world from a distance. He asks himself questions about being human, being rushed in the modern world, the excesses of striving “higher and higher – more and more” and the current insecurity. Thus, the flying submarine is like the artist’s eyes with which he permeates the world. As the title suggests, Oh-Seok Kwon has taken an apple tree on his journey through Munich and further around the world. Why? That would be too long a story at this point."
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[16] S., 19x12 cm, keine weiteren Angaben vorhanden
Broschur, das letzte Blatt ist auf 19 x 4 cm beschnitten
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His mustache looked like it would tickle. That’s probably the only reason why I didn’t want to kiss him.
He was a weirdo, but not weird enough, if you know what I mean. He certainly had a flair for details. It wasn’t that. I mean, it’s not like he was wearing a mullet, no. Nor like the kind of guy to gift me a Chinatown Gucci bag. He hated scented soaps and he’d drag me out of any decent party if he found scenty sticks near the toilet. That kind of thing drove him nuts. It’s not like he had anything against grapefruit.
Early on in our friendship, he gave me a box of Gioconda pencils from Koh-I-Noor. He knew how to get me hooked. But that damn mustache. It was so thick, so neatly trimmed. He paid too much attention to the kind of things I didn’t want to pay attention to. The cappuccino foam in it, however, was a kind of turn-on.
This is no doubt why you are holding this book in your hands. His mustache, right? Admit it. It’s the bowl of bonbons by the register. But then you go undercover, under the sheets to find a lot of nudity, thwarted porn. Ja, ja, ja: bodies. Corporeality. Corporation, cooperation. Protest. Violence. Religion. Collage. A torn sheet at the back. A misbound book? A defect or just vulnerable?
Selbsthilfe ist auch keine Lösung (even self-help is not a solution) and Protestvorbild Frankreich (protest “role model” in France?) is the only text you can make out other than mine. You’re meant to struggle to read it, or maybe Erik (who has no mustache) was being intentionally casual about the way he cut out these pictures. It’s an awareness of being sloppy that is so aware, it’s no longer sloppy. A man standing with his fist held high. He’s standing in the window frame of an apartment at least one story up from the ground. He is forty and mad and he enjoys his Bud. His form of protest is a form of solidarity from the sofa. A window protest: comfy. So fucking clever. Then there’s the picture abutting it of a woman holding out her bra. We are meant to take it. She’s offering it to us. Go ahead. She wants you to.
And then there’s the spooning bodies with their tube socks in a wad next to… a bed. A solar bed. You got it? This book is brown sugar. Stinky Swiss cheese. Bad, bad, good, good.
April von Stauffenberg
Text von der Verlagsseite
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Ship Arriving Too Late To Save A Drowning Witch - a selection of photographs
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40 S., 25,5x35 cm, Auflage: 900, ISBN/ISSN 3930941368
Softcover, Drahtheftung
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Katalog zur Ausstellung in der Neuen Galerie Dachau vom 08.11.–22.12.2002 mit zahlreichen Farbabbildungen - Fotografien aus den 1990ern und vom Anfang der 2000er Jahre; von der Sezession bis zur Central Station, von der Galerie Lafayette bis zum Strand von Saturnia und Tiziano.
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eat the cake und have it too
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14,8x10,3 cm, keine weiteren Angaben vorhanden
Flyer, beidseitig bedruckt
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Flyer zu einer Ausstellung zum Thema Erfolg kuratiert durch das kontingent kollektiv in der Milchstrasse 4 am 12.02.-06.03.2022. Das kontingent kollektiv sind Tessa, Franka, Yagiz, Theresa, Sarrah, Celine und Kai.
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Top Stories #01, Too Good To Be Entirely True
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16 S., 21x13,5 cm, keine weiteren Angaben vorhanden
Drahtheftung
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106 S., 20,9x13,8 cm, ISBN/ISSN 9780312427580
Broschur, Lesezeichen von Book Depository liegt bei
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The Apache dance - The public is not invited (and never has been) - Le tout New York on a cubist horst - Greenberg, Rosenberg & Flat - Hello Steinberg (goodbye, Greenberg) (you, too, Rosenberg)(Joy returns to Cultureburg) - Up the fundamental aperture.
Erstveröffentlichung 1975
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