Mother
- Patricia Dauder
- Dora García
- Ana Jotta
- Exhibition of
From: 23.04.2019 - 4.05.2019
Rosemarie Trockel, Marcus Steinweg
Mutter, 2007
11,5 x 17 cm, 32p. Ed.1000
Ed. Reiner Speck und Gerhard TheewenRosemarie Trockel, Marcus Steinweg
This book by Rosemarie Trockel and Marcus Steinweg shows a set of faksimiles from the private postcard collection of Rosmarie Trockel's mother.
Mutter, 2007
11,5 x 17 cm, 32p. Ed.1000
Ed. Reiner Speck und Gerhard Theewen
Rosemarie Trockel, Marcus Steinweg
Mutter, 2007
11,5 x 17 cm, 32p. Ed.1000
Ed. Reiner Speck und Gerhard TheewenRosemarie Trockel, Marcus Steinweg
This book by Rosmarie Trockel and Marcus Steinweg shows a set of faksimiles from the private postcard collection of Rosmarie Trockel's mother.
Mutter, 2007
11,5 x 17 cm, 32p. Ed.1000
Ed. Reiner Speck und Gerhard Theewen
Ana Jotta
Done, 2019
Mixed media on paper, 15,5 x 20,5 cm. UniqueAna Jotta
Self-made book where Jotta compiles a number of texts written by the artist, among them the Perpetual Interview, drawings and other graphic material.
Done, 2019
Mixed media on paper, 15,5 x 20,5 cm. Unique
Ana Jotta
Done, 2019
Mixed media on paper, 15,5 x 20,5 cm. UniqueAna Jotta
Self-made book where Jotta compiles a number of texts written by the artist, among them the Perpetual Interview, drawings and other graphic material.
Done, 2019
Mixed media on paper, 15,5 x 20,5 cm. Unique
Ana Jotta
Fourth, no discovery, 2019
Ink on paper, 9 x 14,5 cm. UniqueAna Jotta
Self publihed book consisting of a small notebook with all pages blank. The cover and backcover have a text hanwritten by Jotta. It is the poem by Emily Dickinson Finding is the first Act based on the Greek mithology of Jason and his group of Argonauts that set out on a quest of the Golden Fleece. Two drawings by Ana Jotta, on the first and last pages complete the book.
Fourth, no discovery, 2019
Ink on paper, 9 x 14,5 cm. Unique
Ana Jotta
Fourth, no discovery, 2019
Ink on paper, 9 x 14,5 cm. UniqueAna Jotta
Self publihed book consisting of a small notebook with all pages blank. The cover and backcover have a text hanwritten by Jotta. It is the poem by Emily Dickinson Finding is the first Act based on the Greek mithology of Jason and his group of Argonauts that set out on a quest of the Golden Fleece. Two drawings by Ana Jotta, on the first and last pages complete the book.
Fourth, no discovery, 2019
Ink on paper, 9 x 14,5 cm. Unique
Ana Jotta
Fourth, no discovery, 2019
Ink on paper, 9 x 14,5 cm. UniqueAna Jotta
Self publihed book consisting of a small notebook with all pages blank. The cover and backcover have a text hanwritten by Jotta. It is the poem by Emily Dickinson Finding is the first Act based on the Greek mithology of Jason and his group of Argonauts that set out on a quest of the Golden Fleece. Two drawings by Ana Jotta, on the first and last pages complete the book.
Fourth, no discovery, 2019
Ink on paper, 9 x 14,5 cm. Unique
Dora García
Read with golden fingers (Selected poems of Emily Dickinson), 2019
Book, golden leaf. UniqueDora García
Dora García series of works Read with golden fingers was initiated in 1999. It is about found books that the artists reads with golden leaf in her fingers. Thus, the golden fingerprints that the act of reading leaves on each page are still visible. An act both universal and personal, an act that prolongs over time, establishing, in words of García, “a process of mental temporalities difficult to assess but very accessible if you follow the gestures of the reader”. On this occasion García chose a beautiful edition of poems by Emily Dickinson.
Read with golden fingers (Selected poems of Emily Dickinson), 2019
Book, golden leaf. Unique
Dora García
Read with golden fingers (Selected poems of Emily Dickinson), 2019
Book, golden leaf. UniqueDora García
Dora García series of works Read with golden fingers was initiated in 1999. It is about found books that the artists reads with golden leaf in her fingers. Thus, the golden fingerprints that the act of reading leaves on each page are still visible. An act both universal and personal, an act that prolongs over time, establishing, in words of García, “a process of mental temporalities difficult to assess but very accessible if you follow the gestures of the reader”. On this occasion García chose a beautiful edition of poems by Emily Dickinson.
Read with golden fingers (Selected poems of Emily Dickinson), 2019
Book, golden leaf. Unique
Patricia Dauder
Insulana, 2019
Graphit on newspaper paper
30, 5 x 43 cm, 24 p.
Ed. 5 + 2APPatricia Dauder
Artist book consisting of a set of 4 original drawings, graphite on newspaper paper, where the artist compiles in a non-descriptive way her impressions in the Azores islands in 2017. Notions as geographical isolation, the own idea of insularity but also the idea of space in constant change and movement emerge out this work. The cover and backcover are texts written/drawn of in Portuguese. Each book in the set of 5 + 2AP copies is handmade.
Insulana, 2019
Graphit on newspaper paper
30, 5 x 43 cm, 24 p.
Ed. 5 + 2AP
Patricia Dauder
Insulana, 2019
Graphit on newspaper paper
30, 5 x 43 cm, 24 p.
Ed. 5 + 2APPatricia Dauder
Artist book consisting of a set of 4 original drawings, graphite on newspaper paper, where the artist compiles in a non-descriptive way her impressions in the Azores islands in 2017. Notions as geographical isolation, the own idea of insularity but also the idea of space in constant change and movement emerge out this work. The cover and backcover are texts written/drawn of in Portuguese. Each book in the set of 5 + 2AP copies is handmade.
Insulana, 2019
Graphit on newspaper paper
30, 5 x 43 cm, 24 p.
Ed. 5 + 2AP
Vija Celmins
A Survey Exhibition, 1979
24 x 21,7 cm, 96 p.
Ed. Fellows of Contemporary Art, LA. Texts in English.Vija Celmins
Published on the occasion of a travelling exhibition at Newport Harbor Art Museum (1979), The Arts Club of Chicago (1980), The Hudson River Museum (1980) and the Corcoran Gallery of Art (1980). Including a foreword by Betty Turnbull and a text by Susan C. Larsen. With 64 black and white and 2 color illustrations.
A Survey Exhibition, 1979
24 x 21,7 cm, 96 p.
Ed. Fellows of Contemporary Art, LA. Texts in English.
Moyra Davey
Burn The Diaries, 2014
16 x 21 cm. 52 p.
Ed. Dancing Foxes Press / MuMOK, Vienna / ICA, PhiladelphiaMoyra Davey
In her text, Burn the Diaries, Davey considers the work of French playwright and political activist Jean Genet (1910–1986), among other texts, while examining fugitive moments from her own life. An essay by her childhood friend and reading companion Alison Strayer, written in response, reflects on Davey’s themes. The publication was part of a group of works—that includes photographs, a film, and an installation of her signature mailers—and can be read both as an artist’s book and a catalogue to accompany the exhibition at Mumok, Vienna, and the ICA in 2014. With texts and photographs by Moyra Davey and Allison Strayer. Design by Filiep Tacq.
Burn The Diaries, 2014
16 x 21 cm. 52 p.
Ed. Dancing Foxes Press / MuMOK, Vienna / ICA, Philadelphia
Moyra Davey
Burn The Diaries, 2014
16 x 21 cm. 52 p.
Ed. Dancing Foxes Press / MuMOK, Vienna / ICA, PhiladelphiaMoyra Davey
In her text, Burn the Diaries, Davey considers the work of French playwright and political activist Jean Genet (1910–1986), among other texts, while examining fugitive moments from her own life. An essay by her childhood friend and reading companion Alison Strayer, written in response, reflects on Davey’s themes. The publication was part of a group of works—that includes photographs, a film, and an installation of her signature mailers—and can be read both as an artist’s book and a catalogue to accompany the exhibition at Mumok, Vienna, and the ICA in 2014. With texts and photographs by Moyra Davey and Allison Strayer. Design by Filiep Tacq.
Burn The Diaries, 2014
16 x 21 cm. 52 p.
Ed. Dancing Foxes Press / MuMOK, Vienna / ICA, Philadelphia
Moyra Davey
I am your fan, 2014
14,5 x 20,5 cm, 46 p.
Ed. Camden Arts Centre/Camilla WillsMoyra Davey
Edited by Camilla Wills to accompany the exhibition „life without sheets of paper to be scribbled on is masterpiece“, from 11 April - 29 June 2014 at Camden Arts Centre. I’m Your Fan contains six of Moyra Davey’s recent essays and transcripts, interspersed with excerpts lifted directly from working notebooks. Influences, affinities, internal concerns, the weather, and partners circulate among the texts. Despite following a gentle chronological pull I’m Your Fan persistently intercepts the biographies and methods of others, promiscuously re-grouping literary and critical territories, and effectively determining Davey’s own legacy.
I am your fan, 2014
14,5 x 20,5 cm, 46 p.
Ed. Camden Arts Centre/Camilla Wills
Moyra Davey
Les Goddesses/Hemlock Forest, 2016
16 x 24 cm, 128 p.
Ed. Dancing Foxes Press / Bergen KunsthallMoyra Davey
This book by New York–based artist Moyra Davey is based on two related projects, Les Goddesses (2011) and Hemlock Forest (2016), which each take form through text, photography, and film. Layering introspection and personal narratives with meditations on the lives and works of other writers, filmmakers, and artists—ranging from 18th-century feminist writer and activist Mary Wollstonecraft to Chantal Akerman, Karl Ove Knausgård, and Davey’s own five sisters—the artist explores such themes as compulsion, artistic production, family, and life and its passing. Edited by Karen Kelly and Barbara Schroeder. Texts by Moyra Davey and an introduction by Aveek Sen. Design by Filiep Tacq.
Les Goddesses/Hemlock Forest, 2016
16 x 24 cm, 128 p.
Ed. Dancing Foxes Press / Bergen Kunsthall
Moyra Davey
Les Goddesses/Hemlock Forest, 2016
16 x 24 cm, 128 p.
Ed. Dancing Foxes Press / Bergen KunsthallMoyra Davey
This book by New York–based artist Moyra Davey is based on two related projects, Les Goddesses (2011) and Hemlock Forest (2016), which each take form through text, photography, and film. Layering introspection and personal narratives with meditations on the lives and works of other writers, filmmakers, and artists—ranging from 18th-century feminist writer and activist Mary Wollstonecraft to Chantal Akerman, Karl Ove Knausgård, and Davey’s own five sisters—the artist explores such themes as compulsion, artistic production, family, and life and its passing. Edited by Karen Kelly and Barbara Schroeder. Texts by Moyra Davey and an introduction by Aveek Sen. Design by Filiep Tacq.
Les Goddesses/Hemlock Forest, 2016
16 x 24 cm, 128 p.
Ed. Dancing Foxes Press / Bergen Kunsthall
Dora García
All the Stories (Nueva Edición), 2013
21 x 14 cm, 526 p. Text in English.
Ed. Bookworks, Eastside ProjectsDora García
With the minimum of instructions and a restricted format of four lines, Dora García’s collaborative and participatory project has now collected over 2,500 stories. Ranging from mundane to the extraordinary, these four line vignettes reveal the shared fears and fantasies of the contributors, the pervasiveness of popular culture and the possibilities of the imagination.
All the Stories (Nueva Edición), 2013
21 x 14 cm, 526 p. Text in English.
Ed. Bookworks, Eastside Projects
Collected in the form of a book for the first time, this publication presents all the contributions up to 2011. This new edition, features a new cover designed by James Langdon, with Robin Kirkham.
Dora García
I always tell the truth, 2018
22 x 14 cm, 174 p. Texts in English and Swedish.
Ed. Art And Theory PublishingDora García
In her exhibition at Bonniers Konsthall in Stockholm, Dora García explores the concept of truth through film, drawings, text, and performance. Often equally an interactive event and a research project, her work transforms the exhibition space into a platform where the relations between artwork, audience, and place can be explored. As the separation of true and false appears increasingly blurred and “fake news” makes it hard to assess the veracity of statements, García offers a space for dialogue. Based on such highly topical concerns, the essays in this book pose questions regarding truth, visibility, and authority. Includes an interview with the artist.
I always tell the truth, 2018
22 x 14 cm, 174 p. Texts in English and Swedish.
Ed. Art And Theory Publishing
Beatriz González
Diario del guernica, 2018
30 x 23 cm, 128 p. 500 ex.
Ed. Zulu PressBeatriz González
In 1981 Beatriz González worked on the monumental work Mural Para Fábrica Socialist, which is a version of Picasso’s Guernica. Diario del Guernica. Diario de una obra sin sentido, in which González precisely documented the creation of the work, was written parallel to the artistic process. In the recently published book Diario del Guernica. Diario de una obra sin sentido Mural Para Fábrica Socialista, these handwritten notes and sketches are presented for the first time. The texts have also been transcribed into Spanish and translated into English
Diario del guernica, 2018
30 x 23 cm, 128 p. 500 ex.
Ed. Zulu Press
Beatriz González
Diario del guernica, 2018
30 x 23 cm, 128 p. 500 ex.
Ed. Zulu PressBeatriz González
In 1981 Beatriz González worked on the monumental work Mural Para Fábrica Socialist, which is a version of Picasso’s Guernica. Diario del Guernica. Diario de una obra sin sentido, in which González precisely documented the creation of the work, was written parallel to the artistic process. In the recently published book Diario del Guernica. Diario de una obra sin sentido Mural Para Fábrica Socialista, these handwritten notes and sketches are presented for the first time. The texts have also been transcribed into Spanish and translated into English
Diario del guernica, 2018
30 x 23 cm, 128 p. 500 ex.
Ed. Zulu Press
Susan Hiller
Sisters of Menon, 1983
29 x 20 cm, 750 ex.
Ed. Coracle Press, LondonSusan Hiller
Published on the occasion of an exhibition held in the Gimpel Gallery in march and april 1982. Hiller's fascination with languages, voices and writing is evident throughout her work. Her first experience of automatic writing occured spontaneously while engaged in a group experiment called „Draw Together“ intended to explore the notion of telephathy and the transmission of ideas and images. „What had begun as a kind of aimless scribble turned into a text, or anyway a stream of words in handwriting that wasn't my own.“ Hiller initially regarded Sister of Menon 1972-79 as a set of drawings and only some years later began to analyse and annotate them. The voice of the „Sisters“ who refer themselves variously as „I“ or „we“, can be deciphered in the drawing / writing. The messages point to the possibility of an extension of individual identity to the plural of collective.
Sisters of Menon, 1983
29 x 20 cm, 750 ex.
Ed. Coracle Press, London
Susan Hiller
Sisters of Menon, 1983
29 x 20 cm, 750 ex.
Ed. Coracle Press, LondonSusan Hiller
Published on the occasion of an exhibition held in the Gimpel Gallery in march and april 1982. Hiller's fascination with languages, voices and writing is evident throughout her work. Her first experience of automatic writing occured spontaneously while engaged in a group experiment called „Draw Together“ intended to explore the notion of telephathy and the transmission of ideas and images. „What had begun as a kind of aimless scribble turned into a text, or anyway a stream of words in handwriting that wasn't my own.“ Hiller initially regarded Sister of Menon 1972-79 as a set of drawings and only some years later began to analyse and annotate them. The voice of the „Sisters“ who refer themselves variously as „I“ or „we“, can be deciphered in the drawing / writing. The messages point to the possibility of an extension of individual identity to the plural of collective.
Sisters of Menon, 1983
29 x 20 cm, 750 ex.
Ed. Coracle Press, London
Roni Horn
You are the weather, 1997
28,5 x 24 cm, 126 p.
Ed. Scalo, BerlinRoni Horn
A girl's luminous face rises again and again from the hot springs of Iceland. Watch the slight changes of her expression. Observe closely the face's opaque surface that will not yield the soul. An enigma without solution. You know nothing about her. All you can see are her ever shifting moods and the water. It's always the same face and yet never alike. Like the weather. Always changing and beyond meaning. A surface that invites you to project your own desires, thoughts, and dreams; and yet it will always resist the power of your gaze. Like the sky, the clouds, the rain.
You are the weather, 1997
28,5 x 24 cm, 126 p.
Ed. Scalo, Berlin
Roni Horn
You are the weather, 1997
28,5 x 24 cm, 126 p.
Ed. Scalo, BerlinRoni Horn
A girl's luminous face rises again and again from the hot springs of Iceland. Watch the slight changes of her expression. Observe closely the face's opaque surface that will not yield the soul. An enigma without solution. You know nothing about her. All you can see are her ever shifting moods and the water. It's always the same face and yet never alike. Like the weather. Always changing and beyond meaning. A surface that invites you to project your own desires, thoughts, and dreams; and yet it will always resist the power of your gaze. Like the sky, the clouds, the rain.
You are the weather, 1997
28,5 x 24 cm, 126 p.
Ed. Scalo, Berlin
Ana Jotta
Fala – só, 2018
17 x 12 cm, Leporello, 54 p, Textbooklet 40 p. 300 ex.
Ed. Temporary Gallery. Zentrum für zeitgenössische Kunst e.V.Ana Jotta
A Leporello which shows an image of Ana Jotta's work Fala-só and accompanied by a text by Camiel van Winkel. „Fala-só“ (an outdated Portuguese expression for „soliloquy“) made between 2014 and 2017. Over 40-metres in lenght, it was seen almost entirely for the first time at Temporary Gallery in Cologne. The panel was running through the exhibition spaces, offering the visitor a step-by-step insight into her oevre along the blue fabric with its series of figures and the exhibited works. It depicts a sketchy outline of a worker carrying a pane of glass under his arm. The repetition of the motif as a sequence of movements might evoke associations of a magnified filmstrip.
Fala – só, 2018
17 x 12 cm, Leporello, 54 p, Textbooklet 40 p. 300 ex.
Ed. Temporary Gallery. Zentrum für zeitgenössische Kunst e.V.
Ana Jotta
Fala – só, 2018
17 x 12 cm, Leporello, 54 p, Textbooklet 40 p. 300 ex.
Ed. Temporary Gallery. Zentrum für zeitgenössische Kunst e.V.Ana Jotta
A Leporello which shows an image of Ana Jotta's work Fala-só and accompanied by a text by Camiel van Winkel. „Fala-só“ (an outdated Portuguese expression for „soliloquy“) made between 2014 and 2017. Over 40-metres in lenght, it was seen almost entirely for the first time at Temporary Gallery in Cologne. The panel was running through the exhibition spaces, offering the visitor a step-by-step insight into her oevre along the blue fabric with its series of figures and the exhibited works. It depicts a sketchy outline of a worker carrying a pane of glass under his arm. The repetition of the motif as a sequence of movements might evoke associations of a magnified filmstrip.
Fala – só, 2018
17 x 12 cm, Leporello, 54 p, Textbooklet 40 p. 300 ex.
Ed. Temporary Gallery. Zentrum für zeitgenössische Kunst e.V.
Alison Knowles
Uncollected Texts, 2007
20 x 12 cm, 16 p.
Ed. Primary InformationAlison Knowles
This collection of scores presents a comprehensive overview of Knowles’ seminal early performance/event pieces from 1961 to 1965. These scores range from well-known directives (“Make a salad” and “Tie up the audience”) to more elaborate orchestrations, including pieces conceived for Nam June Paik and George Brecht and several relating to Knowles’ work as a printer.
Uncollected Texts, 2007
20 x 12 cm, 16 p.
Ed. Primary Information
Alison Knowles
Uncollected Texts, 2007
20 x 12 cm, 16 p.
Ed. Primary InformationAlison Knowles
This collection of scores presents a comprehensive overview of Knowles’ seminal early performance/event pieces from 1961 to 1965. These scores range from well-known directives (“Make a salad” and “Tie up the audience”) to more elaborate orchestrations, including pieces conceived for Nam June Paik and George Brecht and several relating to Knowles’ work as a printer.
Uncollected Texts, 2007
20 x 12 cm, 16 p.
Ed. Primary Information
Aglaia Konrad
SCHAUBUCH: Skulptur, 2017
20 x 13 cm, 192 p
Ed. Roma PublicationsAglaia Konrad
The photographs in this book, taken by Aglaia Konrad between 2010 and 2017 in museums throughout Europe, share an interest in 'sculptural architecture’. Her focus on the spatial display of sculpture allowed for an unrestricted subjective choice.
SCHAUBUCH: Skulptur, 2017
20 x 13 cm, 192 p
Ed. Roma Publications
Aglaia Konrad
SCHAUBUCH: Skulptur, 2017
20 x 13 cm, 192 p
Ed. Roma PublicationsAglaia Konrad
The photographs in this book, taken by Aglaia Konrad between 2010 and 2017 in museums throughout Europe, share an interest in 'sculptural architecture’. Her focus on the spatial display of sculpture allowed for an unrestricted subjective choice.
SCHAUBUCH: Skulptur, 2017
20 x 13 cm, 192 p
Ed. Roma Publications
Irene Kopelman
Lógicas Desviadas. Notes on Representation V.1, 2006
28 x 21 cm, 24 p. Ed. 250
Ed. Roma PublicationsIrene Kopelman
Drawings by Kopelman based on historical maps dated from the XVI to XIX centuries. 'Lógicas Desviadas' is the first volume of the series 'Notes on Representation' by Kopelman.
Lógicas Desviadas. Notes on Representation V.1, 2006
28 x 21 cm, 24 p. Ed. 250
Ed. Roma Publications
Irene Kopelman
Lógicas Desviadas. Notes on Representation V.1, 2006
28 x 21 cm, 24 p. Ed. 250
Ed. Roma PublicationsIrene Kopelman
Drawings by Kopelman based on historical maps dated from the XVI to XIX centuries. 'Lógicas Desviadas' is the first volume of the series 'Notes on Representation' by Kopelman.
Lógicas Desviadas. Notes on Representation V.1, 2006
28 x 21 cm, 24 p. Ed. 250
Ed. Roma Publications
Irene Kopelman
x Points of View . Notes on Representation V.2, 2011
28 x 21 cm, 144 p.
Ed. Roma PublicationsIrene Kopelman
Notes on Representation Volumen 2. Book with drawings from various small objects, observed from different angles.
x Points of View . Notes on Representation V.2, 2011
28 x 21 cm, 144 p.
Ed. Roma Publications
Irene Kopelman
x Points of View . Notes on Representation V.2, 2011
28 x 21 cm, 144 p.
Ed. Roma PublicationsIrene Kopelman
Notes on Representation Volumen 2. Book with drawings from various small objects, observed from different angles.
x Points of View . Notes on Representation V.2, 2011
28 x 21 cm, 144 p.
Ed. Roma Publications
Irene Kopelman
50 Metres distance or more. Notes on Representation V.4, 2011
21 x 28 cm, 210 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
Notes on Representation Volumen 4 is a collection of drawings and diary notes by Kopelman, gathered during a journey to the Antarctic from January 6-26th 2010, aboard the expedition sailboat Spirit of Sydney. Text edited by Nickel van Duijvenboden.
50 Metres distance or more. Notes on Representation V.4, 2011
21 x 28 cm, 210 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
50 Metres distance or more. Notes on Representation V.4, 2011
21 x 28 cm, 210 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
Notes on Representation Volumen 4 is a collection of drawings and diary notes by Kopelman, gathered during a journey to the Antarctic from January 6-26th 2010, aboard the expedition sailboat Spirit of Sydney. Text edited by Nickel van Duijvenboden.
50 Metres distance or more. Notes on Representation V.4, 2011
21 x 28 cm, 210 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
The Exact Opposite of Distance. Notes on Representation V.5, 2014
28 x 21 cm, 72 p.
Ed. Roma Publications. Texts in English and Spanish.Irene Kopelman
The Exact Opposite of Distance consists of 3 sets of drawings made in the Amazon rainforest (Light Fragments,From the River, Forest Windows), and a set of paintings. Besides visuals the book contains detailed work notes covering her stay in the jungle from May 9 till June 20, 2012. In contrast to the wideness of the landscapes of rocks and glaciers she has previously worked on to reproduce in detail, Kopelman experienced an opposite of distance by working in a jungle that entirely surrounded her. Edited by Moosje Goosen.
The Exact Opposite of Distance. Notes on Representation V.5, 2014
28 x 21 cm, 72 p.
Ed. Roma Publications. Texts in English and Spanish.
Irene Kopelman
The Exact Opposite of Distance. Notes on Representation V.5, 2014
28 x 21 cm, 72 p.
Ed. Roma Publications. Texts in English and Spanish.Irene Kopelman
The Exact Opposite of Distance consists of 3 sets of drawings made in the Amazon rainforest (Light Fragments,From the River, Forest Windows), and a set of paintings. Besides visuals the book contains detailed work notes covering her stay in the jungle from May 9 till June 20, 2012. In contrast to the wideness of the landscapes of rocks and glaciers she has previously worked on to reproduce in detail, Kopelman experienced an opposite of distance by working in a jungle that entirely surrounded her. Edited by Moosje Goosen.
The Exact Opposite of Distance. Notes on Representation V.5, 2014
28 x 21 cm, 72 p.
Ed. Roma Publications. Texts in English and Spanish.
Irene Kopelman
Esto es una papa. Notes on Representation V.6, 2015
28 x 21 cm, 48 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
The 6th volume of series Notes on Representation reports a travel to the Andean highlands in Peru where she investigated the amorphous shapes of native potatoes. Her notes give account of indigenous agriculture and community efforts to preserve hundreds of potato varieties. From meeting a local potato king to witnessing first-hand the amazing variety of tuberous colours and shapes, Kopelmans experience and the resulting drawings are unique. Made possible with support of the Mondriaan Fund.
Esto es una papa. Notes on Representation V.6, 2015
28 x 21 cm, 48 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
Esto es una papa. Notes on Representation V.6, 2015
28 x 21 cm, 48 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
The 6th volume of series Notes on Representation reports a travel to the Andean highlands in Peru where she investigated the amorphous shapes of native potatoes. Her notes give account of indigenous agriculture and community efforts to preserve hundreds of potato varieties. From meeting a local potato king to witnessing first-hand the amazing variety of tuberous colours and shapes, Kopelmans experience and the resulting drawings are unique. Made possible with support of the Mondriaan Fund.
Esto es una papa. Notes on Representation V.6, 2015
28 x 21 cm, 48 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
Entanglement. Notes on Representation V.7, 2015
28 x 21 cm, 152 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
This book is the result of the work Irene Kopelman produced during visits to the Smithsonian Tropical Research Institute in Panama between 2012 and 2015. Without formal scientific training, Kopelman aimed to achieve an understanding of methods in field biology, and contacted three researchers to assist as interlocutors: Stuart J. Davies (forest ecology), Owen McMillan (adaptive variation), and Bill Wcislo (animal behaviour). Her drawings include the forms of woody vines, mangrove roots, and randomly scattered crab pellets in the sand.
Entanglement. Notes on Representation V.7, 2015
28 x 21 cm, 152 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
Entanglement. Notes on Representation V.7, 2015
28 x 21 cm, 152 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
This book is the result of the work Irene Kopelman produced during visits to the Smithsonian Tropical Research Institute in Panama between 2012 and 2015. Without formal scientific training, Kopelman aimed to achieve an understanding of methods in field biology, and contacted three researchers to assist as interlocutors: Stuart J. Davies (forest ecology), Owen McMillan (adaptive variation), and Bill Wcislo (animal behaviour). Her drawings include the forms of woody vines, mangrove roots, and randomly scattered crab pellets in the sand.
Entanglement. Notes on Representation V.7, 2015
28 x 21 cm, 152 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
On Glaciers and Avalanches. Notes on Representation V.8, 2017
28 x 21 cm, 68 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
This book, the 8th volume in Kopelman's series Notes on Representation, focuses on glaciers, alpine forests, and avalanche-sculpted mountainscapes, especially their texture, morphology, and ‘readability’. It brings together drawings and field notes made during multiple stays in the Swiss Alps, notably Davos, as well as paintings produced later in a studio setting. It also contains contributions by scientists with whom Kopelman worked. Their research offers relevant perspectives into glaciology, ecology, dendrochronology, and art history.
On Glaciers and Avalanches. Notes on Representation V.8, 2017
28 x 21 cm, 68 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
On Glaciers and Avalanches. Notes on Representation V.8, 2017
28 x 21 cm, 68 p. Texts in English and Spanish.
Ed. Roma PublicationsIrene Kopelman
This book, the 8th volume in Kopelman's series Notes on Representation, focuses on glaciers, alpine forests, and avalanche-sculpted mountainscapes, especially their texture, morphology, and ‘readability’. It brings together drawings and field notes made during multiple stays in the Swiss Alps, notably Davos, as well as paintings produced later in a studio setting. It also contains contributions by scientists with whom Kopelman worked. Their research offers relevant perspectives into glaciology, ecology, dendrochronology, and art history.
On Glaciers and Avalanches. Notes on Representation V.8, 2017
28 x 21 cm, 68 p. Texts in English and Spanish.
Ed. Roma Publications
Irene Kopelman
Indexing Water. Notes on Representation V.9, 2018
28 x 21 cm, 68 p. Texts in English.
Ed. Roma PublicationsIrene Kopelman
The 9th volume of Notes on Representation, is dedicated to Dr. Marcel Wernand, a physical oceanographer who engaged in the research of Forel-Ule scale - a hand-held index to estimate the colour of natural waters since the nineteenth century. This book functions as the Forel-Ule scale itself, reproduced as printed matter in solid, opaque colours. It also brings together fragments, both of Wernand's writings and of recorded conversations, which took place at different moments in 2017.
Indexing Water. Notes on Representation V.9, 2018
28 x 21 cm, 68 p. Texts in English.
Ed. Roma Publications
Irene Kopelman
Indexing Water. Notes on Representation V.9, 2018
28 x 21 cm, 68 p. Texts in English.
Ed. Roma PublicationsIrene Kopelman
The 9th volume of Notes on Representation, is dedicated to Dr. Marcel Wernand, a physical oceanographer who engaged in the research of Forel-Ule scale - a hand-held index to estimate the colour of natural waters since the nineteenth century. This book functions as the Forel-Ule scale itself, reproduced as printed matter in solid, opaque colours. It also brings together fragments, both of Wernand's writings and of recorded conversations, which took place at different moments in 2017.
Indexing Water. Notes on Representation V.9, 2018
28 x 21 cm, 68 p. Texts in English.
Ed. Roma Publications
Irene Kopelman
Cardinal Points. Notes on Representation V.10, 2019
28 x 21 cm, 84 p. Texts in English.
Ed. Roma PublicationsIrene Kopelman
Cardinal Points, the10th volume of series Notes on Representation, charts Kopelman's investigations through drawing, writing, and taking photographs on several trips in Argentina where she joined the research campaigns of different groups of scientists: to Pampa de Achala, Cordoba, working with biologists on invasive terrestrial species and studies of litter; to El Litoral, to the provinces of Entre Rios and Corrientes, with a team of ecologists studying floral ecology; to a lab in Puerto Madryn in the Patagonian region, with a team that works with invasions of marine organisms; and to the Ischigualasto Provincial Park and Jachal in the province of San Juan, with a team of geologists and palaeontologists.
Cardinal Points. Notes on Representation V.10, 2019
28 x 21 cm, 84 p. Texts in English.
Ed. Roma Publications
Irene Kopelman
Cardinal Points. Notes on Representation V.10, 2019
28 x 21 cm, 84 p. Texts in English.
Ed. Roma PublicationsIrene Kopelman
Cardinal Points, the10th volume of series Notes on Representation, charts Kopelman's investigations through drawing, writing, and taking photographs on several trips in Argentina where she joined the research campaigns of different groups of scientists: to Pampa de Achala, Cordoba, working with biologists on invasive terrestrial species and studies of litter; to El Litoral, to the provinces of Entre Rios and Corrientes, with a team of ecologists studying floral ecology; to a lab in Puerto Madryn in the Patagonian region, with a team that works with invasions of marine organisms; and to the Ischigualasto Provincial Park and Jachal in the province of San Juan, with a team of geologists and palaeontologists.
Cardinal Points. Notes on Representation V.10, 2019
28 x 21 cm, 84 p. Texts in English.
Ed. Roma Publications
Irene Kopelman
The Molyneux Problem, 2012
23 x 16,5 cm, 144 p. Texts in English.
Ed. Roma PublicationsIrene Kopelman
In this book Kopelman meticulously describes five of her major projects in which she is dealing intensively with research, traveling, observing, and drawing. Her descriptions and work notes give insight in Kopelman's relation to sience and point out the distinction between what one knows and what one sees.
The Molyneux Problem, 2012
23 x 16,5 cm, 144 p. Texts in English.
Ed. Roma Publications
Lee Lozano
Notebooks 1967 – 70, 2010
27 x 21 cm, 224 p.
Ed. Primary Information, New YorkLee Lozano
This publication is a compilation of Lee Lozano’s notebooks from 1967 to 1970. The three notebooks included here contain her seminal “Language Pieces” and drawings for her paintings, including 12 studies for her 11-panel masterpiece, “Wave Series.”
Notebooks 1967 – 70, 2010
27 x 21 cm, 224 p.
Ed. Primary Information, New York
Lee Lozano
Notebooks 1967 – 70, 2010
27 x 21 cm, 224 p.
Ed. Primary Information, New YorkLee Lozano
This publication is a compilation of Lee Lozano’s notebooks from 1967 to 1970. The three notebooks included here contain her seminal “Language Pieces” and drawings for her paintings, including 12 studies for her 11-panel masterpiece, “Wave Series.”
Notebooks 1967 – 70, 2010
27 x 21 cm, 224 p.
Ed. Primary Information, New York
Annette Messager
Serials, 1978
15 x 21 cm, 32p. 500 ex.
Ed. Galeria FoksalAnnette Messager
Artist book by Annette Messager, published by Polish gallery Foksal in 1978. Introduction by Klaus Honnef.
Serials, 1978
15 x 21 cm, 32p. 500 ex.
Ed. Galeria Foksal
Annette Messager
Serials, 1978
15 x 21 cm, 32p. 500 ex.
Ed. Galeria FoksalAnnette Messager
Artist book by Annette Messager, published by Polish gallery Foksal in 1978. Introduction by Klaus Honnef.
Serials, 1978
15 x 21 cm, 32p. 500 ex.
Ed. Galeria Foksal
Hellen Mirra & Ernst Karel
Maps of Parallels 41 º N and 49º N at a scale of the seconds to one degree, 2014
12,5 x 14 cm, CD audio
Ed. Shpuma Records, LisboaHellen Mirra & Ernst Karel
In 1999 I made a silent 16mm film of a latitude line, at a scale of one foot of film to one degree of latitude. It was simply coded, blue for sea, green for land. I also made related wall works with 16mm cotton banding, at a scale of one inch to one degree. In 2002 I made an exhibition titled Declining Interval Lands, referring to the land between the latitude lines 41º and 49ºN in North America where elm trees flourished until the scourge of Dutch Elm Disease nearly eradicated them in the mid-20th century. With much more detail than the structure of my film and cotton line works allowed, Ernst and I made maps of 41º and 49º, with sounds not imitating natural sounds, but analogous to them. The exhibition version is in dual mono, with one CD-player per speaker at opposite sides of a space; here 41º is in the left channel, and 49º in the right. – H M. Published coincidentally with the book Edge Habitat Materials (Chicago: WhiteWalls 2014) and the exhibition Edge Habitat (Lisbon: Culturgest, 7 June – 14 September 2014).
Maps of Parallels 41 º N and 49º N at a scale of the seconds to one degree, 2014
12,5 x 14 cm, CD audio
Ed. Shpuma Records, Lisboa
Itziar Okaritz
Diary of Dreams, 2019
21 x 29,7 cm / 14,8 x 21 cm
Ed: 250, 32 p. Texts in English.
Ed. If Publications, BarcelonaItziar Okaritz
It was back in 2013 when Itziar Okariz (1965, Donostia–San Sebastian) exhibited Diary of Dreams for the first time. In its original iteration, the artist’s daily recollection of dreams took on the form of a cumulative pile of notes. Eventually, Okariz presented these notes as a vocal performance in which she multiplied the phrases, read the words repeatedly, and even inverted their syntax. The oral deconstruction of the narrative resulted in a fourth rendering of the dreams: the transcription of the performative reading into a book.
Diary of Dreams, 2019
21 x 29,7 cm / 14,8 x 21 cm
Ed: 250, 32 p. Texts in English.
Ed. If Publications, Barcelona
Yvonne Rainer
Moving And Being Moved, 2017
28 x 20 cm, 128 p
Ed. Roma PublicationsYvonne Rainer
Edited by Yvonne Rainer, this selection of texts and images by Rainer and various authors, offers a retrospective portrait of her work, focusing on some of her most notable performances and projects from both the late 1960s (‘Trio A’, ‘The Mind Is a Muscle’) and since her return to dance with the White Oak Dance Project in 2000.
Moving And Being Moved, 2017
28 x 20 cm, 128 p
Ed. Roma Publications
Yvonne Rainer
Moving And Being Moved, 2017
28 x 20 cm, 128 p
Ed. Roma PublicationsYvonne Rainer
Edited by Yvonne Rainer, this selection of texts and images by Rainer and various authors, offers a retrospective portrait of her work, focusing on some of her most notable performances and projects from both the late 1960s (‘Trio A’, ‘The Mind Is a Muscle’) and since her return to dance with the White Oak Dance Project in 2000.
Moving And Being Moved, 2017
28 x 20 cm, 128 p
Ed. Roma Publications
Carolee Schneemann
Uncollected Texts, 2018
21 x 14 cm, 164 p.
Ed. Primary InformationCarolee Schneemann
Uncollected Texts draws together a number of Carolee Schneemann’s earliest writings—many exceedingly rare and several that are published here for the first time—ranging from letters to the editor, dream journals, and film criticism, to satirical poems, detailed discussions of her art, and pointed feminist critiques. Edited by Branden W. Joseph, the book includes 30 texts by Carolee Schneemann written between 1956 and 1981, as well as an introduction by Joseph.
Uncollected Texts, 2018
21 x 14 cm, 164 p.
Ed. Primary Information
Frances Stark
A Torment of Follies, 2008
30 x 20 cm, 80 p.
Ed. Secession. Texts in English and German.Frances Stark
Frances Stark is constructing with subtle collages, paintings, drawings and texts a complex work, which oscillates between poetry, fine art and references to her own biography. Her depiction of space, landscape, plants and animals are often metaphors of humankindness in its most fragile state. Stark's artistic practice bases on an intense research about various aspects of the everyday and its tradition in literature, music and philosophy.
A Torment of Follies, 2008
30 x 20 cm, 80 p.
Ed. Secession. Texts in English and German.
Frances Stark
A Torment of Follies, 2008
30 x 20 cm, 80 p.
Ed. Secession. Texts in English and German.Frances Stark
Frances Stark is constructing with subtle collages, paintings, drawings and texts a complex work, which oscillates between poetry, fine art and references to her own biography. Her depiction of space, landscape, plants and animals are often metaphors of humankindness in its most fragile state. Stark's artistic practice bases on an intense research about various aspects of the everyday and its tradition in literature, music and philosophy.
A Torment of Follies, 2008
30 x 20 cm, 80 p.
Ed. Secession. Texts in English and German.
Frances Stark
UH-OH, 2015/16
28 x 21 cm, 150 p. Texts in English.
Ed. Ali Subotnik & Frances StarkFrances Stark
Frances Stark deftly deploys text, image, and literary sources in her drawings, collages, paintings, and video works that reflect on her roles as artist, mother, woman, and teacher. Companion to an exhibition that documents Stark's 25year long career, this book contains 125 works in which Stark employs words and images to create provocative and selfreferential works that speak to the complexities of daily life.
UH-OH, 2015/16
28 x 21 cm, 150 p. Texts in English.
Ed. Ali Subotnik & Frances Stark
Frances Stark
UH-OH, 2015/16
28 x 21 cm, 150 p. Texts in English.
Ed. Ali Subotnik & Frances StarkFrances Stark
Frances Stark deftly deploys text, image, and literary sources in her drawings, collages, paintings, and video works that reflect on her roles as artist, mother, woman, and teacher. Companion to an exhibition that documents Stark's 25year long career, this book contains 125 works in which Stark employs words and images to create provocative and selfreferential works that speak to the complexities of daily life.
UH-OH, 2015/16
28 x 21 cm, 150 p. Texts in English.
Ed. Ali Subotnik & Frances Stark
Batia Suter
Parallel Encyclopedia 2, 2016/18
28,6 x 21,6 cm, 592 p.
Ed. Roma PublicationsBatia Suter
Batia Suter’s work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first Parallel Encyclopedia, published in 2007. Underlying themes of Suter’s practice are the “iconification” and “immunogenicity” of old images, and the circumstances by which they become charged with new associative values.
Parallel Encyclopedia 2, 2016/18
28,6 x 21,6 cm, 592 p.
Ed. Roma Publications
Batia Suter
Parallel Encyclopedia 2, 2016/18
28,6 x 21,6 cm, 592 p.
Ed. Roma PublicationsBatia Suter
Batia Suter’s work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first Parallel Encyclopedia, published in 2007. Underlying themes of Suter’s practice are the “iconification” and “immunogenicity” of old images, and the circumstances by which they become charged with new associative values.
Parallel Encyclopedia 2, 2016/18
28,6 x 21,6 cm, 592 p.
Ed. Roma Publications
Batia Suter
Radial Grammar, 2019
30 x 22.5 cm, 296 p.
Ed. Roma PublicationsBatia Suter
Radial Grammar was created by Batia Suter in 2018 on the occasion of her eponymous exhibition at Le Bal in Paris, from May 25 till August 26, 2018. The imagery in this book, which revolves around radial shapes and concepts, also forms the basis of a video work in the exhibition. Specific for the book is the use of two separate layers of black ink, allowing Suter to create double images and to merge patterns and screens.
Radial Grammar, 2019
30 x 22.5 cm, 296 p.
Ed. Roma Publications
Batia Suter
Radial Grammar, 2019
30 x 22.5 cm, 296 p.
Ed. Roma PublicationsBatia Suter
Radial Grammar was created by Batia Suter in 2018 on the occasion of her eponymous exhibition at Le Bal in Paris, from May 25 till August 26, 2018. The imagery in this book, which revolves around radial shapes and concepts, also forms the basis of a video work in the exhibition. Specific for the book is the use of two separate layers of black ink, allowing Suter to create double images and to merge patterns and screens.
Radial Grammar, 2019
30 x 22.5 cm, 296 p.
Ed. Roma Publications
Batia Suter
Cloud Service, 2019
28,5 x 19,5 cm
Ed. Roma PublicationsBatia Suter
Published on the occasion of Suter's exhibition at Printed Matter in New York (February 21 - April 21 2019), Cloud Service is a monographic index of clouds and cloud-suggestive forms, both vast and microscopic in scale. Sweeping aerial shots, volcanic plumes and skyscapes are interwoven with coral, cauliflowers, and bighorn sheep.
Cloud Service, 2019
28,5 x 19,5 cm
Ed. Roma Publications
Batia Suter
Cloud Service, 2019
28,5 x 19,5 cm
Ed. Roma PublicationsBatia Suter
Published on the occasion of Suter's exhibition at Printed Matter in New York (February 21 - April 21 2019), Cloud Service is a monographic index of clouds and cloud-suggestive forms, both vast and microscopic in scale. Sweeping aerial shots, volcanic plumes and skyscapes are interwoven with coral, cauliflowers, and bighorn sheep.
Cloud Service, 2019
28,5 x 19,5 cm
Ed. Roma Publications
Fiona Tan
10 Madnesses, 2018
18.5 x 11 cm, 120 p.
Ed. Roma Publications.Fiona Tan
Five Portraits of the Insane by the nineteenth century French artist Théodore Géricault are said to be all that remain of originally ten commissioned portraits of insane patients. Each painting depicts a particular mental condition, a so-called monomania including a kleptomaniac, a woman mad with envy, a child kidnapper. Almost nothing is known about these portraits, but they raise a multitude of questions. Who are these people? In what way are they insane? What and where are the five missing madnesses? Intrigued and inspired by an absence, Tan decides to go in search of them. Pairing personal impressions with formal analysis and archival research, the essay ventures far beyond the boundaries of art history.
10 Madnesses, 2018
18.5 x 11 cm, 120 p.
Ed. Roma Publications.
Fiona Tan
10 Madnesses, 2018
18.5 x 11 cm, 120 p.
Ed. Roma Publications.Fiona Tan
Five Portraits of the Insane by the nineteenth century French artist Théodore Géricault are said to be all that remain of originally ten commissioned portraits of insane patients. Each painting depicts a particular mental condition, a so-called monomania including a kleptomaniac, a woman mad with envy, a child kidnapper. Almost nothing is known about these portraits, but they raise a multitude of questions. Who are these people? In what way are they insane? What and where are the five missing madnesses? Intrigued and inspired by an absence, Tan decides to go in search of them. Pairing personal impressions with formal analysis and archival research, the essay ventures far beyond the boundaries of art history.
10 Madnesses, 2018
18.5 x 11 cm, 120 p.
Ed. Roma Publications.
Rosemarie Trockel
Löffel + Mirabelle, 1995
21,6 x 20 cm, 33 p. 1000 ex. Signed by the artist.
Ed. Oktogon Verlag, Museum Haus Lange KrefeldRosemarie Trockel
A children's book as an artist book and vice versa. Published on the occasion of Trockel's solo exhibition at the Museum Haus Lange in Krefeld in 1995 in an edition of 1000. The book tells the story of the bunny called „Löffel“, which lives in Krefeld next to Haus Lange with the girl Mirabelle, who collects images and stories about bunnys in art.
Löffel + Mirabelle, 1995
21,6 x 20 cm, 33 p. 1000 ex. Signed by the artist.
Ed. Oktogon Verlag, Museum Haus Lange Krefeld
Rosemarie Trockel
Löffel + Mirabelle, 1995
21,6 x 20 cm, 33 p. 1000 ex. Signed by the artist.
Ed. Oktogon Verlag, Museum Haus Lange KrefeldRosemarie Trockel
A children's book as an artist book and vice versa. Published on the occasion of Trockel's solo exhibition at the Museum Haus Lange in Krefeld in 1995 in an edition of 1000. The book tells the story of the bunny called „Löffel“, which lives in Krefeld next to Haus Lange with the girl Mirabelle, who collects images and stories about bunnys in art.
Löffel + Mirabelle, 1995
21,6 x 20 cm, 33 p. 1000 ex. Signed by the artist.
Ed. Oktogon Verlag, Museum Haus Lange Krefeld
Rosemarie Trockel
Jedes Tier ist ein Künstler, 1993
30,5 x 24 cm, 64 p. 1500 ex. First edition, signed by the artist.
Ed. Galerie der Spiegel, Spiegelschrift n°5, Karl Gerstner, KölnRosemarie Trockel
An artist book which was published on the occasion of the exhibition at the Anders Thornberg Gallery in Lund. 64 pages Japanese bound, with 32 color and duotone illustrations. Illustrated wrappers and protective glassine wrappers. Laid in, in specially made thick back cover, the small volume footnotes, 46 pages numerous illustrations, illustrated wrappers. All together in black slip case. First edition, signed by the artist.
Jedes Tier ist ein Künstler, 1993
30,5 x 24 cm, 64 p. 1500 ex. First edition, signed by the artist.
Ed. Galerie der Spiegel, Spiegelschrift n°5, Karl Gerstner, Köln
Rosemarie Trockel
Jedes Tier ist ein Künstler, 1993
30,5 x 24 cm, 64 p. 1500 ex. First edition, signed by the artist.
Ed. Galerie der Spiegel, Spiegelschrift n°5, Karl Gerstner, KölnRosemarie Trockel
An artist book which was published on the occasion of the exhibition at the Anders Thornberg Gallery in Lund. 64 pages Japanese bound, with 32 color and duotone illustrations. Illustrated wrappers and protective glassine wrappers. Laid in, in specially made thick back cover, the small volume footnotes, 46 pages numerous illustrations, illustrated wrappers. All together in black slip case. First edition, signed by the artist.
Jedes Tier ist ein Künstler, 1993
30,5 x 24 cm, 64 p. 1500 ex. First edition, signed by the artist.
Ed. Galerie der Spiegel, Spiegelschrift n°5, Karl Gerstner, Köln
Joëlle Tuerlinckx
Lexicon, 2012
30,5 x 24 cm, 64 p.
Ed. Wiels, Brussels (French version)Joëlle Tuerlinckx
For her retrospective exhibition WOR(L)D(K) IN PROGRESS, Joëlle Tuerlinckx compiled a lexicon with a series of stock terms for her practice. These are not straightforward definitions. The lexicon is a navigation tool in a complex world where every phenomenon, sign or work prompts its description. Tuerlinckx’s lexicon, like her exhibitions, cuts against the grain of what such academic tools are used for, and turn it into poetic statements, reminiscent of notebook entries that convey the nature of a complex and long-term artistic research process.
Lexicon, 2012
30,5 x 24 cm, 64 p.
Ed. Wiels, Brussels (French version)
Joëlle Tuerlinckx
Study Book (Drawing Papers 59), 2007
21,5 x 27.8 cm, 560 p. Textos en inglés
Ed. MER. Paper Kunsthalle, The Drawing Center, and The Renaissance Society at the University of ChicagoJoëlle Tuerlinckx
Exhibition catalogue that turned out to be a true artist book made up of hundreds of b/w photographs taken by Tuerlinkx forming a radical walk-through of her exhibition 'Drawing Inventory' at the Drawing Center, New York (25.05–22.04.2006).
Study Book (Drawing Papers 59), 2007
21,5 x 27.8 cm, 560 p. Textos en inglés
Ed. MER. Paper Kunsthalle, The Drawing Center, and The Renaissance Society at the University of Chicago
Kara Walker
MCMXCIX / Kara Walker, 2017
23 x 15 cm, 212 p.
Ed. Roma PublicationsKara Walker
MCMXCIX / Kara Walker, 2017
23 x 15 cm, 212 p.
Ed. Roma Publications
This sketchbook was begun in Munich in 1999, when I was 29 years old. Like most sketchbooks it served as a portal between the real world and the realm of her imagination. Although it was never intended to be shared, nevertheless quite a bit of “work” came out of this particular book, including the installation ‘Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)’, which is in the collection of the Guggenheim Museum. Kara Walker, July 2017.
Kara Walker
MCMXCIX / Kara Walker, 2017
23 x 15 cm, 212 p.
Ed. Roma PublicationsKara Walker
This sketchbook was begun in Munich in 1999, when I was 29 years old. Like most sketchbooks it served as a portal between the real world and the realm of her imagination. Although it was never intended to be shared, nevertheless quite a bit of “work” came out of this particular book, including the installation ‘Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)’, which is in the collection of the Guggenheim Museum. Kara Walker, July 2017.
MCMXCIX / Kara Walker, 2017
23 x 15 cm, 212 p.
Ed. Roma Publications
Haegue Yang
Luft und Wasser, 2002
Ed. 600, 21 x 30 cm
Ed. Dresdner BankHaegue Yang
Artist book published on the occasion of Yang's exhibition Luft und Wasser at the Dresdner Bank A.G., Frankfurt am Main that took place from February 26 to May 10, 2002.
Luft und Wasser, 2002
Ed. 600, 21 x 30 cm
Ed. Dresdner Bank
Haegue Yang
Luft und Wasser, 2002
Ed. 600, 21 x 30 cm
Ed. Dresdner BankHaegue Yang
Artist book published on the occasion of Yang's exhibition Luft und Wasser at the Dresdner Bank A.G., Frankfurt am Main that took place from February 26 to May 10, 2002.
Luft und Wasser, 2002
Ed. 600, 21 x 30 cm
Ed. Dresdner Bank
Mother
MOTHER: A PRESENTATION OF ARTISTS’ PUBLICATIONS.
On the occasion of Sant Jordi’s celebration next April 23, ProjecteSD presents a selection of artist’s publications, focusing exclusively on works by women. Mother takes its title from the book “Mutter” by German artist Rosemarie Trockel and brings together a diverse selection of titles by the following artists:
VIJA CELMINS, PATRICIA DAUDER, MOYRA DAVEY, DORA GARCÍA, BEATRIZ GONZÁLEZ, SUSAN HILLER, RONI HORN, ANA JOTTA, ALISON KNOWLES, AGLAIA KONRAD, IRENE KOPELMAN, LEE LOZANO, ANNETTE MESSAGER, HELEN MIRRA, , ITZIAR, OKARIZ, YVONNE RAINER, CAROLEE SCHNEEMANN, FRANCES STARK, BATIA SUTER, FIONA TAN, ROSEMARIE TROCKEL, JOËLLE TUERLINCKX, KARA WALKER, HAEGUE YANG
MOTHER will open on April 23rd, from 11.00h to 20.00 h and will continue until May 4, on the regular gallery hours. On April 23rd, Dora García will be signing books at ProjecteSD from 18.30 to 19.30h. We look forward to welcoming you!