Invite and lookbook magazine design for Atelier E.B.´s Ost End Girls Collection 2013.
Unlawful Assembly (2nd ed.)
Kunst und Ideologiekritik nach 1989 / Art and Ideology Critique After 1989, Kunsthaus Bregenz A r e n a, Bd. 3
“The third volume in the series of KUB Arena publications gathers introductory texts, essays, and interviews on the thematic relationship between “Art and Ideology Critique After 1989.” The volume comprised purely of text aims to achieve both an autonomous contribution to ideological research as well as to sensitize readers to differing practices of critiques of… Read more »
wrapping paper
wrap yourself in joy… gift wrap featuring contributions by The Centers of The World
Rémy Zaugg – The Art Museum of My Dreams or A Place for the Work and the Human Being
In his influential 1986 text, now translated into English for the first time, Swiss artist Rémy Zaugg (1943–2005) laid out fundamental ideas on the art museum. For him, the museum is an everyday tool that enables the encounter between viewer and work—raising the question of the kind of architecture appropriate for such a space. The… Read more »
o.T. (136)
HOUSE STYLE
HOUSE STYLE presents a series of new commissions initiated by Panel with Annette Lux and Steven Cairns in response to, and alongside, a specially selected film programme sourced from the British Film Institute National Archive. HOUSE STYLE takes as its starting point a monthly Technicolor film series called Roundabout (1962–1974). Roundabout was designed to promote Britain… Read more »
PARADE
Parade, of 1917, was a ballet conceived by Jean Cocteau for the Ballets Russes. With scenographic designs by Pablo Picasso, choreography by Léonide Massine and composition by Erik Satie, this ballet réaliste came to be associated with the modernist turn of the theatrical stage. The departure point for Linder’s reinterpretation of Parade is the publicity… Read more »
Holding Page
Holding Page is an advisory, production service and printing press, set up as a means through which to encourage collaborative exchange between artists, specialist makers and galleries.
My Throat My Air
In Fahrenholz’s films, dialogue is often recited affectlessly, even as interlocutors are copulating as in Implosion (2011). But here the distanced delivery seems less owed to Bertolt Brecht than to the numbness of the characters and the coldness of their relationships: Fahrenholz treats filmic forms, narrative, and actors’ performances as discrete elements, meaningful structures that… Read more »
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