Peter Fischli and David Weiss

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Boris Groys
Particular Cases

 

This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant works and artists over the last century that have pushed his thinking in new directions. His compelling arguments do not try to replace the singular content or message of an artwork. Instead, his writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a kind of conversion within the spectator. Particular Cases is an original exploration of pivotal concerns related to the development of contemporary art—originality and repetition, the valuation of artworks, materiality and production, historical and personal archives, and the language of power.

Featuring essays on Paweł Althamer, Francis Alÿs, Yael Bartana, Paul Chan, Olga Chernysheva, Marcel Duchamp, Peter Fischli and David Weiss, Martin Honert, Rebecca Horn, IRWIN, Wassily Kandinsky, Piero Manzoni, Anri Sala, Thomas Schütte, Mladen Stilinović, Inga Svala Thorsdottir and Wu Shanzhuan, Jeff Wall, Andy Warhol

Design by Chad Kloepfer

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Boredom
Edited by Tom McDonough

Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism’s retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer’s endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.

In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk’s social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.

Artists surveyed include:
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig

Writers include:
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lütticken, John Miller, Agné Narušyté, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev

About the Author
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945–1968 (MIT Press)

From the “Documents of Contemporary Art” series.

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The Slip of the Tongue
Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson (Eds.)


Edited by Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson.
Exhibition curated by Danh Vo and Caroline Bourgeois
Texts by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion
Photography by Heinz Peter Knes

Danh Vo’s conceptual artworks and installations often draw upon elements of personal lived experience (his own, the lives of his parents and other family members) to explore broader historical, social or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. The works shown in this book—closely related to an exhibition at the Pinault Foundation in Venice—in addition to Vo’s site-specific installations, include some curious old works of art from Venetian museums and collections, provocatively chosen by Vo to establish an unprecedented dialogue between past and present.

Beautifully designed, comprehensive exhibition catalogue with two inserted booklets (text book with words by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion; and exhibition guide/artist profile book and work list), with the main book entirely made up of elegant colour photographic imagery by Heinz Peter Knez of the exhibition itself and the wonderful collection of works assembled. Profusely illustrated with installation views, works and details, featuring the work of Leonor Antunes, Nairy Baghramian, Giovanni Bellini, Constantin Brancusi, Marcel Broodthaers, Giovanni Buonconsigliodetto Il Marescalco, Hubert Duprat, Michael Elmgreen & Ingar Dragset, Luciano Fabro, Peter Fischli and David Weiss, Felix Gonzalez-Torres, Petrit Halilaj, David Hammons, Roni Horn, Peter Hujar, Tetsumi Kudo, Bertrand Lavier, Zoe Leonard, Francesco Lo Savio, Lee Lozano, Robert Manson, Piero Manzoni, Sadamasa Motonaga, Jean-Luc Moulène, Henrik Olesen, Pablo Picasso, Sigmar Polke, Carol Rama, Charles Ray, Auguste Rodin, Cameron Rowland, Andres Serrano, Nancy Spero, Sturtevant, Alina Szapocznikow, Paul Thek, Harald Thys & Jos Degruyter, Danh Vo, David Wojnarowicz, Martin Wong.

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Möbel als Kunstobjekt / Furniture as Art Object

“Möbel als Kunstobjekt” (“Furniture as Art Object”) was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky… and so many more.

* Condition: Very Good  – All care is taken to provide accurate condition details of used books, photos available on request.

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