Produced on the occasion of Stephen Prina’s exhibition at the Museum Boijmans Van Beuningen, Rotterdam, 29 March–19 May, 1992.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of Stephen Prina’s exhibition at the Museum Boijmans Van Beuningen, Rotterdam, 29 March–19 May, 1992.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of the exhibition Hans Schuil vijf schilderijen at Art & Project, Amsterdam.
*Please note this publication is secondhand and has some traces of previous ownership.
Initiales is an art and research biannual magazine published by the École nationale supérieure des beaux-arts de Lyon, the fifth issue is dedicated to Andrea Fraser. With contributions by Kader Attia, Eva Barto, Daniel Buren, Claire Fontaine, Dora García, Thomas Hirschhorn, Sven Lütticken, Chus Martínez, Jean-Luc Moulène amongst others.
Produced on the occasion of Robert Rauschenberg’s exhibition at the Stedelijk Museum, Amsterdam, 23 February–7 April, 1968.
SM Cat. No 433.
Designed by Wim Crouwel.
*Please note this publication is secondhand and has some traces of previous ownership.
Antonin Artaud, was a French writer, poet, dramatist, visual artist, essayist, actor and theatre director. Considered among the most influential figures in the evolution of modern drama theory, most critics believe that Artaud’s most noted contribution to drama theory is his “theater of cruelty,” an intense theatrical experience that combined elaborate props, magic tricks, special lighting, primitive gestures and articulations, along with themes of torture and murder to shock the audience into confronting the base elements of life.
*Please note this publication is secondhand and has some traces of previous ownership.
This publication is released in conjunction with Peter Fischli’s exhibition 12 Arbeiten ohne Titel at Galerie Buchholz Cologne. It presents collages based on photographs taken throughout Zurich. For the past three years, the artist has documented peculiar “remnants of nocturnal revelry”: cars, park benches, and building façades sprayed with shaving foam—easily removable vandalistic interventions into the urban fabric, gestures of infinitesimal subversion. The foam figments are formless, lacking both definite shape and durable substance.
*Please note this publication is secondhand and has some traces of previous ownership.