Koenig Books, London

John Latham
A World View

John Latham (1921 – 2006) is widely considered a pioneer of British conceptual art.

His multifaceted practice encompasses sculpture, installation, painting, film, land art, engineering, found-object, assemblage, performance happenings and theoretical writings, the diversity of which is galvanised by his unique understanding of our place in the universe.

This publication traces the trajectory of Latham’s practice and brings together archival material, including documentary photographs, texts, correspondence and various ephemera, in order to build a picture of the artist’s life and work. Latham saw the artist as holding up a mirror to society: an individual whose dissent from the norm could lead to a profound reconfiguration of reality as we know it.

Latham has been associated with several national and international artistic movements, including the first phase of conceptual art in the 1960s. He was an important contributor to the Destruction in Art Symposium of 1966, and also a co-founding member of the Artist Placement Group APG (1966-89).

The Serpentine Gallery exhibition (and this accompanying catalogue) spans Latham’s career to include his iconic spray and roller paintings; his one-second drawings; films such as Erth (1971), and Latham’s monumental work, Five Sisters (1976) from his Scottish Office placement with APG.

Texts by Rita Donagh, Amira Gad, Richard Hamilton, Katherine Jackson, Elisa Kay, Adam Kleinman, Noa Latham, Hans Ulrich Obrist, Yana Peel, Cally Spooner, Barbara Steveni, David Toop.

Published on the occasion of the exhibition, A World View: John Latham at Serpentine Gallery, London, 2 March – 21 May 2017.

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Amelie von Wulffen
Bilder / Works 1998-2016

A monograph on Amelie von Wulffen is long overdue. For more than twenty years, the artist has developed a formal and stylistically wide-ranging work (collages, installation works, animation films, drawings, sculptures and painting), which is reflected in its content persistence. Amelie von Wulffen takes a clear account of the German (cultural) history in the precipitation of the private and personal, and argues as an invaluable chronicler of repression. The biting humor that permeates her work does not stop at a human low ground, though not always as directly as in her drawings and comics. The texts of this richly illustrated monograph examine Wulffen’s contribution to the painting discourse, Psychoanalytic aspects and show the painter as a role model for a young generation of artists. Amelie von Wulffen, born in Breitenbrunn in 1966, lives and works in Berlin.

Texts by Manfred Hermes, Bernhart Schwenk, Amy Sillman
Edited by Isabel Podeschwa, Bernhart Schwenk, Joe Scotland, Amelie von Wulffen

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The Anti-Museum : An Anthology
Mathieu Copeland, Balthazar Lovay (Eds.)

The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum’s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion – unpatented but regularly reappropriated – traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of “Closed Exhibitions,” from Dada to Noise music, from “Everything is Art” to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, The Anti-Museum sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.

Edited by Mathieu Copeland and Balthazar Lovay.
Introduction by: Mathieu Copeland.
Texts by: Zach Blas, Johannes Cladders, Beatriz Colomina, Henry Flynt, Kenneth Goldsmith, Krist Gruijthuijsen, Robert Morris, Bob Nickas, Sören Schmeling, Reiko Tomii, Jon Hendricks, Jean Toche, Andrea Branzi, Ettore Sottsass, Allan Wallach, Guerilla Art Action Group, Robert Morris, Gareth James and many more
Features interviews/conversations with John Armleder, Robert Barry, Ben, Genesis P-Orridge, Andrea Branzi, Piero Gilardi, Mierle Laderman Ukeles and many more

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Sanya Kantarovsky
No Joke

Kantarovsky’s practice encompasses painting, drawing, sculpture and occasionally film. His signature works often have thinly applied, wiped, or scraped layers of paint, and feature narrative scenes populated by isolated, sinewy figures. His paintings frequently include indirect sociopolitical commentary and a critical look at the idea of the suffering artistic genius. The publication, his first monograph will feature a selection of recent works alongside his Studio Voltaire commission, Apricot Juice. A collaboration between Kantarovsky and Lithuanian-born performance artist leva Misevičiūtė, Apricot Juice was devised around two distinct parts – a language and movement based performance by Misevičiūtė and a group of five largescale paintings by Kantarovsky. The point of departure for the collaborative project was Mikhail Bulgakov’s enigmatic masterpiece novel The Master and Margarita, a narrative woven around a visit by the Devil to the aggressively atheist Soviet Union.

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