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In his debut monograph Mitchell unifies his body of photography and film from his first US solo exhibition at the International Center of Photography (ICP) in New York. Each page of I Can Make You Feel Good is full bleed and bathed in Mitchell's signature candy-colored palette. With no white space visible, the book's design mirrors the photographer's all-encompassing vision, which is characterized by a use of glowing natural light and rich color to portray the young Black men and women he photographs with intimacy and optimism. The monograph features written contributions from Hans Ulrich Obrist (Artistic Director, Serpentine Galleries), Deborah Willis (Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University), Mirjam Kooiman (Curator, Foam), and Isolde Brielmaier (Curator-at-Large, ICP), whose critical voices examine the cultural prevalence of Mitchell's reimagining of the Black experience.

Published on the occasion of Jenna Sutela's exhibition at Kunsthall Trondheim, the book looks at meaning and randomness in the artist's wetware-powered work. [expand title="more"]The focus is on her latest work I Magma, exploring the notion of an oracle through alternative forms of intelligence and the application of machinic and chemical processes. NO NO NSE NSE includes contributions by Lars Bang Larsen, Stefanie Hessler, Caroline A. Jones, Hans Ulrich Obrist, Allison Parrish, Lars TCF Holdhus, and Ben Vickers.[/expand]

Kunstforum International #268 Gegenwartsbefreiung Malerei- Tendenzen im 21. Jahrhundert Die Malerei ist zurück. Dabei sollte es im vergangenen Jahrhundert oft vorbei sein mit ihr. Sie sei zu beengend. [expand title="more"]Sie sei aufgebraucht. Sie sei ausgemalt. In Wahrheit hat sie ihre Kraft nie verloren, hat sich immer wieder aggressiv, erotisch, provokant, sinnlich oder kühl überlegen in den Vordergrund gespielt. Heute hat sie die Unterstellungen und Tiefs des 20. Jahrhunderts überwunden. Stärker und relevanter erlebt derzeit kein anderes Medium ein neues Hoch. Dabei hat sich eines gezeigt: Ästhetisch, doch vor allem auch theoretisch, haben sich Diskursobjekte grundlegend geändert. Dieser Themenband blickt auf aktuelle Positionen und Diskussionen, greift sie auf und trägt sie weiter: in umfassenden Bildschauen und Essays, sowie Gesprächen mit z.B. Hans Ulrich Obrist und Katharina Grosse diskutieren die Herausgeberin und weitere Autor*innen neue Tendenzen der Malerei im 21. Jahrhundert. Es wird deutlich: Die gegenwartsbefreite Malerei löst sich von konzeptuellen Absicherungen, Materialdiskursen und distanzierenden Reduktionen. Sie muss keine ästhetisch-philosophische Zwiesprache im akademischen Beichtstuhl mehr halten, wie so oft in der Vergangenheit. Politisch, abstrakt, figurativ oder surreal - Heute wird gemalt, was gemalt werden soll.[/expand]

For the eleventh issue of Buffalo Zine, we’re turning on, tuning in and dropping out. We’ll be taking a trip into the countryside and [expand title="more"]going off the grid to discover and celebrate all of the various ways in which we can reconnect with nature—from foraging to nudism, gong bathing to trekking, bird watching to day tripping. Get ready for Buffalo’s (spring-)summer of love. Step into Grimes’ mind-bending garden of Eden, as she discusses the future of the planet with Hans Ulrich Obrist, or join Robyn on a deep dive into her wildest dreams with a Los Angeles psychic. Meet nudist surfers on the beaches of the Gold Coast, drop acid with a family of original hippies in the wilds of California, or hunt deer with a Dutch woman living off the grid in the deepest wilds of New Zealand. Fly across the Great Ocean Road to chat psychedelia Tame Impala’s Kevin Parker in Perth, or head to Scotland where Monster Chetwynd is hosting a carnivalesque party with her commune in her Glasgow studio. What a time to be alive![/expand]

The latest issue of The Plant accompanies Harley Weir on ceramics art therapy with her father, shows the democratic significance of a place like Central Park, travels with us to Rio de Janeiro, and talks with Hans Ulrich Obrist and Formafantasma about their – then soon to be opened -exhibition at Serpentine Galleries. Now Formafantasma’s exhibition can only be seen online, the possibility to travel to Rio is just a vague memory, and Central Park has a makeshift hospital on its grounds. In short, it is an edition that comes from the world of yesterday. Which is less than two months away, and yet it seems like a lifetime. But that still does not make the issues irrelevant. Quite the opposite. With all the news and headlines revolving around Covid-19, the terrible scenes in hospitals, and the people trying to cope with quarantine, loneliness and unemployment, we should not forget that we are still in the middle of a climate crisis, that parks, nature and green spaces are important for our health, and that creative, meditative work with our hands, like pottery, has a good effect on our mental health. Let us look at the topics of yesterday, because more than ever they will be the topics of tomorrow.⁠ Buy

The first retrospective of the cult multimedia artist. The cross-media work of American artist Miranda July is difficult to categorize between performance, film and text - [expand title="more"]but her influence on the contemporary art scene and pop culture and her attraction to a young international audience are irrefutable. Curated by the artist herself, this retrospective presents her complete oeuvre to date, from her performance and video projects, digital multimedia works and award-winning films to her literary work. Illustrated with photographs, film stills, and various archive material, the volume illustrates the diversity of Miranda July's art. The book is accompanied by personal statements by friends, curators, and companions of Julie, including Hans Ulrich Obrist, Lena Dunham, David Byrne, Spike Jonze, and Carrie Brownstein - as well as Miranda July herself. This provides intimate insights into her creative process and her artistic development into an all-rounder with cult status.[/expand]

Issue #15 of the Plant is finally back. For this issue they asked Camille Henrot for her personal reflections on the climate crisis.[expand title="more"]They looked back on last Christmas through the lens of Alasdair McLellan. They travelled to Rio de Janeiro with Tom Johnson; accompanied Harley Weir on ceramics art therapy with her father; chatted with Hans Ulrich Obrist and Formafantasma before their exhibition opening about contemporary relationships to nature; and thanks to Brigitte Lacombe and Adam Gobnik, The Plant discovered the democratic meaning of a place like the Central Park.[/expand] read Review

With a preface by Hans Ulrich Obrist and Bettina Korek. Formafantasma Cambio catalogue is an ongoing investigation conducted by Formafantasma into the extraction, production and distribution of wood products. For this project, Formafantasma collaborated with experts from the fields of science, conservation, engineering, policymaking and philosophy. [expand title="more“]They have gathered a range of texts, interviews and visual materials for the publication that pose questions about the role that design can play in translating emerging environmental awareness into informed, collaborative responses.[/expand] read Review

Cloud ’68 – Paper Voice pays homage the radical architecture movement in Europe from the 1950s to the 1970s, which initiated numerous new forms of experimental expression. [expand title="more"]A selection of 177 graphic pieces – lithographs, drawings, original etchings, and ephemera from the personal collection of the Chilean architect Smiljan Radić — reveal the scope of the diverse architectural approaches from those years. Works by Constant, Utopie, Guy Debord, Asger Jorn, Haus-Rucker-Co, Archigram, and Superstudio, among others, are displayed in 33 panels that recall Aby Warburg’s “Mnemosyne Atlas”. The publication is complemented by interview fragments by the critic and curator Hans Ulrich Obrist, who interviewed the protagonists of this architectural movement, plus three essays by Tom McDonough, Moisés Puente and by Lara Schrijver.[/expand]

This publication is a survey of Pierre Huyghe's practice from the last ten years: 'The Host and the Cloud' (2009-2010) took place in a former museum in Paris; 'Untilled' (2012) was developped during documenta (13); [expand title="more"]'After ALife Ahead' (2017) was conceived in a disused ice rink as part of Skulptur Projekte Münster; 'UUmwelt' (2018), which was installed first at the Serpentine Galleries in London, and later at Luma Arles, is the culmination of a ground-breaking approach to exhibitions. A conversation between Hans Ulrich Obrist and an essay by Dorothea von Hantelmann offer a comprehensive discussion of this period. Drawings, diagrams, plans, text and reference images, photographs and film stills add to over 400 pages and make this an important reference book.[/expand]