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Dada is not just a magazine. Dada is your encyclopedia of the contemporary underground. Dada pays homage to the artistic forces that shaped the world we live in by unveiling the most outstanding creative minds of our generation.[expand title="more"]Each issue documents how and in what forms a specific aesthetic has prospered and grown through the work of emerging artists. Who is next in line. Who is taking over. How the conversation is moving forward. Dada reflects on the meaning of legacy and evolution. Dada is a subjective and aesthetic tribute to the gifted souls of our time and a never-ending conversation on today and tomorrow’s creative matters. The art of pleasure. The nuances of love. The poetry. Enjoy the journey.[/expand]

This book is also available in German. The Skulptur Projekte are exhibitions of sculptures in public space that have taken place in Münster every ten years since 1977. The team of curators invites international artists to work in situ in the city. [expand title="more"]The list of participants in the five exhibitions reads like a who's who of contemporary artists. The archive of sketches, plans, concepts, models, protocols, essays, professional studies, statements and interviews amassed over the 40 years is a unique resource on the theme of art in public space. As many of the archival documents were created at the hands of the artists, this first comprehensive publication is not only informative, but also of great artistic interest.[/expand]

No Photos on the Dancefloor!' is the first photo-documentation of the Berlin club scene from 1989 until today. It’s 1989. The Berlin Wall has fallen and the city’s youth are tasting a new found freedom. Throughout Europe, electronic dance music is powering nightclubs and fueling day-long raves, which makes Berlin—a city hit by economic hardship and with acres of empty warehouses and factories—the perfect incubator for an underground music scene. [expand title="more"] This book brings that scene, which continued for nearly three decades, to life. Taking its name from a strict ban on cameras in the city’s nightclubs, this book documents Berlin’s club culture. Martin Eberle take readers inside the empty rooms of clubs like Tresor, Panasonic, Ibiza, and Dirt while portraits from his “After Show” series capture moments of exhaustion, excitement, and excess. Legendary photographer Wolfgang Tillmans offers images that span a generation of young people living out their sexual, political, and personal freedom. Contemporary photography by Camille Blake and George Nebieridze documents queer events like Herrensauna, Trade, and Pornceptual. Sven Marquardt’s black-and-white portraits of bouncers and barkeepers at Berghain focus on those outside the spotlight. Finally, Erez Israeli and Mike Riemel show admission stamps and a selection of flyers for Berlin raves—the only things you can take home after a night out without breaking the photography ban. Essays and personal interviews, scattered throughout this volume, create a backdrop that traces the history of club life in Berlin and describe the heady sense of utopian promise and the energy that sustained the culture for decades.[/expand]

While the halls of the HKW were illuminated by stroboscopic neon-lights, a large number of people hit the road to come, join and enjoy all the performances, discussions and intercultural encounters which arose from the fruitful collaborations between Flaneur and their invited Taiwanese artists. It comes at no surprise: the very first Flaneur Festival turned out to be a total blast! After more than one year stitching on Flaneur’s Taipei issue – and, aligning a whole Festival on top of it – one can say right of the bat, that the hard work paid off well. Time to draw a first conclusion with Flaneur’s editor in chief, Fabian Saul. More

There are many ways to perceive and interpret contemporary craft objects – for instance, as works of representational art in materials like ceramics, glass, textile, metal or wood, or as functional, handmade everyday objects. [expand title="more"]In Material Perceptions, the editors have invited different voices in craft theory to investigate the perception of contemporary craft as a particular discourse and aesthetic vocabulary. According to the editors, contemporary crafts can benefit from being discussed as representations of reality that do not rely on the concept of autonomy. As such, neither do they rely on the conventional dualism between aesthetic objects and everyday things. The authors investigate the possibility to perceive craft objects from perspectives that relate to the aesthetic tradition of materialism. With essays by: Søren Kjørup, Glenn Adamson, Hilde Methi, Anders Ljungberg, Sarah Gilbert, Martina Margetts, Knut Astrup Bull and André Gali. Material Perceptions is the fifth volume in the series ‘Documents on Contemporary Crafts’. The series is published by Norwegian Crafts and offers critical reflection on contemporary crafts, seeking to stimulate critical discourse within the field of crafts.[/expand]

Art collectors and collections make up an important part of the contemporary arts and crafts infrastructure. Not only do museums and art collectors improve an artist’s financial situation by buying their work; just as important is the symbolic meaning of the collection. [expand title="more"To be included in the ‘right’ collection or museum can give the artist a high level of recognition; at the same time the purchase secures the work a place in a system whose aim is to preserve the work for the future. Collecting is a selection process which has economic, social, political and art historical implications and consequences for the artist, the art scene and the public. In On Collecting the authors look at collecting from public, private and personal perspectives to shed light on some of the structures that are responsible for how artworks become ‘collectable’ and thus available to the public in museums and public spaces. With essays by Glenn Adamson, Liesbeth den Besten, Paul Derrez, Margaret Wasz, Trude Schjelderup Iversen, Gunnar Kvaran, Knut Ljøgodt, Nanna Melland, Yuka Oyama, Anthony Shaw and Petter Snare. Foreword by André Gali. On Collecting is the fourth volume in the series Documents on Contemporary Crafts. The series is published by Norwegian Crafts and offers critical reflection on contemporary crafts, seeking to stimulate critical discourse within the field of crafts.[/expand]

The heart of filmmaker Friedl vom Gröller is constituted by portraiture - whether she captures friends, acquaintances, family members, filmmakers, artists or simply clients, each for the most part gazing directly into the camera. Since 1972 to the present, Kubelka has also placed herself in front of the camera for her project Jahresportraits (Yearly Portraits) in which she mercilessly documents the process of aging. [expand title="more"]It has become the structural credo of Kubelka's artistic practice to juxtapose the individual photograph with many other photographs. The monograph focuses upon individual serial works as combined with contemporary portrait series showing e.g. artists from Senegal which are combined with others from Kubelka's archive. So as to multiply perspectives, individual portraits are juxtaposed with others (double portraits), or more. As extras a journal about the muriel painter Pape Mamadou Samb aka Papisto Boy and a DVD with a selection of films of the artist are attached to the book.[/expand]

The Greatest is the ultimate free man. The idealist who creates, chases his dreams, and makes himself aware. The aesthete who’s entitled to pick and choose his collection of clothes in his pursuit of Beauty. The independent man of his time who won’t let his time enslave him. [expand title="more"]The storyteller who documents the history and tells the story of men’s contemporary fashion through words, art, and photography. The dreamer who seeks, explores, and searches out of curiosity, necessity, and nature. Smart, mannerly, and sophisticated. He offers his point of view unapologetically and unpretentiously. The Greatest is nothing but a soul wandering around the world wearing what he feels. Comes with different Covers.[/expand]

Curated by Walead Beshty, the exhibition “Picture Industry” explores the rich history of mechanically reproduced imagery from the 19th century to the present. It reflects upon transformations in the production, distribution, and consumption of photographic images as realized through its varied constructions of the corporeal, from its origin as a scientific tool and a means of cultural investigation to its phenomenological effects on the viewer. [expand title="more"]The exhibition complexifies traditional accounts of the medium, drawing on its application within science and the humanities to contemporary art, and includes works and photographic documents by over 100 artists and practitioners spanning the late 19th century to the present.[/expand]