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An Exhibition Always Hides Another Exhibition is a collective portrait of Hans Ulrich Obrist composed by friends, collaborators, admirers, and inquisitors. [expand title="more"]From personal anecdotes to analytic estimations to visual representations, the contributions respond to the questions that frame the book: Who is HUO? What does HUO do? What has HUO done? Contributions by Etel Adnan, Bruce Altshuler, Ed Atkins, Daniel Birnbaum, Stefano Boeri, Sophie Collins, Douglas Coupland, Cui Jie, Manthia Diawara, Michael Diers, Andrew Durbin, Jimmie Durham, Monir Shahroudy Farmanfarmaian, Simone Fattal, Dominique Gonzalez-Foerster, Giorgio Griffa, Joseph Grigely, Boris Groys, Jacques Herzog, Ho Rui An, Jamian Juliano-Villani, Alex Katz, Koo Jeong A, Bruno Latour, Sophia Al-Maria, D. T. Max, Yoko Ono, Alan Pauls, Raqs Media Collective, Gerhard Richter, Torbjørn Rødland, Adrián Villar Rojas, Pascale Marthine Tayou, Adam Thirlwell, Agnès Varda, Wong Hoy Cheong.[/expand]

The annotated Reader is a publication-as-exhibition and exhibition-as-publication featuring 281 creative personalities responses and remarks on a chosen piece of writing. Ryan Gander and Jonathan P. Watts invited a range of people, encompassing contemporary artists, designers, writers, institutional founders, musicians and so on – to imagine they’ve missed the last train. [expand title="more"] “Is there one piece of writing that you would want with you for company in the small hours?” With this in mind, we asked people to submit a text with personal annotations and notes made directly onto it. With over 281 contributions collected over the last few months, we have gathered a selection of contributors including Marina Abramović, Art & Language, Paul Clinton, Tom Godfrey, Ragnar Kjartansson, Sarah Lucas, Alistair Hudson and Hans Ulrich Obrist. The annotation adds a further layer, making each piece unique and a historic record of our current times.[/expand]

With the rise of New Tyrants who likely pervert the law for their own interests, each of us is affected when it comes to advocate our seemingly not-that-self-evident democratic values. As a result, artists and art institutions started to – voluntary or not – rethink their role, responsibility and power within the cultural ecosystem. But what exactly is hidden behind buzzwords as activism, political art and artistic protest? Two recently published books by Sternberg Press will bring certainly more light into this complex and versatile discourse – without diluting it. While ‘What about activism’ is both an open call for action and a critical intervention of what curatorial activism can mean in the broadest sense as well as in a most practical way, Oliver Marchant’s ‘Conflictual Aesthetics’ argues why art is per se political, going through different arts genres and their inherent potential for reactionary protest. So whether you need a tool kit coming along as a compendium of more than 20 manifestos written by Steven Henry Madoff, Hans Ulrich Obrist and Nicolas Bourriaud and plenty more or an overview of the political within arts, embedded in a broader and different geared art history, which goes hand in hand with the political realms, you will definitely find in both Sternberg publications some answers, ideas and projects on how to do anything – but remain silent! Buy ‘What about activism?’ Buy ‘Conflictual Aesthetics’

Architect Rem Koolhaas and curator Hans Ulrich Obrist compile a history of Metabolism: the first non-Western avant-garde architecture, born out of postwar Tokyo. [expand title="more"]Extensive interviews and rare photographs introduce the movement and shed light on the group’s futuristic vision for the future; a dream of cities that would grow, reproduce, and transform in response to their environment.[/expand]

Issue #31: Islands of Creation[expand title="more"]“Men are not islands” wrote Nuccio Ordine in the title of one of his recent works. And yet, an island “needs words that last and that create the sky and the horizon, more blurred than the eyes of a woman, more clear than the look of a man alone”, we read in the collection “A Field of Islands” (Champs d’Îles) by Martinican author Édouard Glissant, whose vision of a “Whole-World” (Tout-Monde) is so well recounted to us by Hans Ulrich Obrist in his essay opening this edition of TLmag. If urban landscapes no longer move us, islands seem to us like an earthly paradise, perhaps lost in a flow of climate change. The disorder of the cities calls us to cross the continents, to a meeting with the immensity of seas and oceans, to an imminent departure towards the open waters and this promise of an elsewhere, a better world. The water-skimmed stones, the palm trees catching the wind and the sun, the tropical storms and rains, the beauty of a sunrise or sunset over the bay, all of this invites us to rethink our existence, in silence, as a “naked man”. While nature is at risk, the human is still very much alive. That is what the artists, designers and photographers interviewed and invited into these pages translate with their creations and in their simultaneously documentary, critical and poetic gaze, between the materiality of our planet and the fragility of the life that remains for us. After a decade, TLmag is wondering about the future, the maturity of our lands sitting upon the vast landscapes we have built ourselves. Where are the islands? They are here and elsewhere: in travel, in retirement, there where the woken dream merges with the endless horizon and the cosmos.[/expand]

With: Larry Achiampong and David Blandy, Alessandro Agudio, Babi Badalov, Robert Barry, Andrew Berardini, Dike Blair, Alice Bucknell, Dora Budor, Adam Carr Yann Chateigné Paul Clinton, Vanessa Conte, Nick Currie, Jacqueline De Jong, Tianyuan Deng, Maurin Dietrich, Rose English, Attilia Fattori Franchini, Lizzie Fitch and Ryan Trecartin Anselm Franke, Louisa Gagliardi, Ellen Gallagher, Wang Guangle, Andrew Hibbard, Dorothy Iannone, Merlin James Shuang Li, Alvin Li, Jared Madere, Marcello Maloberti, Giovanna Manzotti, Roxana Marcoci, Chris Martin, Adrian Morris, Elizabeth Price, Kasia Redzisz, Deborah Roberts, Dieter Roelstraete, Bunny Rogers, Beatrix Ruf, Vanessa Safavi, Frida Sandstršm, Moritz Scheper, Chris Sharp, Ross Simonini, Francesco Spampinato, Michelle Stuart, Martine Syms, Francesco Tenaglia, Sung Tieu, Hans Ulrich Obrist, Vincent Van Velsen, Mare Vint, Emily Watlington Liu Ye, Isabella Zamboni

In issue #53 Foam Magazine presents the portfolios of 16 photographers, artists and collectives, each adopting distinct and empowering approaches to contemporary fashion photography including a number of insightful and inspiring interviews with people from the fashion photography field.[expand title="more"]Alongside this, Foam Magazine features a long form interview between curator Zoé Whitley and fashion designer Grace Wales Bonner, discussing fashion and identity. Furthermore, the editors are pleased to share an interview between Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries, and Tyler Mitchell. They covered optimism, utopias, and how photography can be a way of achieving the impossible. Running throughout are interventions by invited fashion magazines sharing their editorial visions.[/expand]

Don't care about ecology? This book is for you. Timothy Morton sets out to show us that whether we know it or not, we already have the capacity and the will to change the way we understand the place of humans in the world, and our very understanding of the term 'ecology'. [expand title="more"] A cross-disciplinarian who has collaborated with everyone from Björk to Hans Ulrich Obrist, Morton is also a member of the object-oriented philosophy movement, a group of forward-looking thinkers who are grappling with modern-day notions of subjectivity and objectivity, while also offering fascinating new understandings of Heidegger and Kant. Calling the volume a book containing 'no ecological facts', Morton confronts the 'information dump' fatigue of the digital age, and offers an invigorated approach to creating a liveable future.[/expand]

Luis Barragán's house, Louis Kahn wrote after visiting it, is a place that ‘could have been built a hundred years ago or a hundred years from now.’ So, in more ways than one, is The Air is Blue, an exhibition orchestrated in the master's house and studio by Hans Ulrich Obrist and Pedro Reyes, over the course of three years. [expand title="more"]The ever-growing list of participants comprised at the end forty-seven artists and contributors, including Francis Alÿs, Daniel Buren, Gilbert & George, Dominique Gonzales-Foerster, Joseph Grigely, Rem Koolhaas, Lygia Pape, Anri Sala, Ettore Sottsass, Rikrit Tiravanija, and Niele Toroni. Their interventions collided visions and conversations about poetry, urbanism, music, sexuality, art, and architecture. A catalogue was published in 2006, but never circulated. After ten years, this reprint consists on an integral black-and-white scan of the original book, with a small appendix of previously unpublished images and a new afterword written by Reyes. All on blue paper.[/expand]