Emily Wardill

Hegdehaugsveien 3
STANDARD (OSLO)


This cloth-bound volume documents the first seven years (2005-2012) of STANDARD (OSLO), a contemporary art gallery in Norway, at their first location of Hegdehaugsveien 3.  During which time work was exhibited by Matias Faldbakken, Kim Hiorthøy, Michaela Meise, Johanna Billing, Claire Fontaine, David Lieske, Cory Arcangel, Martin Boyce, Gardar Eide Einarsson, Tauba Auerbach,  Torbjørn Rødland, Josh Smith, Marius Engh, Emily Wardill, Franz West, Sister Corita Kent, Edvard Munch, Franz West, Alex Hubbard,  Hans-Peter Feldmann, Oscar Tuazon, Raymond Pettibon, Lucy McKenzie, Olaf Breuning, Roe Ethridge, Uwe Henneken, Ricky Swallow, Richard Prince, Adam McEwen, Camilla Løw, Jutta Koether, Dan Rees, Fredrik Værslev, and many more.

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Hegdehaugsveien 3
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Noli Me Legere

Catalogue for the 2008 exhibition Noli Me Legere at Michale Lett in Auckland. Features work by Ava Seymour, Emily Wardill, Hany Armanious, Simon Denny, Jim Allen, and Wolfgang Tillmans.
Essays by Jan Bryant and Sarah Hopkinson.
Design by Kelvin Soh.

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Emily Wardill, Ian White
We are behind

Presented as the blueprints for three public lectures, We are behind proposes alternative routes through Emily Wardill’s work and represents three different attempts at embodying and dissembling knowledge. Using different formal textual devices, from which they also deviate—a standard lecture, the subject of which becomes something felt, not taught; an a-chronological conversation; and the transcript of a play rendered as a formal essay—each section describes the different facets of an ongoing dialogue between the authors. Fragmented not only by dialogic turns, appropriated texts, images, a score and quotations, and containing extensive reproductions of Wardill’s work, the book’s content and design reflects the labyrinthine, and sometimes hallucinogenic quality of her films and their radical combination of form, content and idea.

Each section focuses on specific works. Section One, The Object, uses The Diamond (Descartes Daughter), SEA OAK, and Game Keepers without Game, to explore ideas of the rational, public art, the public, linguistic framing and the irrational, via Gladys Knight and the Pips, a hand-drawn hallucinogenic section, Seth Price’s essay Dispersion, Norman Mailer, The Rockridge Institute and Peter Gidal. Section Two, The Window follows a conversations between the authors, that opens onto desire, politics, mirrors, and the films Basking in what feels like ‘An Ocean of Grace’ I soon realise that I am not looking at it but rather, I AM it, recognising myself, Split the View in Two (Part Two), and Sick Serena and Dregs and Wreck and Wreck. In the final part, The Theatre, an apparently formal essay on the implications of framing live action, the proscenium arch as a link between theatre and cinema, Dan Graham, perspective, power and its collapse, transforms into a collection of dialogues around Ben, Sick Serena and Dregs and Wreck and Wreck, authenticity, reality and fiction.

We are behind is co-published by Book Works, London, and de Appel, Amsterdam to accompany Emily Wardill’s solo exhibition windows broken, break, broke together, curated by Ian White, 17 September—28 November 2010.

Designed by A Practice for Everyday Life.

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