Jörg Schellmann, Bernd Klüser, Joseph Beuys. Multiples, New York University Press, 1980
Catalogue raisonné, Multiples and Prints, 1965–1980.
This book documents this entire multiple output of German artist Joseph Beuys. In a conversation with the publishers Beuys indicates his intentions and explains his "extended concept of art" through single works.
Alfred Jarry, ubu cocu, Trois Collines, 1944
“Achras – O mais c’est qué, voyez-vous bien, je n’ai point sujet d’être mécontent de mes polyèdres, ils font des petits toutes les six semaines, c’est pire que des lapins. Et il est bien vrai de dire que les polyèdres réguliers sont les plus fidèles et les plus attachés à leur maître ; sauf que l’Isocaèdre s’est révolté ce matin et que j’ai été forcé, voyez-vous bien, de lui flanquer une gifle sur chacune de ses faces. Et comme ça c’était compris. Et mon traité, voyez-vous bien, sur les mœurs des polyèdres qui s’avance : n’y a plus que vingt-cinq volumes à faire.“
Seth Siegelaub, Bibliographica Textilia Historiæ, International General, 1997
“The Bibliographica Textilia Historiæ is the first general bibliography attempting to outline and document all facets of the literature of the world history of textiles. The work contains over 5'000 titles – printed books and pamphlets, serials, articles and offprints, disserations, royal decrees and laws – published in all languages, since the late fifteenth century to date, treating all aspects of the history of handwoven textiles, including woven textiles, printed textiles, embroidery, lace, tapestry, dyeing, carpets, weaving and fiber technology, pattern books, and costume, among many other subjects.
The bibliograpy covers the history of handwoven textiles as an art, a craft and its techniques of production, as well as its central role in early industrial and commercial history, from “primitive“ society, through antiquity, the middle ages, and the renaissance to early industrialization. To put all this material into perspective, it also contains a critical introduction on the history and character of the literature, and a selection of the most important books on textiles classified by subject and country.“
Published by the Center for Social Research on Old Textiles [CSROT] and International General.
Sara Martinetti, The Stuff That Matters. Textiles collected by Seth Siegelaub for the CSROT, Raven Row, 2012
Exhibition catalogue published on the occasion of The Stuff That Matters. Textiles collected by Seth Siegelaub for the CSROT, at Raven Row, London, from March 1 to May 6, 2012. The publication contains a survey of the rise and fall of the silk industry in Spitalfields, an interview with Seth Siegelaub and an essay on his bibliographic practice as well as a chronology retracing his manifold activities. The exhibition is curated by Sara Martinetti, Alice Motard and Alex Sainsbury, and is designed by 6a architects.
Seth Siegelaub was born in the Bronx in 1941. After running his own gallery in New York from 1964 to 1966, he played a pivotal role in the emergence of what became known as Conceptual Art, which resulted in a series of 21 art exhibitions in groundbreaking formats he organised between 1968 and 1971. In 1972 he left the art world and moved to Paris, where he published and collected leftist books on communication and culture and founded the International Mass Media Research Center. In the early eighties he began collecting textiles and books about textiles, and in 1986 founded the Center for Social Research on Old Textiles, which conducts research on the social history of hand-woven textiles. In 1997 he edited and published the Bibliographica Textilia Historiae, the first general bibliography on the history of textiles, which has since grown online to over 9,000 entries.
Seyoung Yoon, Dynamic Kids Club / Territory And Jealousy , self-published, 2016
Published on the occasion of the eponymous exhibition by Seyoung Yoon at Truth & Consequences, Geneva, January 22 – March 31, 2016.
Click on the book cover and browse with the arrows to see the inside!
Lionel Bovier, Christophe Cherix, L'irrésolution commune d'un engagement équivoque. Ecart, Genève 1969–1982, mamco, 1997
L’histoire de l’art n’aime pas les groupes. Elle préfère les héros solitaires. Il lui faut de grands artistes, d’irréductibles individualités : trajectoires singulières, étoiles fixes, chefs-d’œuvre intemporels. Authenticité, sérieux, sincérité, originalité, cohérence, identité, continuité sont quelques-unes des vertus cardinales de son idéologie latente. Le collectif, le contagieux, l’échangisme, l’anonymat, l’éphémère, le négligé, l’erratique, le gratuit, l’infime, le divers, le multiple, l’indiscernable, le je-ne-sais-quoi et le presque-rien, le je-ne-sais-pourquoi et le presque-trop, l’insituable, l’infantile, le farfelu, la confusion des genres, le sans queue ni tête appliqué, le minutieux en vain, l’accumulé en pure perte, les loisirs de la poste, la promenade, le lacunaire, l’indiqué en passant, les désinvolte-face, les conversations inconservables, les bribes, le banal, l’ambigu, le bien imité, les dénégations de pouvoir, les délégations d’impouvoir, les stratégies du plus petit décalage commun, l’« infra-mince » vu au téléscope, les tactiques d’indifférence, le quotidien à géométrie variable, le thé à toute heure, les éternités parallèles, l’interchangeable généralisé, etc. – autant de trous noirs du discours historiographique dominant. D’où l’opportunité, par exemple, de cette première enquête méthodique sur l’un des confettis de l’empire invisible de l’art expérimental dans les années soixante-dix : Ecart, groupe (au moindre sens du terme) d’activistes de l’inutile, ayant sévi à Genève et ailleurs dans le monde, entre 1969 et 1982.
Harald Szeemann, Junggesellenmaschinen / Les machines célibataires, Alfieri, 1976
Catalogue for the eponymous exhibition at Kunsthalle Bern, July 4 to August 17, 1975.
Annebella Pollen, The Kindred of the Kibbo Kift: Intellectual Barbarians, Donlon, 2016
The Kindred of the Kibbo Kift: Intellectual Barbarians is the first full-length work to explore the innovative cultural production of the English camping and hiking organization (1920-1932). Founded after the First World War as a reaction to militarism in scouting, Kibbo Kift developed into an all-ages organization for men and women. It attracted the support of a range of high-profile writers, artists, scientists and campaigners from DH Lawrence to HG Wells. Underpinned by a complex, distinctive philosophy, Kibbo Kift's practices were wide-ranging, extending across health and handicraft, pacifism and propaganda, myth and magic, education and economics. These ambitious ideas can be seen most clearly in the group's mystical and modernist art and design. The Kindred of the Kibbo Kift: Intellectual Barbarians features over 100 largely unseen examples of the group's accomplished creative output. These include decorated tents, campaign banners, illuminated manuscripts, protest graphics, carved totems and ceremonial attire alongside previously unpublished photographs by Angus McBean. The textual content, underpinned by extensive research in public and private archives, provides comprehensive analysis of the group's original style and occult beliefs. Visually arresting in its own right, The Kindred of the Kibbo Kift: Intellectual Barbarians showcases a fascinating but overlooked body of work that has continuing resonance for twenty-first century oppositional art and culture.
Annebella Pollen is Principal Lecturer in the History of Art and Design at the University of Brighton, UK. Her publications include Mass Photography: Collective Histories of Everyday Life (IB Tauris) and Dress History: New Directions in Theory and Practice (Bloomsbury).
Tina Braegger, The Grateful Dead – A Diary by Gabriel Krampus, BECKBOOKS, 2016
Gabriel Krampus lives with his wife on a deserted island of the Idian ocean. They are both artists. At 84 years old, he decides to publish his diary, written 8 years earlier, in 2059.
“To have an island all by myself was my dream since forever, to be able to work without worldly distractions. My wife had always made conceptual work. She wanted to be buried in a beautiful place, and our private little island can definitely be described as such, so now for almost 44 years she has been watching the weather change, the time pass, the ocean come and go.“
Mara Züst, Simone Koller, Doris Stauffer: A Monograph, Scheidegger & Spiess, 2015
In addition to her contributions to art criticism, Doris Stauffer has produced an impressive body of artistic work that consists of photography, sculpture, and collage. The subject of exhibitions in her native Switzerland, Stauffer is among the founders of the F + F School of Experimental Design, and her explorations of form and color have long been recognized for engaging with feminism and the existing conventions and hierarchies within society.
With more than three hundred illustrations, Doris Stauffer documents for the first time the life and work of this important twentieth-century artist with a focus on her political engagement. Essays place Stauffer’s work in historical and political context, including her involvement with the Swiss women’s liberation movement and an interview in which the artist imagines alternative forms of feminism and art education. Additional essays look at the influence of Stauffer on other female artists, as well as some of the recurring themes in her art, including fairy tales and other forms of narration.
Tine Melzer, Taxidermy for Language-Animals, Rollo Press, 2016
A parrot can be trained to repeat the sounds we make when we speak. But what does a parrot say? Taxidermy for Language-Animals examines language fragments from different practices — philosophy, literature, visual art — by exploiting some of our linguistic habits and tools. This book includes examples of ordinary language trapped in images. Games we play with language and games language plays with us are introduced. Like language itself, language-games are based on perception, habit and memory and are played in collaboration with others.
Andreas Dobler, Once Upon A Shine, Hacienda Books, 2014
“In my imagination I'm lord of the manor“
Published on the occasion of the exhibition Andreas Dobler – A Long Time Aglow at Hacienda, Zurich, Fall 2014. With a text by Arthur Fink.
Click on the cover & browse to see double spread images.
François Peraldi, Polysexuality (Semiotext(e) #10), Semiotext(e), 1995
Öyvind Fahlström, Essais choisis, Les presses du réel, 2002
Connu principalement comme artiste visuel, Öyvind Fahlström (1928-1976) était également poète, dramaturge, happening-maker, cinéaste, critique d'art et critique littéraire. Sa recherche d'un art total explique son intérêt pour les formes d'art hybrides, et éclaire la grande variété des sujets abordés dans le présent recueil, dans lequel figurent de nombreux inédits en français : Sade, Céline ou W. S. Burroughs y croisent la poésie concrète et le Nouveau Roman, les artistes du Pop Art les réalisateurs de la Nouvelle Vague et les pionniers de la musique électronique, et les considérations sur la contre-culture hippie se mêlent aux commentaires de Fahlström sur son propre travail.
« L'artiste est comme un agent, comme un espion ou un membre d'une organisation clandestine. Auparavant je pensais que je pourrais peindre à certains moments, et me distraire à d'autres. Mais dernièrement j'ai réalisé que, en tant qu'artiste, l'on n'est jamais au repos, que la chasse et la pêche continuent perpétuellement, et comme un membre de la résistance, on ne peut jamais se détendre, dès lors que l'on sait qu'on pourrait venir frapper à votre porte à tout moment pendant la nuit ». Les observations réunies dans cette anthologie forment ainsi comme autant de rapports de cette activité ininterrompue, celle d'un artiste entendu comme agent double, ou espion, tour à tour savant fou (Benway) et explorateur (Livingstone).
Bruno Munari, Supplemento al dizionario italiano, Corraini Editore, 2015
In questo libro l'autore esamina i vari modi di esprimersi senza parlare, non solo con le mani, ma con l'espressione del viso e con atteggiamenti dell'intera persona.
Dans ce livre, l'auteur examine les différentes façons de s'exprimer sans parler, non seulement avec ses mains , mais aussi avec l'expression du visage et les attitudes de la personne en général.
Stine Hebert, Anne Szefer Karlsen, Self-organized, Occasional Table, 2013
The current economic situation and society’s low confidence in its institutions demands that artists become more imaginative in the way that they organise themselves. If labels such as ‘alternative’, ‘non-profit’ and ‘artist-run’ dominated the self-organised art scene of the late nineties, the separatist position implied by the use of these terms has been moderated during the intervening years. This new anthology of accounts from the frontline includes contributions by artist practitioners as well as their institutional counterparts that provide a fascinating account of the art world as a matrix of positions where the balance of power and productivity constantly shifts. Artists, curators and critics discuss empirical and theoretical approaches from Europe, Africa and South and North America on how self-organisation today oscillates between the self and the group, self-imposed bureaucratisation and flexibility, aestheticisation and activism.
Edited by Stine Hebert and Anne Szefer Karlsen.
It contains texts by: Julie Ault, Maibritt Borgen, Céline Condorelli & Johan Frederik Hartle, Anthony Davies, Stephan Dillemuth & Jakob Jakobsen, Ekaterina Degot, Charles Esche & David Riff, Barnaby Drabble, Jonas Ekeberg, Linus Elmes, Juan A Gaitán, Abdellah Karroum, Livia Pancu, Jan Verwoert, What, How & For Whom/WHW
Material Group, Show & Tell: A Chronique of Group Material, Four Corners Books, 2010
In 1979, the artist collective Group Material opened a storefront at East 13th Street on New York's Lower East Side, from which they launched exhibitions that radically overhauled curatorial thought, setting art alongside artifacts, documentary material and store bought objects, within exhibitions that were oriented around topical social concerns. Group Material's original members — Julie Ault, Patrick Brennan, Beth Jaker, Mundy McLaughlin, Marybeth Nelson, Tim Rollins and Peter Szypula — came from backgrounds in feminism, Marxist theory, design and popular culture, and curated classic exhibits reflecting this eclecticism, such as It's a Gender Show, AIDS Timeline and The People's Choice—a collection of everyday objects (wedding photos, dolls, even a cigarette-pack collage) gathered from people living on their block.
Show&Tell is the first monograph on Group Material, and charts the group's activities, with essays by original members, plus original documents, photographs, drawings, correspondence and interviews. Organized by former group members in keeping with the methods and aims Group Material employed, the book charts the origins, processes, developments, projects and contexts of the group’s activities, and draws heavily from Group Material’s archive, including original documents, photographs, drawings, correspondence, artifacts, anecdotal information and texts.
Group Material created 45 projects during its period of activities (1979-1996), each represented through installation photography and information from original proposals, exhibition statements, press releases, responses, etc. One emblematic exhibition project, AIDS Timeline, is examined in detail from collected material and newly conducted interviews.
Edited by Julie Ault
Essays by Doug Ashford, Julie Ault, Sabrina Locks and Tim Rollins further illuminate the methods and principles of Group Material’s practice.
Seth Siegelaub, [IMMRC], Marxism and the Mass Media: Towards a Basic Bibliography. Vols. 6 and 7, International General, 1976
An international multi-lingual annotated bibliography of past and present Marxist, left, critical and progressive studies covering all aspects of culture and communication, including the press, radio, television, cable TV, telephone, computers, publishing, public opinion, advertising, journalism, cultural imperialism, film and mass culture, etc. This issue contains 516 texts in 166 catalogue entries (nos 659-825) most of which are annotated, and is indexed by subject, author, and country. This bibliographic series was based on the International Mass Media Research Center reference library, and only 7 issues in 3 volumes were published. It was the first and only bibliography on the subject.
Stefan Morawski, Lee Baxandall, Karl Marx and Frederick Engels on Literature and Art: A Selection of Writings, International General, 1977
"Documents on Marxist Aesthetics" 1. A compilation of 57 texts and extracts from the work of Marx and Engels containing all their basic aesthetic thought organized in 9 sections reflecting the main underlying themes: aesthetic sensibility; capitalist alienation; communism; class values; realism; tendency literature; and form and style, among others. Includes a major critical introduction by Polish aesthetics philosopher Stefan MORAWSKI, p3-47; a supplement with texts by Eleanor MARX, Paul LAFARGUE, and Franziska KUGELMANN, p-56; an extensive bibliography of Marxist books in English on aesthetics, p-74; and name index, p-9.
Armand Mattelart, Ariel Dorfman, How to Read Donald Duck. Imperialist Ideology in the Disney Comic, International General, 1991
The classic, critical and humorous study of cultural imperialism and children's literature; how the Disney fantasy world reproduces the "American Dream" fantasy world, and the disastrous effect of Disney comics and other "mass" cultural merchandise on the development of the so-called "Third" World. In 1973 this work was banned and burned in Chile, and later the English edition was banned for more than a year by the US government. In comic book format with cartoon examples, introduction by David KUNZLE on the Disney world, a bibl of left writings on cultural imperialism and the comics, and an appendix by John Shelton LAWRENCE on the book's US censorship and the legal-political issues involved in the right to criticize Disney.
English translation, originally published in Spanish in Chile: Para Leer al Pato Donald, by Valparaiso in 1971. First English edition: 1975.