Motto, Berlin

Ruth Wolf-Rehfeldt
SIGNS FICTIONS

This impressive book aims to collect and present a comprehensive overview of the work of Ruth Wolf-Rehfeldt. It is the result of a long and intense immersion into the archive, and intends to establish the importance of this unique German artist – who did not have much recognition in the past – not only to the present day, but also to the precise political context and time to which she and her work belong.

The book presents her typewritings series, all produced between the early 1970s (some of the earliest works are dated 1972) and 1989. Mail Art was her way to be in contact with the world outside the GDR, otherwise impossible to reach. After the fall of the Berlin Wall and the Reunification, the artist stopped producing any art: She felt her involvement was no longer “needed”.

At the beginning of 2015 an archive of Ruth Wolf-Rehfeldt’s work was established, discovering little by little an enormous and fascinating body of work, composed by more classic poetry, simple typewriting texts, visual poetry, concrete poetry, and abstraction.

This handsomely designed, enormous volume perfectly captures this life of work.

Ruth Wolf-Rehfeldt was born in Wurzen, saxony, in 1932.
In 1950 she moved to Berlin, where she still lives today. In 1954 she met the artist Robert Rehfeldt, who she married a year later. She was employed by the exhibitions department at the Academy of Arts, and spent her spare time making drawings. A few years later she started to develop what would become her typical typewriter graphics, and became an active participant in the international Mail art movement. She stopped making art after the fall of the Berlin Wall.

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PERMAFO 1970-1981

First published in Polish in 2012 on the occasion of the exhibition Where is PERMAFO? at Wroclaw Contemporary Museum (30 November 2012- 4 February 2013). Shortly after this 2013 English edition was published in an edition of only 500 copies.

Young, vivid and unpretentious art of Wrocław of the 70s has resisted both musealization and academic discourses of art history. The artists of PERMAFO – as other Wrocław galleries of the 70s – didn’t think about making history, but about changing their lives and enjoying life. The PERMAFO gallery was founded after the famous symposium Wrocław ’70 considered to be a founding demonstration of conceptual art. After years a famous Poznań based critic has meanly said, that it is the inertia of Wrocław infrastructure what become a quantum leap of popularising conceptualism. Because almost none of the symposium projects has been realized.

That’s why the history of modern art in Wrocław is yet to be written.

An exhibition Where is PERMAFO? is the Wrocław Contemporary Museum’s attempt to tell the founders’ myth of the young, open city, through the figures of two artists Natalia LL and Andrzej Lachowicz. A beautiful and deeply in love couple makes a space and atmosphere and creates art anew – a surprising, even impossible combination of conceptual art with pop-art. In the splice of art and joie de vivre, tiny revelations appear that change the confines imposed by The People’s Republic of Poland into absurd usurpation. Soon, people appear in PERMAFO, without divisions into artists, scientists, dilettantes and devotees, discussions till dawn and certainty that all “begun in Wrocław” – modernity, art and life in a fresh context and mutual relation. The PERMAFO artists chose democratic means like photo cameras. One of the main ideas of PERMAFO – permanent registration – was completely transparent towards life.  It’s life attitude that was becoming a form. Participation in art, with the preference of participating, not the work itself, caused the work become a trace of real experience and that (an not the aesthetic form) protected against ideology.

This generous monograph serves as the first and only major book to document PERMAFO.

 

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Jean-Michel Wicker
e industrial


However satisfying writing is – that mix of discipline and intuition, which leaves you in command, even when what appears on the page has emerged from regions beyond your control – it is a poor substitute for the joy and the agony of love. e industrial, Jean-Michel Wicker’s first solo exhibition in the UK, is a meditation on human-machine reconfigurations, inflation and desire.

Since the early 1990s, Wicker’s work has had an all-encompassing approach to production – spanning publishing, typography, performance and gardening. Extending a nod of appreciation to Italian Situationist Giuseppe Pinot-Gallizio and his approach to mass-production and collapse, the exhibition at Cubitt pushes this legacy into Wicker’s own symbolic registers. A total work spanning a 70-metre scroll, a newly realised publication and smoke.

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