Thomas Bayrle

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The Archive as a Productive Space of Conflict
Markus Miessen, Yann Chateigné (Eds.)

Markus Miessen, Yann Chateigné (Eds.)

Contributions by Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Alexander Kluge, Joachim Koester, Armin Linke, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman, et al.

What are the processes that enable archives to become productive? Conventional archives tend to be defined through the content-specific accumulation of material, which conforms to an existing order or narrative. They rarely transform their structure. In contrast to this model of archival practice and preservation, the conflictual archive has an open framework in which it actively transforms itself, allowing for the creation of new and surprising relationships. Illustrating how spaces of knowledge can be devised, developed, and designed, this archive reveals itself as a space in which documents and testimonies open up a stage for productive dispute and struggle.

Exploring nontraditional archives, such as those of Harald Szeemann, Hans Ulrich Obrist, Sitterwerk, and the publishing house Merve, The Archive as a Productive Space of Conflict offers new perspectives on archival practice, interrogating whether archives need spatial permanence, and, if so, which design framework should be applied for the archive to take on more than a singular form of existence. The research project is a collaboration between the Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève).

Copublished with Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève)
Design by Jonas Fechner and Lisa Naujack

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Textiles
Open Letter

In collaboration with Sabine Folie, Georgia Holz, Susanne Titz
Texts by Elissa Auther, Sabeth Buchmann, Rike Frank, Judith Raum, Seth Siegelaub, T’ai Smith, Georg Vasold, Leire Vergara, Grant Watson

One essential characteristic of textiles is their richly intertextual nature. Their contemporary appeal and historicity derive from their place in the history of art and culture as well as in the history of media, society, and technology. Representing traditions found in both applied and fine arts, textiles hover between formalism and functionalism; as objects and techniques, they mediate between relations to the self and relations to the world, between affect-driven and knowledge-driven processes of appropriation. Functionally versatile—as objects of utility and media of an abstract (visual) language—textiles read as the fulcrum of an ensemble of activities, and illustrate specific entanglements that, since the beginning of modernity, have transformed the relations between subject and object, the material and the immaterial, artistic and artisanal labor, and different cultures.

This publication examines the referential and analytical qualities of textiles through both contemporary and historical works. The contributions in this book reflect on the complex interplay between the various functions and connotations of textiles—such as the emphasis on their tactile qualities or the artistic value attributed to them—and the attendant conflicts and antagonisms that articulate relations of power and value and of the interaction of artistic processes with their overarching contexts.

Textiles: Open Letter stems from an exhibition at the Museum Abteiberg, Mönchengladbach, and a research project (2010–14) initiated by Rike Frank and Grant Watson. Including the following artists; Magdalena Abakanowicz, Anni Albers, Carl Andre, Leonor Antunes, Tonico Lemos Auad, Thomas Bayrle, Jagoda Buic, Heinrich Clasing, Yael Davids, Sofie Dawo, Ria van Eyk, Hans Finsler, Elsi Giauque, Sheela Gowda, Eva Hesse, Sheila Hicks, Loes van der Horst, Johannes Itten, Elisabeth Kadow, Paul Klee, Benita Koch-Otte, Heinrich Koch, Beryl Korot, Konrad Lueg, Agnes Martin, Katrin Mayer, Cildo Meireles, Kitty van der Mijll Dekker, Nasreen Mohamedi, Walter Peterhans, Edith Post-Eberhardt, Josephine Pryde, Florian Pumhösl, Grete Reichardt, Elaine Reichek, Willem de Rooij, Desirée Scholten, Johannes Schweiger, Gunta Stölzl, Lenore Tawney, Rosemarie Trockel

Copublished with Generali Foundation, Vienna, and Museum Abteiberg, Mönchengladbach
Design by Martha Stutteregger

Now out of print.

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Individual Stories
Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz (Eds.)

Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz (Eds.)

With contributions by Saâdane Afif, Jacques André, Marie Angeletti, Thomas Bayrle, Barbara Bloom, Herbert Brandl, Andrea Büttner, Hans-Peter Feldmann, Camille Henrot, Michaela Maria Langenstein, Pierre Leguillon, Hanne Lippard, Maurizio Nannucci, G. T. Pellizzi, Max Renkel, Michael Riedel, Hubert Scheibl, Yann Sérandour, John Stezaker, Johannes Wohnseifer; with images by Marie Angeletti

Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art.

Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. The act of collecting is multifarious—it can be an expression of curiosity, a desire to transform things that have been discovered, or a systematic approach to certain objects in the world. This catalogue is a compilation of individual collections that could not be more different.

Copublished with Kunsthalle Wien to document the exhibition “Individual Stories: Collecting as Portrait and Methodology,” Kunsthalle Wien, June 26–October 11, 2015.

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Thomas Bayrle
Feuer im Weizen


The incredible Thomas Bayrle artists’ book, “Feuer im Weizen” (Fire in Wheat).
First published in 1970 in a different format, this second edition, published by the infamous März Verlag of Frankfurt, is a stack of beautifully, vividly offset printed landscape card pages bound together with black plastic screws. Each page is a work from Bayrle’s famous “Feuer im Weizen” series of 1970, a series of what Bayrle refers to as superforms, images made of many smaller images of themselves. These particular serial repetitive patterns comprise of various formations of copulating couples – de-robing and in various sexual positions, all printed in bright pop colours.

Thomas Bayrle is a German painter , graphic designer and video artist who emerged as an important figure in European Pop Art of the 1960s and ’70s. One of the most inventive artists, Bayrles works are usually based on a graphic rationale. Starting from traditional techniques, he was one of the first German artists who produced computer generated and animated art. An essential aesthetic element of his work is the principle of seriality.  In the US tradition of Andy Warhol or Roy Lichtenstein , as well as the German artist Sigmar Polke is Bayrle by often takes its visual themes from the world of consumer goods. With the reflection on a world of commodities as accumulation of multipliable, repeatable shapes and pictograms Bayrle not only provides a commentary on society, but refers to his own artistic means.

A most desired edition of Bayrle’s great books.

* Condition: Very Good (some very light cover wear, inside bright and clear throughout, missing one plastic screw) – All care is taken to provide accurate condition details of used books, photos available on request.

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