Catalogue raisonné of forty-two films out of more than a hundred cinematographic projects initiated by Marcel Broodthaers during his career. The films, made between 1957 and 1875, show how Broodthaers established the links between cinema and other media such as books, painting, drawing, photography and sculpture. It includes two essays on his work.

*Please note this publication is secondhand and has some traces of previous ownership.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Mladen Stilinović’s exhibition Cinizam siromašnih / The Cynicism of The Poor at Museum of Contemporary Art, Zagreb, in 2001, this catalogue features texts by Nada Beroš, Tihomir Milovac, Danijel Dragojević, alongside documentation of the works Ljudi s vrećicama (Bag-People) (2001), and Pokapanje boli (Buried Pain) (2000).

The book is the first monograph dedicated to Barbara Kozłowska (1940–2008), a Wrocław artist, painter, and precursor of performance art in Poland. The study contains a detailed timeline of Kozłowska’s life and work, prepared by Marika Kuźmicz and Zbigniew Makarewicz, essays by Marika Kuźmicz, Piotr Lisowski, Karolina Majewska-Güde and Wiktoria Szczupacka, and a selection of texts by Kozłowska. The publication discusses and problematizes the artist’s work, placing it in the context of the Wrocław avant-garde of the 1960s and 1970s and in the context of the phenomenon of global conceptualism.

Francis Picabia was a French avant-garde painter, writer, filmmaker, magazine publisher, poet, and typographist. He was one of the early major figures of the Dada movement in the United States and in France and was later briefly associated with Surrealism, but would soon turn his back on the art establishment.

*Please note this publication is secondhand and has some traces of previous ownership.

Puglia. Tra albe e tramonti offers an account of Luigi Ghirri’s relationship with Puglia — a distinctive region, which was pivotal in establishing Ghirri’s career and continued to inspire him throughout it. A first visit in 1982 introduced Ghirri to Puglia’s whitewashed streets, luminescent nights, doorways and arches, potted cacti, funfairs, and beaches, as well as a group of artists, critics, and curators who would become his close friends and collaborators. Over the following decade, Ghirri returned to the area almost every year, photographing, exhibiting, and deepening his understanding of its subtle terrain.