Artists publishing/log

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Geraldine Juárez: Flux until Sunrise (2018)

“The book combines an interview with Esther Leslie about Materialismo Mágico with documentation of my material exploration of what she refers as the Liquid Crystal Epoque. The book includes the recipes for LCD and Gorilla screen-glazes.”

Publisher Rojal, Gothenburg, 2018
ISBN 9789198492835
[50] pages

Author
Publisher

PDF

Zoe Beloff: Emotions Go to Work (2018)

Emotions Go to Work is an investigation into how technology is used to turn our feelings into valuable assets. One might call it the transformation of emotion into capital. It asks what is at stake in our relationship with the companions we call smart objects? What does the future hold in store for a world where people are treated more and more like things, while the billions of gadgets that make up the Internet of Things are increasingly anthropomorphized, granted agency?

Spanning an arc of time from the 18th century to 21st century and beyond, Emotions Go to Work traces the codification and instrumentalization emotional data in ways both playful and serious. It considers the role emojis play our mental life and their potential to evolve and grow monstrous. It suggests that anthropomorphized technological creatures from early cartoons might inspire a utopian society. Proposing that the first step to re-wiring our world is to picture possibilities in games and in play, in dreams and in far-fetched fictions, so that we can begin new conversations between people and things.”

Publisher Minor Compositions, Colchester, 2018
Open access
ISBN 9781570272301
59 pages

Publisher

PDF (12 MB)

Purple Noise: An Exhibition Turned Into an Global Feminist Protest Turned Into a Catalogue (2018)

“In the summer of 2018, a German artist, famous for having a past as cyberfeminist and a present as technofeminist, was invited to Stuttgart in the South of Germany, to create an exhibition dealing with issues of gender and technology as part of a large festival. During her research, she got in touch with numerous fellow artists and activists, and in a process of collective realization, they found that the time has come, not for another exhibition, but for a global technofeminist upheaval.

Learning from the dark forces that understand how to manipulate national referenda and presidential elections, they flooded social media platforms – an area they had previously avoided in order to protest against the centralisation and privatisation of digital communication. Very quickly, however, they have learned how to “motivate” thousands of followers, how to “inspire” them to like and “share” their contents, and even to contribute their own agendas. Within a few weeks, what had started as a small protest, has grown exponentially and conquered not just the Net but also traditional media. They gained enormous power, more than they ever imagined, and now decisions have to be made on how to use this power. Come and help us decide! What would you do if you had power over the Internet – and thus the real world?”

Produced for Monoskop’s Exhibition Library in the 2018 Seoul Mediacity Biennale, 6 September–18 November 2018 at the Seoul Museum of Art.

Self-published in collaboration with Monoskop, Amsterdam, August 2018
[14] pages

PDF (4 MB)

Annet Dekker: Enduring Liveness: An Imaginary Retrospective of Tino Sehgal’s Constructed Situations (2018)

“The key functions of a museum are the collection, presentation, preservation and education of cultural and artworks for the enjoyment of, and to educate, the public. Performance art has been notoriously difficult for museums to handle, despite the ‘easy’ presentation the non-materiality of the art form challenges the conventional methods and practices of a museum. Artist Tino Sehgal had added to these problems, persisting in having no documentation of his performances, or better his ‘constructed situations’, in whatever form or way. While several books and some catalogues are written about his work, none of them show visual representations of the actual performances.

While I sympathize with Sehgal’s aims and ideas, I’m also intrigued by the numerous ways in which documentation developed and expanded in the last two decades with more and more photos and videos appearing online. In this catalogue three perspectives are presented that open up the potential of documentation as a method to generate new articulations and ways of understanding, thinking and performing. Countering the “no photos allowed” from the press statements of the museums, with the documentation used by online news outlets and those created by visitors, the experience of being present at the performance can no longer be considered as a fixed or even final perspective. Instead the constructed situations continue to act through viewing, capturing and circulation. Navigating the various documents that are created idiosyncratically according to access (having a camera and an Internet connection) or choice (having the willingness or courage to take an image and change the rules), the Imaginary Retrospective of Tino Sehgal adds to what theatre and performance scholar Sarah Bay-Cheng beautifully describes as “a multi-valent experience that is shaped and constructed by the individual experiences, choices, and negotiations of all parties within a connected network of information, sensations, and varying access points” (2012). At the same time, it might open up a desire for new performance to emerge.”

Produced for Monoskop’s Exhibition Library in the 2018 Seoul Mediacity Biennale, 6 September–18 November 2018 at the Seoul Museum of Art.

Self-published in collaboration with Monoskop, Amsterdam, August 2018
89 pages

Author

PDF (14 MB)

Sam Hart, Sarah Hamerman: Secrets at Mediacity Seoul (2018)

Secrets at Mediacity Seoul traces a genealogy of artworks that examine the secret as an information structure, from the conceptual artworks of the 1960s to works that consider secrecy and encryption in today’s social and technological context. While conceptual art’s logic of dematerialization often undergirded an aesthetic of ‘pure’ information, it led artists from Douglas Huebler and Robert Barry to Mel Ramsden and Sophie Calle to investigate how secrets test the limits of what can be known and seen. But the role of secrets is political as well as epistemological. Works by artists such as Trevor Paglen, Jill Magid, Paolo Cirio and Hayal Pozanti consider how secrets organize the distribution of power, from algorithmic “black boxes” and state classification schemes, to new digital infrastructures built upon cryptographic primitives. Finally, Secrets at Mediacity Seoul looks beyond the catalogue’s documentary role, imagining how it might conceal or encrypt the absent artworks. The Secrets at Mediacity Seoul forms part of the Secrets research and curatorial project (2017-2018), a collaboration between Sarah Hamerman and Sam Hart. ”

Produced for Monoskop’s Exhibition Library in the 2018 Seoul Mediacity Biennale, 6 September–18 November 2018 at the Seoul Museum of Art.

Self-published in collaboration with Monoskop, Amsterdam, August 2018
[20] pages

PDF

Ilan Manouach: Katz (2011) [French]

Katz is a pirated edition of Art Spiegelman’s seminal graphic novel Maus. Katz is an exact copy of the French edition of Maus, with the difference that all the animal characters, have been redrawn as cats. The book was printed on November 2011 and it was seen in public for the first time in January 2012 during the International Comics Festival of Angoulême that ran under Spiegelman’s presidency. Apparently more than 50 copies were sold simultaneously by several independent publisher bookstands, but the book’s ISBN belonged clearly to La Cinquième Couche, a Belgian publishing structure which had already a large catalogue under its belt. The author of this pirated edition was presumably Ilan Manouach. After the Festival, the book was scheduled to be officially distributed by April 2012 and according to Belles Lettres, the distributor, it has already been sold out in pre-order from hundreds of bookshops in France and Belgium. BLDD asks for a reprint but the author and the publisher refuse, underlining the repurposing as a statement.

Two weeks before the book hits officially the book stores, the lawyers of Flammarion, the copyright holder of the French edition of Maus strike back. They send to Mr. Manouach and Mr. Löwenthal, a 500-page document containing spreads from both Maus and Katz, interviews from Ilan Manouach, and his correspondence with Art Spiegelman. Refusing to take on account the conversational nature of the operation and its very limited printrun, Katz is stated as a counterfeit of Maus and Flammarion seeks an injunction against the small Belgian press.

There is also some fuss about the number of copies. The book was printed in Greece and the infringing publisher handled many contradictory proofs of the total print run. The sum fluctuates between 700 and 2000 copies. Flammarion, in the report, states that probably 100 books are hidden in Greece. The same week, in Athens, people break into Manouach’s car and steal 32 books.

La Cinquième Couche and Manouach are positive about the trial. A century of art history, from Duchamp to pop art is enough to prove the validity of this operation. Nevertheless, being already heavily indebted, the publisher, not able to afford the 20.000 starting costs in order to fight the injunction, accepts an out of court settlement: nothing more or less than the total destruction of the books and the digital files. The operation took place in Brussels the 15 march 2012, in a specialised destruction facility.”

Publisher La Cinquième Couche, Ixelles, 2012
ISBN 2930356847, 9782930356846
286 pages
via UbuWeb

Interview with author (M. Hulot, Ough, 2012, English)
Interview with author (Xavier Guilbert, du9, 2012, French)
Commentary: Bill Kartalopoulos (World Literature Today, 2016)

Author
Wikipedia
Publisher
WorldCat

PDF, PDF (35 MB)

See also Xavier Löwenthal, Ilan Manouach (eds.), MetaKatz, 2013.

1000 Infrathins (2018)

“Marcel Duchamp gave six instances of the infrathin. We wrote 1000 of them.”

“What is infrathin? It’s not really clear. Purposely. The French word inframince (translated into English as infrathin) was coined by Marcel Duchamp, but in typical Duchampian fashion, he claimed that it couldn’t be defined. Instead, he insisted that one could only give examples of it. Over the course of his life, he gave a few:

– The warmth of a seat (which has just/been left) is infra-thin.
– When the tobacco smoke smells also of the mouth which exhales it, the 2 odors marry by the infra-thin.
– Velvet trousers, their whistling sound is an infra-thin separation signaled.

Without getting too specific, we can surmise that infranthin is the space between spaces, the sound between sounds, the sensation between sensations; neither here nor there, this nor that, but both—all at the same time. The closest metaphor is the fourth dimension, which is best illustrated by a cube collapsing in on itself and at the same time expanding. I know. It’s not very helpful. But that’s the whole point—it’s a moving target, a ball of contradictions; just when you think you’ve got it, it’s escaped you.”

Edited by Kenneth Goldsmith
Authors: Cecily Chen, Andrew Howard, William Kahn, Grace Knight, Jonida Kupa, Amy Marcus, Charlie Sosnick, Zoe Stoller
Publisher The Center for Programs in Contemporary Writing, University of Pennsylvania, 2018
121 pages

PDF, PDF

Derek Beaulieu: a, A Novel (2017)

“Derek Beaulieu’s a, A Novel is an erasure-based translative response to Andy Warhol’s eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists’ insertions and onomatopoeic words. The resultant text is a novelistic ballet mécanique, a visual orchestration of the traffic signals and street noise of 1960’s New York City. This visually powerful half score/half novel highlights the musicality of non-narrative sounds embedded within conversation.

Published in December 1968, Andy Warhol’s a, A Novel consists solely of the transcribed conversations of Factory denizen Ondine (Robert Olivo). Ondine’s amphetamine-addled conversations were captured on audiotape as he haunted the Factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were roughly transcribed by a small group of high school students. Rife with typographic errors, censored sections, and a chorus of voices, the 451 pages of transcription became, unedited, “a new kind of pop artefact”. These pages emphasize transcription over narration, hazard over composition.

In his book, Derek Beaulieu offers a radical displacement of Andy Warhol’s work. He erases the novel’s speaking characters – members of the mid 1960’s New York avant-garde – and preserves only the musicality of their conversations. Beaulieu perfectly provides a tangible example of Theodor Adorno’s theory elaborated in his essay ”Punctuation Marks”, in which he argues that punctuation marks are the “traffic signals” of literature and that there is “no element in which language resembles music more than in the punctuation marks”.

This visual poetry is accompanied by an essay by Gilda Williams, “Breaking Up is Hard to Do. Men, Women, and Punctuation in Warhol’s Novel a”. Her deep knowledge of both Andy Warhol’s work and the history of contemporary art explores the complicated history of the original novel and highlights the urgent and precise spirit of Derek Beaulieu’s work—the work of an artist who situates Uncreative Writing at the core of contemporary literature and artistic labour.”

Publisher Jean Boîte Éditions, Paris, 2017
ISBN 9782365680196
478 pages
via author

Publisher
WorldCat

PDF (24 MB)

Pauline Oliveros: Sonic Meditations (1974)

“25 meditations for musicians of all ages and skill levels, to help them learn how to focus on, listen to, and produce sound naturally. An important work in the development of Oliveros’ Deep Listening.”

Publisher Smith Publications, Baltimore, MD, [1974]
[33] pages

Commentary: Pauline Oliveros (Painted Bride Quarterly, 1976), William Osborne (2000), Kerry O’Brien (New Yorker, 2016), Bradford Bailey (The Hum, 2016), Emma Warren (Bowers & Wilkins, 2017).

Author
WorldCat

PDF

See also Oliveros in UbuWeb Sound and UbuWeb Film.

Liza Daly: A Physical Book (2017)

A Physical Book makes a digitized book ‘physical’ by rendering it in a simulated space where properties like gravity, friction, and velocity all apply. The program randomly perturbs the letters, then takes a snapshot at a point in time, re-assembling the images into a new, ‘un-digitized’ book.

The raw, uncorrected scanned text of The Up-To-Date Sandwich Book: 400 Ways to Make a Sandwich (1909) is re-imagined as this 251 page (50,964 words) book.”

Self-published in November 2017
[500] pages
via author, HT derek beaulieu

PDF (52 MB)
GitHub

Jindřich Štyrský: Emilie Comes to Me in a Dream (1933/1997)

Jindřich Štyrský (1899–1942) was a painter, poet, photographer, collage artist and editor. A founding member of The Surrealist Group of Czechoslovakia he edited Erotická revue that included illustrations by well-known Czech artists and had an imprint called Edice 69 (Edition 69) where Emilie přichází ke mně ve snu, a portfolio of 10 erotic surrealist photo-collages, appeared in 1933 as its sixth and final volume. Štyrský believed that in pornography he had found a destabilizing medium that could be used to subvert established social and artistic norms. Bohuslav Brouk, a psychoanalyst affiliated with the Czech surrealists, contributed an afterword in which he commented forcefully on the subject of pornography as art. Despite its small run of 69 copies, the book is now considered a masterpiece of Czech Surrealism.

This new edition contains 12 collages, two of which were edited out from the original.

New edition
With an afterword by Bohuslav Brouk
Publisher Ubu Gallery, New York, 1997
35 pages
via Oh Top Book Photobooks

Publisher
WorldCat

PDF (low res, 5 MB)
See also collection of 21 collages in Centre Pompidou

Mikel R. Nieto: Dark Sound (2016) [Huao/Basque/Spanish/English]

“The book contains “Ecopolitik”–an introduction as an epilogue by José Luis Espejo, a letter to the Huaorani people, two research texts and one bertso, descriptive texts and photos of recordings, a possible chronology, a glossary, a compilation of several texts with testimonies, reports and declarations from different people, groups, institutions, and publications in reference to the impact—direct or indirect—of the noise from the oil industry during its various phases of development on the people, the environment and the fauna.”

The book is supplemented by a CD containing 34 recordings in one track.

Publisher Gruenrekorder, Frankfurt/M., 2016
Anti-copyright
ISBN 9783000523700
175 pages
via author

Reviews

Author
Publisher

PDF (20 MB)
MP3 (149 MB)

391, 1-19 (1917-1924) [French]

391 was a Dada magazine edited by Francis Picabia and published between 1917 and 1924 in 19 numbers in Barcelona (nos. 1-4), New York (nos. 5-7), Zürich (no. 8) and Paris (nos. 9-19).

Contributors included Guillaume Apollinaire, Louis Aragon, Walter C. Arensberg, Céline Arnauld, Hans Arp, Pierre Albert-Birot, André Breton, Gabrielle Buffet, Jean Cocteau, Jean Crotti, Robert Desnos, Paul Dermée, Paul Éluard, Albert Gleizes, M. Goth, Max Jacob, M. Laurencin, René Magritte, Pierre de Massot, E.L.T. Mesens, Francis Picabia, Man Ray, Georges Ribemont-Dessaignes, Erik Satie, Walter Serner, Philippe Soupault, Tristan Tzara, Edgard Varèse, Marius de Zayas, a.o.

The issue 12 features Francis Picabia’s “Manifeste Dada” with reproduction of Marcel Duchamp’s L.H.O.O.Q.

Edited and published by Francis Picabia, Barcelona/New York/Zürich/Paris, January 1917-October 1924

PDFs

Eikoh Hosoe, Yukio Mishima: 薔薇刑 / Killed by Roses (1963–) [Japanese, English]

The legendary photobook Barakei — Killed by Roses is a collaboration between photographer Eikoh Hosoe and writer Yukio Mishima. Hosoe used props, personal belongings and backgrounds readily available in Mishima’s house to cast the renowned writer as his subject in a sequence of surreal scenery.

“The photos that make up the body of the book are inky, sometimes high-contrast gravures that bleed right to the edge of the page and often extend across the entire open spread, giving extra impact to images that are already quite arresting. Even if the subject of Hosoe’s photographs weren’t the author Yukio Mishima, the book would be remarkable for its humid mix of eroticism and myth, queer kitsch and high art. But Mishima, Japan’s most celebrated and controversial modern novelist, was also a brilliant provocateur and his presence here turns ‘Killed By Roses’ into a charged collaboration between artists testing one another’s limits. Hosoe’s first meeting with Mishima, in September 1961, was at the writer’s house. That first day, Mishima, already dressed only in a loincloth, ended up wrapped in a garden hose and standing on the marble mosaic zodiac on his lawn. The resulting surreal images are among the book’s most famous; though Hosoe saw them as ‘the destruction of a myth’. Mishima’s ritual suicide in 1970 was seen as his final artistic act.” (Andrew Roth, “The Book of 101 Books”, p 164)

Photography by Eikoh Hosoe (細江英公)
Model and introduction by Yukio Mishima (三島由紀夫)
Publisher Shueisha (集英社刊), Tokyo, 25 March 1963
104 pages
via Harper’s Books, HT Bint Bint

English edition
Preface by Yukio Mishima
The Photographer’s Note by Eikoh Hosoe
Afterword by Mark Holborn
Publisher Aperture, 1985
ISBN 0893811696
[96] pages
via grza

Commentary: Eikoh Hosoe (ASX, 2010).

Wikipedia-JP
Reprint (JP, 2008)
Publisher (EN)
WorldCat (EN)

薔薇刑 / Killed by Roses (Japanese, PDF, 7 MB; JPGs)
Ba-ra-kei: Ordeal by Roses (English, 1985, 153 MB, added on 2017-10-25)

Irena Haiduk: Bon Ton Mais Non (2013)

“An 80 point manifesto on polite art. Like every intimate dinner party, Bon Ton Mais Non requires one symphony orchestra, a pastry chef, a large mirror, and the fact of cannibal sirens.”

Publisher YugoExport, 2013
Open access
[90] pages

Author/Publisher

PDF

Mikuláš Galanda: Básne v kresbách (1930)

The rare artist’s book Básne v kresbách [Poems in Drawings] by Slovak avant-garde painter and designer Mikuláš Galanda was published in the year he began teaching at the School of Arts and Crafts in Bratislava.

Self-published, Bratislava, 1930
[10] sheets
via Webumenia.sk

PDF (22 MB)

Marget Long: Flash + Cube, 1965-1975 (2012)

Flash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube — the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials — a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.

Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with.”

Publisher Punctum Books, New York, 2012
Open access
ISBN 9780615624426, 0615624421
[151] pages

Review: Anna McCarthy (Social Text, 2012).

Author
Publisher
WorldCat

PDF, PDF (33 MB)
Scribd (2nd ed, 2013)

Dan Graham: For Publication (1975)

For Publication reproduces a series of Dan Graham’s projects carried out between 1965 and 1969 that both drew from and were made to be inserted into the mass media. His Schema deal with quantifying linguistic and stylistic information from magazine articles; Detumescence was one of many projects that Graham deployed in paid advertising space of various magazines, as was Dan Graham Inc. and Likes: A Computer-Astrological Dating-Placement Service. Income Piece and the proposal for Aspen Magazine are reproduced as is Homes For America, originally published in Arts Magazine from Dec 1966-Jan 1967. In a section on Information, Graham situates his data-organization practices in the context of Ramon Lull, Borges, Marshall McLuhan, Mallarmé and Roy Lichtenstein.”

Catalog of exhibition held at the Gallery of the Otis Art Institute of Los Angeles County.

Publisher Otis Art Institute of Los Angeles County, Los Angeles, 1975
[32] pages
via sarah

WorldCat

PDF

Iliazd (ed.): Poésie de mots inconnus (1949)

An early anthology of experimental visual and sound poetry featuring poems by 21 avant-garde authors and illustrated with seven woodcuts, six etchings, two engravings, three drypoints, two aquatints, and six lithographs.

“Iliazd was well acquainted with the work of James Joyce, of Christian Morgenstern, and other writers who had played with the phonetic and graphical potential of language in the 19th and 20th century. But he chose to focus on the work of his peers, those figures within the modern movement of the first decades of the 20th century with whom he had been acquainted, and whose experiments he wished to bring to light and into a formal platform for recognition. He had good reason, in the late 1940s in Paris, to want to do this, as a gauntlet thrown down by the newly arrived upstart poet-theorist of Lettrism, Isidore Isou, challenged the emerging history of avant-garde literature with claims about the originality of his inventions.” (Source)

Poems by Ibronke Akinsemoyin, Pierre Albert-Birot, Hans Arp, Artaud, Jacques Audiberti, Hugo Ball, Nicolas Beaudin, Camille Bryen, Paul Dermée, Raoul Hausmann, Vincente Huidobro, Iliazd, Eugène Jolas, Velimir Khlebnikov, Alexei Krutchonykh, Pablo Picasso, Boris Poplavsky, Kurt Schwitters, Michel Seuphor, Igor Terentiev, Tristan Tzara.
Images by Arp, Georges Braque, Bryen, Marc Chagall, Oscar Dominguez, Serge Férat, Alberto Giacometti, Albert Gleizes, Hausmann, Henri Laurens, Alberto Magnelli, André Masson, Henri Matisse, Jean Metzinger, Joan Miró, Picasso, Léopold Survage, Sophie Taueber-Arp, Edgard Tytgatt, Wols, Ribemont-Dessaignes.

Publisher Le Degré Quarante et Un (Iliazd), Paris, 1949
26 folded sheets, 32 x 25 cm
Edition of 157
via MoMA

Commentary: Johanna Drucker (Amodern, 2016).

WorldCat

PDF (14 MB)
JPGs

Chris Marker: Silent Movie (1995)

In Silent Movie, “Marker employs five-channels of video, each a thematic exploration of early cinema. Film images disclosing ‘The Journey,’ ‘The Face,’ ‘The Gesture,’ and ‘The Waltz’ occupy four of the monitors while on the fifth (and middle) monitor is a collection of ninety-four silent-era intertitles, ‘telling short, mysterious pieces of unknown stories.’ These moving images travel through a computer interface that assembles an ever-changing array of sequences. At any given moment, each passage is in unique juxtaposition with the other images passing across the surrounding monitors. Coloration, tone, and association are governed by chance contiguities; even the intertitles narrate across a field of fluid relationships.” (Source)

Silent Movie. To give an installation the name of something that never existed is probably less innocent than the average cat may infer. There was never anything like silent cinema, except at the very beginning, or in film libraries, or when the pianist had caught a bad flu. There was at least a pianist, and soon an orchestra, next the Wurlitzer, and what contraptions did they use, in the day of my childhood, to play regularly the same tunes to accompany the same film? I’m probably one of the last earthlings–the ‘last,’ says the cat–to remember what themes came with what films: ‘A Midsummer Night’s Dream’ on Wings (the dogfights), Liszt’s ‘The Preludes’ on Ben Hur. A touch of humour noir here, to think that the saga of the young hebrew prince was adorned by Hitler’s favorite music, which in turn explains why you hear it more often than Wagner on the German war newsreels–but I get carried away. …”–Chris Marker (book page 15)

Edited by Ann Bremner
Publisher Wexner Center for the Arts, Ohio State University, Columbus/OH, 1995
ISBN 1881390101
40 pages
via MoMA

WorldCat

PDF
Video excerpt (8 min)

Ephemera, 1-12 (1977-78)

Ephemera: a monthly journal of mail and ephemeral works was an artists’ magazine edited by Ulises Carrión, Aart van Barneveld and Salvador Flores, and published in 12 numbers by Other Books and So, Amsterdam, between 1977-78. Ephemera published contributions that the editors received daily through the international network of mail art. The magazine is a key example of the ‘assembling’ genre of mail art: compilation-style publications that emphasize the networked nature of mail art within their production process. As Guy Schraenen writes, Ephemera testifies to Carrión’s idea of mail art as a “cultural strategy” that rejects notions of subjectivity and authorship, “revealing an immense diversity in the aesthetics, conception, and geographical origins of the works”. (More)

Publisher Other Books and So, Amsterdam, 1977-78
via srrrh

PDFs

De Ridder Retrospective (1983) [NL/EN]

Book with comic strips, conversations and a chronology of Dutch radio art maker, magazine editor and Fluxus member Willem de Ridder, issued to accompany his retrospective at the Groningen Museum in the Summer of 1983. The part in English starts on page 34.

“In 1961, Willem de Ridder set up Mood Engineering Society together with Peter Schat, Wim T. Schippers, Misha Mengelberg, Jaap Spek, Louis Andriessen and Govert Jurriaanse, most of them avant-garde musicians. Among their first activities was De Ridder’s Papieren konstellaties [Paper Constellations], which could be ‘constructed’ anywhere as long as an audience was present to participate in this so-called PK theatre and help determine its appearance. Traditional theatre, it was felt, had to be given the boot. It had remained stuck too long in the renaissance model of the proscenium stage and should be replaced by dynamic, mobile installations, variable acoustics and–following John Cage–the theatricality of silence, which, it was anticipated, would make the audience restless. The group performed three concerts in February 1962. Fully in the spirit of Fluxus, the hierarchy between artist/composer and performer as well as between performer and audience was abolished. Objects fulfilling a clearly visual function, such as a tape recorder, were featured in the concerts. The introduction of a visual element suited the ambition to destroy the traditional boundaries between the disciplines of art, following Cage’s example. After the concerts, MES was dissolved, despite the fact that various museums in the country were offering them the opportunity to put on new performances. De Ridder became a representative of Fluxus for the Netherlands in 1963.” (Marga van Mechelen, 2006)

Written and compiled by William Levy and Willem de Ridder
Publisher Groninger Museum, Groningen, 1983
ISBN 906477062X, 9789064770623
80 pages
via thepiratebay.worm.org

WorldCat

PDF (33 MB)

Dominique Gonzales-Foerster: 1887 – Splendide Hotel (2014) [French, English]

“In Splendide Hotel – 1887 there is one sole room and it is transparent, containing apparitions of all literary, musical, scientific and abstract sorts. From an internal monologue to quantum physics to the gramophone and bioluminescence, within this little book there is a collection of nearly all the references serving to rebuild this hotel within the Cristal Palace to reveal 1887 as the birth year of our universe.”

Published on the occasion of exhibition at the Museo Nacional Centro de Arte Reina Sofía in Madrid.

Publisher Onestar Press, Paris, 2014
126 pages

Publisher

PDF, PDF (4 MB)

Maj 75, A–L (1978-84, 1990) [YU]

Maj 75 was an artists’ magazine initiated in 1978 by a group of Zagreb-based artists, the Group of Six Artists (Grupa šestorice autora: painter Boris Demur; photographers Željko Jerman, Sven Stilinović, and Fedor Vučemilović; poet Vlado Martek; and filmmaker Mladen Stilinović), or “a group of friends”, as they refer to themselves in the introductory pages of the magazine. The name of the magazine referred to the date of their first public exhibition. It was conceived as “magazine-catalogue” for their self-organized “exhibition-actions” which ranged from performing and creating installations on city streets and squares to taking trips to the seaside, where they created, performed, and documented work. Comprised solely of pages presenting artworks, the magazine can be viewed as an alternative exhibition space, enabling the artists to communicate their work to the public without the mediation and the sanctioning authority of art institutions and curators. Between 1978 and 1984, 17 issues were published (identified by the letters of the Croatian alphabet), with an additional one produced in 1990 and commemoratively titled Ex-Maj. Issue F, edited by Vlasta Delimar, was a women-only issue.” (Source)

“Exhibition venues were fairly limited for artists so the pages of Maj 75 became an alternative space for not only the Group of Six, but also an extended circle of Yugoslavian and other Eastern European artists, to produce and disseminate their work publicly. Artists such as Vlasta Delimar, Tomislav Gotovac, Sanja Iveković, Mangelos, Balint Szombathy, Raša Todosijević and Goran Trbuljak are a few examples of the many contributors during the history of publication. The magazine was printed in the studio of Vlasta Delimar and Željko Jerman.” (Source)

Published in Zagreb, 1978-84, 1990
via Digitizing Ideas

Commentary: Darko Šimičić (2003), Gwen Allen (2011), MoMA.org (2011), Ivana Bago (c2014).

PDFs, JPGs

Alison Knowles: Journal of the Identical Lunch (1971)

“A journalistic account of a series of performances of a single piece. The book begins with a description of ‘the identical lunch’ which consists primarily of ‘a tunafish sandwich on wheat toast with lettuce and butter, no mayo, and a large glass of buttermilk or a cup of soup.’ These were eaten ‘many days of each week at the same place and at about the same time.’ After this description, and a reproduction of a restaurant check for the same (total, with tax, $1.68, for two) there follows a series of accounts of the performance of this ‘identical lunch’ by Susan Hartung, John Giorno, Dick Higgins, Vernon Hinkle, and others. Many of these accounts have dates, some identify the place and circumstances and difficulties or rewards of the performance. The accounts are recorded in different formats – perhaps by the original performers – using typewriter, typesetting, handwriting, and so forth. The book collects records of lunches which both are and are not identical.” (Source)

First published in The Outsider, nos. 1-5.

Publisher Nova Broadcast Press, San Francisco, 1971
[68] pages
via Artists’ Books Online

PDF (36 MB)
JPGs

Wolf Vostell: Miss Vietnam (1969)

Contains “Genesis and Iconography of My Happenings”, “Miss Vietnam”, and “Hommage to Durer”.

Translated by Carl Weissner
Publisher Jan Jacob Merman / Nova Broadcast Press, San Francisco, 1969
Nova Broadcast series, 2
37 pages
via Reality Studio

PDF (6 MB)

Claes Oldenburg: Store Days: Documents from The Store, 1961, and Ray Gun Theater, 1962 (1967)

““I’d like to get away from the notion of a work of art as something outside of experience, something that is located in museums, something that is terribly precious,” Oldenburg declared. In 1961 he presented a new body of work whose subject matter he had culled from the clothing stores, delis, and bric-a-brac shops that crowded the Lower East Side. The earliest Store sculptures, which debuted in spring 1961 at the Martha Jackson Gallery, at 32 East Sixty-Ninth Street, are wall-mounted reliefs depicting everyday items like shirts, dresses, cigarettes, sausages, and slices of pie. Oldenburg made them from armatures of chicken wire overlaid with plaster-soaked canvas, using enamel paint straight from the can to give them a bright color finish. At the gallery, the reliefs hung cheek by jowl, emulating displays in low-end markets.

In December 1961, Oldenburg opened The Store in the rented storefront at 107 East Second Street that served as his studio, which he called the Ray Gun Manufacturing Company. A fully elaborated manifestation of the project that he had begun months earlier, The Store conflated two disparate types of commerce: the sale of cheap merchandise and the sale of serious art. Oldenburg packed more than one hundred objects into the modestly sized room, setting previously exhibited reliefs alongside new, primarily freestanding sculptures. Everything was available for purchase, with prices starting at $21.79 up to $499.99. After The Store closed, on January 31, 1962, Oldenburg used the space to stage a series of performances collectively titled Ray Gun Theater.” (Source)

Selected by Claes Oldenburg and Emmett Williams
Photographs by Robert R. McElroy
Publisher Something Else Press, New York, 1967
152 pages
via penfold

2013 exhibition at MoMA

WorldCat

PDF (83 MB)

Wlademir Dias-Pino: Escritas arcaicas (1991)

An artist’s book composed of colour plates first created in the early 1970s by the Brazilian poet and graphic artist Wlademir Dias-Pino. Published as one of the 1,001 volumes of Enciclopédia Visual [Visual Encyclopedia] series.

Publisher Europa, Rio de Janeiro, 1991
Enciclopédia Visual series, 447
36 plates, 21,5 x 21,5 cm
via Amir Brito

Worldcat

PDF (20 MB)
Issuu

George Brecht: Water Yam (1963)

“Originally published in Germany, June 1963 in a box designed by George Maciunas and typeset by Tomas Schmit, Water Yam has been re-published in various countries several times since. It is now considered one of the most influential artworks released by Fluxus. The box, sometimes referred to as a Fluxbox or Fluxkit, contains a large number of small printed cards, containing instructions known as event-scores, or fluxscores. Typically open-ended, these scores, whether performed in public, private or left to the imagination, leave a lot of space for chance and indeterminancy, forcing a large degree of interpretation upon the performers and audience.” (Wikipedia)

Publisher Fluxus, c1963
Designer George Maciunas
Cardboard box with offset label, containing 69 offset cards
via a

WorldCat

PDF (30 MB)

Yves Klein: Yves Peintures (1954)

This publication was Yves Klein’s first public gesture as an artist, featuring pages of “commercially printed papers” that were seemingly reproductions of paintings that, in fact, didn’t exist.

The booklet was produced by the engraving workshop of Franco de Sarabia in Madrid. The foreword, signed by Pascal Claude – his friend Claude Pascal – is composed of black lines instead of text. Ten vivid monochromatic plates follow, mechanically signed ‘Yves’, each given unspecified numerical dimensions and assigned a city: Madrid, Nice, Tokyo, Paris, and London. If, as is usual in exhibition catalogues, the dimensions refer to centimetres, the plates would represent medium sized easel paintings; if metres, large frescoes; if millimetres, then the plates are life size, leading to the conclusion that, rather than illustrations, they are the work itself. Klein would later create work in all three categories.

In a manuscript dated 13 January 1955, Yves Klein writes: ‘Last night, Wednesday, we went to an abstract cafe […], the abstracts were there. They are easy to recognize because they give off the air of abstract paintings and their paintings become visible in their eyes. Maybe I have illusions, but I feel like I can see it all. Anyway, we sat down with them… Then we got around to talking about the book Yves Peintures. Later on, as they insisted that I show it to them, I went to get it from the car and threw it on the table. Already, right from the first pages, the eyes of the abstracts changed: they lit up and deep down appeared the beautiful and pure unified colors.’

In October 1955, Klein exhibited for the first time his colored monochromes (orange, green, red, yellow, blue, pink) under the same title Yves Peintures at the Club des Solitaires in Paris. (based on source)

Published in Madrid, November 1954
[6]+[10] color plates (tipped-in colored papers of various dimensions and hues, pasted on paper)
24.4 x 19.7 cm
via Yves Klein Archives

Wikipedia

PDF (2 MB)
PDF (different version, 18 MB, added on 2016-9-25)
JPGs (5 versions)


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