‘Invisible Adversaries’ was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.
With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.
This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.
- Invisible Adversaries
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Leigh Ledare, Rhea Anastas
The book Double Bind pivots around an extensive conversation between artist Leigh Ledare and art historian Rhea Anastas concerning Ledare’s project of the same name. As an installation, Double Bind puts in play a series of overlaying comparative structures: over one thousand photographs of the artist’s ex-wife (half taken by Ledare, the other half by her current husband, according to a script conceived by Ledare) and an ample collection of printed mass media. Through a critical and wide-ranging dialog, Ledare and Anastas probe the complexities of the viewing experience of the work and the consequences of its provocations. Ordered according to six sections, the conversation addresses key concepts and methodologies that structure the work: viewing, systemic conditions, enactment, installation and mass media, genealogy, and affect. Taken by Ledare exclusively for this book, installation views of the New York exhibition (Mitchell-Innes & Nash, 2014) foreground the subjective experience of the work and anchor the coauthors’ testing of models of aesthetic and social critique within an ethics of actually looking. The dialogue also appears with an introduction by Anastas, a preface by Ledare, and a chronology of Double Bind exhibitions and publications to date.
“Ledare’s Double Bind project examines social process of habitual enactment, such as what it means “to be a wife,” emotional and material terms of exchange, thresholds of public and private imagination, gender normativity and symbolic boundaries of relationships—all through the lens of a camera. Ledare suggests a kind of unraveling of these habituations and carries this logic over to his discussion of the work with Rhea Anastas. Here, Double Bind functions not simply as an object of analysis but instead as a rubric through which the two extend the work itself through a dialectic of articulation and dis-articulation. In line with the radical (and often suppressed) premises of conceptual art, here Ledare and Anastas challenge and override conventional distinctions between artwork, viewer, artist, critic and art historian. In this way this book serves as a vital part of Double Bind’s progressive unfolding.” – John Miller, artist and critic
- Leigh Ledare, Rhea Anastas - Double Bind
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Kaleidoscope 10 – Spring 2011
Kaleidoscope is an international quarterly of contemporary art and culture. Distributed worldwide on a seasonal basis, it offers a timely guide to the present (but also to the past and possible futures) with an interdisciplinary and unconventional approach.
Michael E. Smith by Chris Sharp; Jean-Léon Gérome by Marie de Brugerolle; Kathryn Andrews by Michael Ned Holte; Criticism as Fiction? by Vincenzo Latronico; John Divola by Chris Wiley.
MAIN THEME – Art Faces the Economy
Superflex by Marina Vishmidt; Charles Esche and Maria Lind in conversation; Current Account by Nav Haq; Zachary Formwalt by Binna Choi
MONO – Haegue Yang
Essay by Bart van der Heide; Focus by Joanna Fiduccia; Special project by Haegue Yang; Interview by Yasmil Raymond.
Pionners: Absalon by Simone Menegoi; Futura: Raumlabor by Hans Ulrich Obrist; Mapping the Studio: Heimo Zobernig by Luca Cerizza; Vis à vis: Leigh Ledare and Hilary Lloyd by Elena Filipovic; Critical Space: Chantal Mouffe by Markus Miessen; Last Question by Alessandro Pessoli.
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Texts by Elena Filipovic and Nicolas Guagnini, and an interview with Leigh Ledare by David Joselit
American artist Leigh Ledare uses photography, archival material and text to explore human agency, social relationships, taboos and the photographic, in equal turns. Formally trained in photography, this erstwhile assistant of Larry Clark has, in a relatively short time, developed a body of work that is coherent, complex, biting in its intelligence and decidedly provocative. Emphasizing the central role that others—mother, family members, ex-lover, collectors, anonymous patrons, etc.—play in his work, and the slippage of authorship and agency that he often deliberately gives them, the artist has entitled his first institutional solo exhibition organized by WIELS Contemporary Art Centre, Brussels, and the catalogue that accompanies it: Leigh Ledare, et al. The richly illustrated full-color publication, including two newly commissioned essays and an interview with the artist, features examples from nearly all his photographic series to date, as well as stills of video works, text-based pieces, and a number of newly produced pieces never shown before.
- Leigh Ledare - et al
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