Created by French artist Philippe Thomas, the communication agency called readymades belong to everyone®, for its American version inaugurated in 1987 in New York, and les ready-made appartiennent à tout le monde®, for its French version, is a company behind which the artist disappeared. MAMCO owns the whole agency, which closed in 1995. This book is the first comprehensive study of this work which challenged the traditional role and function of the artist. With readymades belong to eveyone®, the collector or the institution themselves sign the works and become the authors of the works. The book proposes also the last (and unpublished) interview by Philippe Thomas which enables to understand the deep coherence of his entire work. Textes de Paul Bernard, Émeline Jaret, Philippe Thomas, Stéphane Wargnier.
Produced on the occasion of the exhibition Eduardo Paolozzi: Work in Progress at the Kölnischer Kunstverein, 19 October–11 September, 1979.
Eduardo Paolozzi (1924-2005) was one of the most innovative and irreverent artists of the 20th century. Considered the ‘godfather of Pop Art’, his collages, sculptures and prints challenged artistic convention, from the 1950s through to the Swinging Sixties and advent of ‘Cool Britannia’ in the 1990s.
*Please note this publication is secondhand and has some traces of previous ownership.
Based on questions raised by the work of filmmaker Trinh T. Minh-ha, the second volume of the Wattis Institute’s annual reader includes new writing and art by Ranu Mukherjee, Kathy Zarur, Shylah Hamilton, Astria Suparak, and Tamara Suarez Porras, as well as written and visual contributions by Trinh T. Minh-ha, Mei-mei Berssenbrugge, Sky Hopinka, Christina Sharpe, Christine Wang, Camille Rankine, Dionne Brand, Renee Gladman, Theresa Hak Kyung Cha, Kameelah Janan Rasheed, and Steffani Jemison, among others. Designed by Scott Ponik.
A survey of the Belgian artist’s work over more than 35 years, this book constitutes the first comprehensive monograph dedicated to the work of the Belgian artist Jacqueline Mesmaeker. The catalog first presents forty one of her works by means of illustrations and notices. The book also includes a dozen essays addressing her singular artistic approach, as well as a biography and a bibliography.
Edited by Olivier Mignon. Contributions by Muriel Andrin, Michel Assenmaker, Koen Brams, Laurent Busine, Corinne Giandou, Luk Lambrecht, Anaël Lejeune, Lynda Morris, Raphaël Pirenne, Benoit Platéus, Dirk Pültau, Philippe-André Rihoux, Georges Roque, Thierry Smolderen, Pierre Sterckx.
The work of Jacqueline Mesmaeker is intangible, discreet and captivating. Starting from analytical intentions and experimental protocols linked to perception and representation, her practice remains anchored in a literary and poetic universe, including references to Lewis Carroll, Mallarmé, Melville or Paul Willems. Minimal, sometimes even unnoted, her rare and precise work is nonetheless present. It willingly takes over space, playing with the actual and symbolic architecture, revealing the structures and lines of force, but also the errors, by thwarting their perspectives or correcting them with delicate touches.
Facsimile edition of Stephanie Oursler’s 1975 artist’s book. Oursler self-published 5 CUTS in 1975 with a small number of copies, on the occasion of her exhibition of the same name which took place in Rome, Bari, Milan and Como. She combines stills from unidentified silent films with autobiographical texts, and in doing so creates an open narration of her life, which is both an intimate recollection and a literary construction. A poetic depth unfolds in Oursler’s language, which—in connection with the sometimes concrete, sometimes surreal and enigmatic images—approaches the essence of memory.