Cerith Wyn Evans

Question The Wall Itself
Fionn Meade (Ed.)

Edited with text by Fionn Meade. Foreword by Olga Viso. Texts by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Robert Wiesenberger.

Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. It showcases 23 international artists who explore the political and social dimensions of interior architecture as well as its complicated relationship to history and their own backgrounds. The featured artists are Jonathas de Andrade, Uri Aran, Nina Beier, Marcel Broodthaers, Tom Burr, Alejandro Cesarco, Marc Camille Chaimowicz, Theaster Gates, Ull Hohn, Janette Laverrière, Louise Lawler, Nick Mauss, Park McArthur, Lucy McKenzie, Shahryar Nashat, Walid Raad, Seth Siegelaub, Paul Sietsema, Florine Stettheimer, Rosemarie Trockel, Cerith Wyn Evans, Danh Vo and Akram Zaatari.
The book and the exhibition it accompanies take as its guiding principle what Marcel Broodthaers termed “esprit décor”: a critique of ideas of nationality, globalization and the space of the institution through constructed interior scenes. Recasting our conception of interior space and design, the featured works exist between art, prop, and set or stage. Espousing this mise-en-scène approach, Question the Wall Itself plugs readers into material that expands the show in the form of book-as-exhibition. It includes an extensive photographic walk-through of the installations, and essays by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Fionn Meade, and Robert Wiesenberger, as well as contributions from participating artists.

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Question The Wall Itself
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Isa Genzken

Now out of print, As New first edition of this great Isa Genzken publication.
This volume takes a radical depart from the standardised format of the retrospective catalogue. While being still lavishly illustrated and offering an in-depth look at the quest for the modern which has informed the radical and diverse Genzken’s oeuvre for four decades, it also gives a sense of the tremendous influence and inspiration of her body of work for three generations of artists.

Features artist contributions from: Lawrence Weiner,Simon Denny, Nick Mauss, Monica Bonvicini, Jutta Koether, Mark Leckey, Elizabeth Peyton, and Cerith Wyn Evans.

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Isa Genzken - Museion, Bozen/Bolzano
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Cerith Wyn Evans
Everyone's Gone to the Movies, Now We're Alone at Last...

Handsome book on the work of artist Welsh conceptual artist, sculptor and film-maker Cerith Wyn Evans, published by White Cube in 2010 on the occasion of the solo exhibition ”Everyone’s gone to the movies, now we’re alone at last…” (13 April – 21 May 2010, White Cube, Mason’s Yard), only to quickly disappear from the face of the planet.

Certainly one of the scarcest recent publications on the artist.

Taking its title from a song by Steely Dan, ‘Everyone’s Gone To The Movies’ (1975), Wyn Evans created two major installations that transformed the White Cube gallery spaces, engaging the viewer through the interaction of light, sound and reflection.

Text by Hans-Ulrich Obrist, including an interview with the artist.

This copy is brand new.

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Jan Verwoert
Tell Me What You Want, What You Really, Really Want

 

Edited by Vanessa Ohlraun

Tell Me What You Want, What You Really, Really Want
brings together a selection of recent writings by art critic Jan Verwoert for the first time. Published in collaboration with Piet Zwart Institute, Willem de Kooning Academy in Rotterdam, the book galvanizes central themes Verwoert has been developing in pursuit of a language to describe art’s transformative potential in conceptual, performative, and emotional terms. He analyzes the power of public gestures to constitute communities as well as the pressure to perform that governs the sphere of creative labor, in order to show how particular artists perform gestures and invoke community differently. Exploring the emotional power games that shape social relations, Verwoert looks for an alternative ethos of action and feeling, asking: How can a modernist approach to artistic form as a means of social critique be expanded to fully avow its subliminal affective undercurrents, and produce a pleasurably crooked form of criticality in art and writing?

“If we perceive the pressure to perform to be innately linked to the regimentation of options, to imagine the ethos of a resistant practice implies an exploration of the conditions, situations, and potentialites that lie beyond the option menus and the exclusivity of the yes and no. In artistic practice this dedication to imagining other ways to perform and other ways to enjoy consumption means claiming the imagination and the aesthetic experience as a field of collective agency where workable forms of resistance can be devised.”

Co-published with Piet Zwart Institute, Willem de Kooning Academy

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