Portikus, Frankfurt

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Michael Krebber, Gareth James, John Kelsey, Josef Strau
Ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra

The artist and professor Michael Krebber recently invited his colleagues Gareth James, John Kelsey and Josef Strau to participate in an exhibition with the title “Ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra.” Minus a few of the necessary letters, the artists’ names became a wall painting transformed into concrete poetry. As the exhibition freed itself from the curator’s reins, the resulting exhibition catalogue also goes against conventional form and order. For example, a foreword by the editor turns out to be an artist’s improvised speech on the topic of “Puberty in Painting” “Now I have written: I can’t decide any longer for one of these points of views or non-points of views.” Artworks are not presented in groups by artist, but rather by associative links of picture strips, found-object texts, prose, drawings and collages.

This title is now out of print.

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Nina Könneman
Free Mumia

What exactly do people look at summer resorts, where their savings plan is for annual leave? What they do there? It could be about pleasant emotions, extraordinary sensations and functional free action, the exemption of duty and subordination, the experience of freedom, or what is being spent. It is possible to acquire a crazy hat. Successfully acquired a crazy hat is in Blackpool, England, an eccentricity, with which it stands not alone. It is the most extraordinary hat, one that no one would have previously can imagine, and yet carry it in the moment when someone declares it to be particularly crazy hat, all already. No one can name the exact date on which any of the crazy hat has become the fashion, who as what it all now. That would be a case for Mass Observation. Last year was the mad hat a man-sized crab plush that you strapped on your back, more precisely, which is strapped on Saturday evening all on their backs. This year there is an orange cone made ​​of fabric with white horizontal stripes, like those plastic hats, which they labeled accidents. So hat and information signs at the same time. Look here: a hat!

Excerpt from Katha Schultes: “These stood to delight and stare” – Mass-Observation in Blackpool, Lancashire

The essay is part of this publication.

This catalogue is published on occasion of the exhibition Nina Könneman, Free Mumia, Portikus, Frankfurt am Main (March 28 – May 17, 2009).

HIT Berlin/London und Nina Könnemann

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Flaca / Tom Humphreys

Edited by Nikolaus Hirsch, Sophie von Olfers
Contributions by Thomas Bayrle, Christian Egger, Nikolaus Hirsch, Sophie von Olfers

Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins, Alexander Wolff, Sergej Jensen…
Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007. Humphreys developed an exhibition that made no pretense to offer an illustrative or historically accurate representation of his activities at the time, instead turning the space into a distorted double set in the present. Humphreys is interested in questioning the activities of that time; some of the artists he invited for this exhibition, for instance, never showed at Flaca. As Christian Egger writes in the catalogue: “Exhibiting there often meant that you could look with a fresh eye at the first solo shows in London of artists you’d only just seen at Flaca, and that was all really quite exciting, as though you were experiencing a little bit of what the mobile phone you’d brought along had gone through when you first scared it by charging it with island juice, there was somehow a different energy—a flirtation with malfunction.” The catalogue compliments the energetic, engaged style embodied by both Flaca and the reflective exhibition.

Co-published with Portikus
Design by Manuel Raeder

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Flaca / Tom Humphreys
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Guillermo Faivovich, Nicolás Goldberg
The Campo del Cielo Meteorites Vol. 1: El Taco

dOCUMENTA (13)’s first artist book records the first stage of a project by Guillermo Faivovich (*1977 in Buenos Aires) and Nicolás Goldberg (*1978 in Paris). Since 2006, the artists have been researching Campo del Cielo, field of impact of a meteorite shower that occurred in northern Argentina four thousand years ago. El Taco, one of those meteorites, was divided in half in an intricate procedure at the Max Planck Institute in Mainz, Germany—halves which have since been located in Washington D.C.’s Smithsonian Institution and Buenos Aires’s planetarium.

The two parts of El Taco will be reunited for the first time at an exhibition at Portikus, a step in their journey toward dOCUMENTA (13), where a future stage of the project A Guide to Campo del Cielo will take place in 2012. This publication documents the meteorite’s long story, which involves the artists approach to bibliographical inquiry, archival research, and oral history through interacting with people who have been engaged in the region’s history and worldwide fieldwork.

Edited by dOCUMENTA (13), foreword by Daniel Birnbaum, Carolyn Christov-Bakargiev, texts by Tim McCoy, Hernán Pruden, Jutta Zipfel, conversation between Simon Starling and the artists.

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Guillermo Faivovich & Nicolás Goldberg - The Campo del Cielo Meteorites Vol. 1: El Taco
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