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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“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.
- Möbel als Kunstobjekt
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Preface — MAY
Crisis Fashion — DANIEL HORN
DIS and That — MIKAEL BRKIC & DIS
Vetements – Fall / Winter 2016. Panel Discussion — LOU STOPPARD & SAHIL BABBAR, AUDE FELLAY, AYA NOEL, PRIYESH PATEL, VILDE SORUM
The Modern Naked King — TAQUE HIRAKAWA
Interview with Women’s History Museum — ADA O’HIGGINS
Maison Artists Space. Interview with Stefan Kalmár — MAY
Roundtable — BLESS & ANJA ARONOWSKY CRONBERG, HEINZ PETER KNES
THE STREET — TOBIAS KASPAR & TOBI MAIER
Jesus as Readymade. Interview with Kaspar Müller — PETER FISCHLI
La mode retrouvée. On the Wardrobe of the Countess Greffulhe at Palais Galliera, Paris — HANNAH ADKINS
Post-Hummannerism. On “Inhuman” at Fridericianum Museum, Kassel — JAKOB SCHILLINGER
Magma — ERIC BELL
Finely Crafted Stool. On Mathieu Malouf at Jenny’s, Los Angeles — GEORGE EGERTON-WABURTON
Wolfpack. On the film “The Wolfpack” by Crystal Moselle — JULIA MORITZ
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
- MAY #15
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Peter Fischli and David Weiss
How to Work Better
Heavy, definitive volume on the history of work by Peter Fischli and David Weiss, with texts and contributions by Ann Goldstein, Isabelle Graw, Anne Wheeler, and John Kelsey.
Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists’ long history of collaboration, from the early Sausage Series (1979)-staged vignettes created in miniature using deli meats and various household items-to their last work, the large-scale public installation Rock on Top of Another Rock (2010-13), augmented by archival images, notes on process and interview excerpts culled from the artists’ Zurich-based archives.A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss’s vital contribution to contemporary art.
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