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Roman Signer is one of the most important and influential contemporary Swiss artists. Over many decades, in a great variety of ways, he has single-mindedly researched the aspect of time with regard to the meaning of sculpture. His spectacular explosions made him famous, and his reputation as an innovative and unique artist was secured, at the very latest, by his participation in Skulpturen Projekte, Münster 1997, and the Venice Biennial in 1999 representing Switzerland. In this book Brian Butler and Leonhard Emmerling develop a new interpretation of Signer's work by concentrating on the video pieces and by attempting to shed light on the temporal aspect of his work using literature and philosophy as points of reference. Published on the occasion of the exhibition Roman Signer: Sculpting in Time, March - May 2008 at ST PAUL Street Gallery and ARTSPACE, Auckland.
The question of composition and spatial qualities arises in every urban design concept or intervention in the spatial structure of urban public squares. How are the essential elements involved: dimension, proportion, alignment, cohesion, accesses, shaping of focus point and of edges like surfaces and materials? How do they contribute to a character of urban space with which residents can identify? Comparing historical examples with current designs aids one in visualizing spatial effect. Similar to a floor plan manual for buildings, Squares allows the user to evaluate spatial conditions for movement and rest based on comparable existing urban squares. The book offers the planner a comparative example for most conditions (shape, size, location, topography, and so on). Seventy European urban squares are presented and explained with the most important characteristics in a consistent manner in as-built plan, ground plan, section, and axonometric projection.
Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work (supposedly none more than once), Roth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. "More is better," he once said, and more there always was. Roth never stopped working, and he believed that everything could be art, from his sketch pad to the table he sat at, the telephone he talked on, or his friend's kitchen (the kitchen was later sold to a museum). Roth Time: A Dieter Roth Retrospective is published to mark the first major survey exhibition of the artist's work since his death in 1998. Five decades of drawings, graphics, books, paintings, objects, installations, films and video works are represented. The publication offers a window into Roth's creative world, reflecting him and his era. The exhibition is organized by the Schaulager with The Museum of Modern Art, New York and the Museum Ludwig, Cologne.
This volume discusses the music-related works and collaborative projects of Dieter Roth in Concrete poetry, the Vienna Group, Fluxus and artists' music. It includes a DVD with an excerpt from the video recording of the Abschöpfsymphonie of 1979.
Published as the catalogue of a travelling exhibition, 1976 and 1977.
Catalog of an exhibition held Feb. 13-June 24, 2013.
On the occasion of Italio-Brazilian architect Lina Bo Bardi's one hundredth birthday, this richly illustrated volume presents an overview of her oeuvre and highlights iconic buildings, such as her own home, the so-called Casa de Vidro, the Museo de Arte de Sao Paulo, and the cultural center SESC Pompeia. This is a spectacular book on a celebrated architect. Spanning architecture, stage sets, fashion, and furniture, her work drew inspiration from the International Style, which she translated into her own visual language. Fundamental to her work was her thoughtful engagement with her adopted country of Brazil, its culture, society, and politics, and she productively and provocatively voiced her sometimes radical views through designs, exhibitions, and writings.
The Cologne artist Mary Bauermeister made her mark on the New York art market in the middle of the 1960s. Her 'lens boxes' – wooden boxes, open at the front, containing several visual layers made of glass, with lenses and prisms arranged on top – fascinated curators and collectors. Every major New York museum purchased her work. For the first time, in this catalogue, Bauermeister's poetic, enigmatic and intriguing works are presented against the background of the experimental art of the 1960s, illustrating formal and content-related connections to contemporary groups like ZERO, Fluxus and Nouveau Réalisme. Published on the occasion of the exhibition Mary Bauermeister: Worlds in the Box, October 2010 - January 2011, at Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany. English and German text.
The concept of relational space in urbanism'understanding the space of the city as produced by society'is connected with an understanding of architecture unfolding in situations. Urban space is induced by architecture, space is produced while experiencing architecture within a situation. There is a dialectical interplay between architectonic material (intra-architectonic reality) and usage and action (urban reality). Thus, an architectonic situation can be interpreted as performative in the sense of performativity as it has emerged in the discourse over the last decade. The everyday urban life of the city, with all its potential and conflicts, is taken into consideration. Analyzing the urban is not enough. This discourse is about Urban Design. Is architectural design one part, and the actualization of architecture in a performative incident another? Does Urban Design need different practices?