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Roma Publications
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Roma Publications
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TITLE |
ARTIST(S) |
PAGES |
SIZE (in cm.) |
IN COLLABORATION WITH |
YEAR |
476 |
Walking as Research Practice |
Alice Twemlow, Tânia A. Cardoso |
252 |
12.2 × 19.7 |
Soapbox Journal |
2024 |
|
475 |
Painting as Prop |
Wilhelm Sasnal |
164 |
17.8 × 24.2 |
Stedelijk Museum Amsterdam |
2024 |
164 pages / 17.8 × 24.2 cm
Painting as Prop features four new essays and one conversation with the artist. Several paintings, some of which played a role as props in Sasnal’s recent film project The Assistant, take cues from archival images, banal snapshots, popular culture, and art history. The accompanying texts introduce Sasnal’s distinct portraiture, modernist inspirations, and the development of his first feature film.
Edited by Adam Szymczyk. With contributions by Rein Wolfs, Rachel Haidu, Ulrich Loock, Noit Banai, Adam Szymczyk, Rita Ouédraogo, Wilhelm Sasnal. Design: Agata Biskup. ISBN 9789464460667
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474 |
Future Estate |
Matthew Harvey |
208 |
23.6 x 17.4 |
|
2024 |
208 pages / 17.4 x 23.6 cm
During extensive travel between 2018 and 2024, Matthew Harvey photographed as widely as possible across a range of knotted ecological and infrastructural contexts being transformed by large-scale capital investment. Begun while working regularly in offset printing factories in East Asia, Europe, and North America, he was drawn to the messy and contingent worlds where life plays out at the factory’s extended edge. All shot on 35mm consumer-grade film, the film was developed, as far as possible, in one-hour labs in the locations where they were taken—the varying quality and color of the images reflecting differences in processing, scanning technologies, and human error—fading relics of another era in the intensive material and commercial production of everyday images.
Future Estate features 184 of those images, accompanied by texts based on autobiographical reflection and field notes, and an essay by AbdouMaliq Simone, documenting how places are organized and disorganized by commodity production; the geopolitics of development; and the zoning practices, extractions, and transnational investments that come with uneven processes of global labor and distribution. The book makes use of the unheroic image, the sideways view of the margins, offering alternative pathways to consider a world produced, consumed, constructed, maintained, variously inhabited, and precariously lived. Image editing: Benedikt Reichenbach. Design: Roger Willems. ISBN 9789464460681
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|
474 SP |
Future Estate (special edition) |
Matthew Harvey |
208 + 10 prints |
23.6 x 17.4 |
|
2024 |
|
473 |
Calendar 2025 / Every day is a new day |
Karel Martens |
736 |
15 × 21 |
|
2024 |
|
471 |
pendulum shift |
Joan Ayrton |
132 + 4 |
21 × 29.7 |
Musée de Bagnes, Le Châble |
2024 |
|
469 |
Support Sheet |
Stephan Keppel, Marc Nagtzaam |
128 |
21.8 × 30.5 |
monshouwer editions / Fw:Books, Amsterdam |
2024 |
|
468 |
Sumo Judo |
Ari Marcopoulos |
64 |
15 × 20 |
Dashwood Projects, New York |
2024 |
|
467 |
Pictorial Content? |
Marijn van Kreij |
204 |
17 × 24 |
|
2024 |
|
466 |
Nieuwe buren / New Neighbours |
Bart Lodewijks |
112 |
20.5 × 29.7 |
|
2024 |
|
465 |
GHOST TOWN |
Ola Vasiljeva |
340 |
17 × 24 |
Vleeshal, Middelburg |
2024 |
340 pages / 17 × 24 cm / in collaboration with Vleeshal, Middelburg
GHOST TOWN by Ola Vasiljeva is the first comprehensive overview of Vasiljeva’s practice and (re)collects the fragments, shapes, and thoughts that have been (re)configured and (re)presented throughout Ola’s multifaceted constellations from 2008 to 2023.
Edited by Roos Gortzak and designed by Robert Milne, the publication consists of several intertwined sections, including Ola’s exhibitions; texts by Roos Gortzak, Chris Fitzpatrick, Anna Gritz, Daniil Kharms, and Kate Strain; an ALBUM by The Oceans Academy of Arts (OAOA); and STORAGE that functions as ‘both a compass for navigating the archipelago of her piled arrangements, and later, as a mnemonic device.’
Design: Robert Milne. ISBN 9789464460513
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|
464 |
BEWARE |
Ari Marcopoulos |
320 |
22 × 16 |
Supreme, New York |
2024 |
|
463 |
The MoMA Plant Collection |
Inge Meijer |
112 |
21 × 29.7 |
|
2024 |
|
462 |
Amidst the fire, I am not burnt |
Michiel De Cleene, Arnout De Cleene |
160 |
24 × 30.5 |
HOGENT Arts Research Fund, Ghent |
2024 |
|
461 |
Bercy Street Workout Photographies 2020-2023 |
Marine Peixoto |
88 |
23 × 28 |
Le Bal, Paris |
2024 |
|
460 |
Collected Poems |
Oksana Pasaiko |
24 |
17 × 24 |
Keijiban, Kanazawa |
2024 |
|
459 |
Butter |
Ari Marcopoulos |
48 |
15.5 × 21.5 |
|
2023 |
|
458 |
MAMAMA |
Karel Martens, Mark Manders, Ari Marcopoulos |
32 |
17 × 24 |
|
2023 |
|
457 |
House with All Existing Words |
Mark Manders |
64 |
20 × 27 |
Museum Dhondt-Dhaenens, Deurle |
2023 |
64 pages / 20 × 27 cm / in collaboration with Museum Dhondt-Dhaenens, Deurle
Mark Manders installed an exhibition in the Woning Van Wassenhove, a post-Brutalist house designed by Juliaan Lampens in 1974. Although Manders hardly touched some spaces, he treats the bed, office, and kitchen as stages for aggregation in line with the original occupant's mindset: drawings, architectural proposals, photographs, artworks, paint pots, and seemingly wet clay are piled on top of one another. In Manders words: "The aim is to show the house in a perfect situation. While some spaces derail when you zoom in on them, there is a kaleidoscopic element to it, as if you are looking inside a head." Design: Roger Willems. ISBN 9789464460490
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456 |
PRODUCTORA - Some Realized Projects 2014-22 |
PRODUCTORA |
216 |
21 × 28 |
|
2023 |
216 pages / 21 × 28 cm
Based in Mexico City, the architectural studio PRODUCTORA was founded by Abel Perles, Carlos Bedoya, Victor Jaime, and Wonne Ickx. In creating buildings that function, delight, stimulate, and are likely to withstand tectonic fads as well as telluric shifts, the studio never compromises the restless intellectual curiosity at its heart. Both a compendium and a promise of this singularity, this book surveys the groundwork PRODUCTORA has set down over a decade of activity, presaging what is possible as these foundations continue to be built upon. Their work is distinguished by an interest in precise geometries and the search for timeless material and spatial resolutions.
Design: Roger Willems. ISBN 9789464460445
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|
455 |
Exosphere |
Batia Suter |
136 |
25 × 32 |
Keijiban, Kanazawa |
2023 |
|
454 |
High Capacity |
Kasper Andreasen |
208 |
21 × 29.7 |
|
2023 |
208 pages / 21 × 29.7 cm
This artist's book is a somewhat fierce picture book showing a personal collection of ephemera collages made of material from the turn of the millennium. It contains 203 photocopies of collaged items collected by the artist between 1998 and 2003 in London, Copenhagen, Amsterdam and elsewhere. High Capacity is a compressed image of that time.
Until 2016, the loosely sorted material had been neatly filed in moving boxes, whereupon the artist took action: "'Either dump it or keep it,' I kept saying to myself. I grabbed a stapler and gave it a try." What you see here reveals his many varied interests: receipts, torn up checks, packaging of all sorts, drawn instructions, snapshots, vinyl lettering, and other textual imperatives. The way the book is printed also yields a fascinating, yet raw, facsimile of these photocopied collages. Designed and edited in collaboration with Toni Uroda. ISBN 9789464460483
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|
453 |
Alexandra Leykauf |
Alexandra Leykauf |
192 |
20 × 28 |
|
2023 |
|
452 |
All Words and One |
Mark Manders |
208 |
21 × 28 |
|
2023 |
|
451 |
Show Time Book / Book Time Show |
Alexandra Bachzetsis |
256 |
22 × 32 |
Kunst Halle Sankt Gallen |
2023 |
256 pages / 22 × 32 cm / in collaboration with Kunst Halle Sankt Gallen
Show Time Book / Book Time Show stages over two decades of performance work on the pages of a book. Bachzetsis's first comprehensive monograph includes new essays and contributions by Michel Auder, Julia Born, Hendrik Folkerts, Amelia Jones & Tawny Andersen, Bonaventure Soh Bejeng Ndikung, Paul B. Preciado, Joke Robaard, Dorota Sajewska, Safiya Sinclair, Adam Szymczyk, and Arnisa Zeqo, among others.
Design: Julia Born. ISBN 9789464460414
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|
450 |
Calendar 2024 / Every day is a new day |
Karel Martens |
736 |
15 × 21 |
|
2023 |
|
449 |
Feeding on Light |
Eva-Fiore Kovacovsky |
416 |
13 × 20 |
|
2023 |
|
448 |
Initium Maris |
Nicolas Floc'h |
264 |
23 × 31 |
|
2023 |
|
447 |
Periodic Table |
Dove Allouche |
192 |
20 × 25 |
Musée de Bagnes, Le Châble |
2023 |
|
446 |
Capital Compression |
Arnout De Cleene, Michiel De Cleene |
20 + 12 |
14 × 21 |
HOGENT Arts Research Fund, Ghent |
2023 |
|
445 |
Small Prints |
Karel Martens |
48 |
17 × 24 |
|
2023 |
|
445 SP |
Small Prints (book with T-shirt) |
Karel Martens |
book + T-shirt |
S,M,L |
|
2023 |
book + T-shirt / S,M,L
Limited set with a copy of Small Prints and a T-shirt with a Karel Martens print on it. Printed in 2 colours silkscreen and available in the sizes Small, Medium and Large. Price: EUR 50.-
For availability mail to archive@romapublications.org
|
444 |
Marine Models (Notes on Representation Vol. 12) |
Irene Kopelman |
200 |
21 × 28 |
MAMAC, Nice |
2023 |
|
443 |
Five Works |
Philip Metten |
88 |
23.5 × 31.5 |
|
2023 |
|
442 |
I Am Going to Be Your Last Teacher - A Workbook |
Yael Davids |
196 |
23 × 30 |
Gerrit Rietveld Academie, Amsterdam / Van Abbemuseum, Eindhoven / Migros Museum für Gegenwartskunst, Zurich |
2023 |
196 pages / 23 × 30 cm / in collaboration with Gerrit Rietveld Academie, Amsterdam / Van Abbemuseum, Eindhoven / Migros Museum für Gegenwartskunst, Zurich
This publication by Yael Davids unfolded as a workbook along two different exhibitions: A Daily Practice at Van Abbemuseum, Eindhoven (2020) and One Is Always a Plural at Migros Museum für Gegenwartskunst, Zurich (2021). In Eindhoven the exhibition emerged from a three year research cycle facilitated by the Gerrit Rietveld Academie in Amsterdam. Within the Van Abbemuseum she set up an educational structure, initially afterschool care for children, which evolved into weekly Feldenkrais classes. In Zurich, taking up these ideas in connection with a collection show, which had not been done for some time, was a fruitful challenge. Design: Linda van Deursen. ISBN 9789464460346
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|
441 |
Der Sonnenstich |
Katinka Bock |
92 |
24 × 31.5 |
Fondation Pernod Ricard, Paris |
2023 |
|
440 |
Amsterdam Photos |
Robby Müller, Andrea Müller-Schirmer |
68 |
29.7 × 40.5 |
|
2023 |
|
439 |
Cycladic Blues |
Marlene Dumas |
64 |
21 × 29.7 |
NEON / Museum of Cycladic Art, Athens |
2022 |
|
438 |
Present |
Marc Nagtzaam |
40 + insert |
21.5 × 29.5 |
Ahorn Books, Berlin |
2022 |
|
437 |
The Sceptical Structures of Max |
James Beckett |
120 |
14.5 × 27 |
|
2022 |
120 pages / 14.5 × 27 cm
Artist James Beckett shines light on inventor Max Himmelheber, who modernised particleboard. Originally an act of frugality, Himmelheber bound the waste of sawmills with phenol resin, resulting in a highly versatile, stable product. Also known as chipboard, this material has spawned a love-hate relationship due its disposability, and more recently discovered environmental impact.
Almost pre-empting the material's pitfalls, Himmelheber turned his attention to a set of philosophical writings on humanity's role in an industrialised world, displaying a culturally conservative distrust of unchecked technical progress. His character permeates these pages, as we learn of his multiple intersections of boy scouting, Shintoism and environmentalism. Through a historical account of this little-known figure, The Sceptical Structures of Max is as much a lucid memento mori as a call to reimagine our relation to the environment.
The book includes a contribution by and conversation with Dirk van Weelden. ISBN 9789464460285
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|
436 |
MOTIVI - A Graphic Index |
Simon Boudvin |
200 |
24.5 × 32.5 |
|
2022 |
200 pages / 24.5 × 32.5 cm
During his residency at Villa Medici in Rome in 2020 and 2021, artist Simon Boudvin passionately explored a collection of old issues of architectural and design magazines, focusing on the 80's period. In them, splotchy, stripy, wiggly, flashy shapes are brought together in a cheerful environment by artists, architects, photographers, designers, manufacturers and more. These contributors participated in creating the common ornamental background of that time. Boudvin has now collected together noteworthy pages from those magazines to create a composition of 192 close-ups enlarged to 400%. By just zooming in on patterns, textures and graphic samples, without depicting any objects, a beautiful chapter in the history of Italian design unfolds. Published with the support of the French Academy in Rome. Design: Simon Boudvin & Roger Willems. Edition of 500 copies. ISBN 9789464460292
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|
435 |
Belgian Colonial Monuments 2 |
Jan Kempenaers |
80 |
22 × 22 |
Be-Part, Kortrijk |
2022 |
|
434 |
S75 |
Petra Stavast |
224 + poster |
27 × 32 |
|
2022 |
|
433 |
Le Chiffonnier (The Rag-Picker) |
Jürgen Bergbauer |
372 |
21 × 28 |
|
2022 |
|
432 |
Then, Now, and Then |
Marijke van Warmerdam |
64 |
25 × 27 |
|
2022 |
|
431 |
La scomparsa degli sciapodi |
Mark Manders |
96 |
21 × 28 |
|
2022 |
96 pages / 21 × 28 cm
La Scomparsa Degli Sciapodi (The Dissapearance of the Skiapodes) is a book that brings together several historical images of Skiapodes. The term Skiapode - also spelled Sciapode, Skiapod or Sciapod - derives from the Greek compound skia-podes, literally meaning 'shadow-feet'. Throughout history Skiapodes have appeared and again disappeared in numerous cultures and folklore traditions. They are commonly described or depicted as figures with a single obnoxious large foot, who are in the habit of lying on their backs, during the time of extreme heat, and who protect themselves from the sun by the shade of their feet. Over the last two decades, Mark Manders has been collecting, and secretly making, various images of Skiapodes as part of the work Room With All Existing Words (2005-2022). The publication comes with a short manual, instructing how to perform a trick that makes the images fade in black and white, and eventually disappear. Design: Mark Manders with Simon Bultynck. ISBN 9789464460209.
For availability mail to archive@romapublications.org
|
431b |
Wikipedia Skiapode / Sciapode |
Mark Manders |
website |
|
|
2022 |
|
430 |
Meadow |
Pauline Julier |
192 |
18 × 25 |
Musée de Bagnes, Le Châble |
2022 |
192 pages / 18 × 25 cm / in collaboration with Musée de Bagnes, Le Châble
This is the 8th artist's publication in conjunction with the yearly summer exhibition in the area of the Mauvoisin Dam in Vallais, Switzerland, curated by Jean-Paul Felley. Meadow is part of the Occupy Mars project, conducted by Pauline Julier and Clément Postec, which sees Mars as a mirror of Earth at the dawn of the new age of space exploration, extractivism, and colonialism. It bridges multiple, alternative perspectives that question both past and future to bring new narratives to the fore. Through a series of films, publications, and public discussions, the project aims to insert new, insurgent voices into the fray. A first exploration took place in the Atacama Desert in Chile, where the training sites of NASA's rovers are located next to one of the largest lithium mines in the world. From this trip was created the video installation (three-channels) Follow The Water, in which the protagonists tell their attachment to this territory.
The title refers to The Meadow by James Galvin, 1992. Design: Roger Willems. ISBN 9789464460216
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|
429 |
Polaroid 54/59/79 |
Dana Lixenberg |
296 |
24 × 30.5 |
|
2022 |
296 pages / 24 × 30.5 cm
The title of this book with 768 Polaroids refers to the types of peel-apart instant film that Dana Lixenberg used between
1993 and 2010, which could be loaded into a cassette that fit into her 4×5" field camera. These instant Polaroid prints, serving as test and reference
material for lighting and composition, provide an intimate glimpse into Lixenberg's work process during photo shoots for numerous clients such
as Vibe, The New York Times Magazine, The New Yorker, Rolling Stone, Vrij Nederland, and personal projects. After the
Polaroid Corporation went out of business in 2008, Lixenberg finished her last box of Polaroid 54 two years later. Apart from being an ode to this specific material, the large collection of portraits also reflects the American culture and
society Lixenberg encountered in the 1990s and 2000s. Design: Roger Willems. ISBN 9789464460223
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|
429 SP |
Polaroid 54/59/79 (special edition) |
Dana Lixenberg |
296 |
24 × 30.5 |
|
2022 |
|
428 |
Rock-paper-roots |
Géraldine Jeanjean |
80 |
19 × 26 |
|
2022 |
|
427 |
The Serving Library Annual 2022/23 (Meander) |
Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Vincenzo Latronico, David Reinfurt, Robert Wiesenberger |
176 |
21 × 29.7 |
The Clark, Williamstown |
2022 |
176 pages / 21 × 29.7 cm / in collaboration with The Clark, Williamstown
From the 1960s, Croatian artist Julije Knifer (1924-2004) painted stark, snaking, geometric lines that he called meanders. The monotony and absurdity of this practice, and journaling about his non-progress every day, was for Knifer "a very specific form of freedom". Each painting was not a whole, but part of a larger stream. This edition of The Serving Library Annual explores this theme, where the meander offers both the promise of continuity and the mixed blessing of recurrence. Its freely wandering contents include contributions by Julije Knifer, Anuja Dhir and Ab Rogers, Anthony Huberman, Yuji Agematsu, Tauba Auerbach, Emilie M. Reed, Lauren Elkin, and others. ISBN 9789464460193
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|
426 |
Play Sincerely! |
Olivier Goethals |
336 |
16 × 24 |
Kunsthal Gent / 019, Ghent |
2022 |
336 pages / 16 × 24 cm / in collaboration with Kunsthal Gent / 019, Ghent
This book presents an overview of the varied activities of Olivier Goethals (1980). Educated as an architect, Goethals embarked on an odyssey to explore the distinctions between art and architecture. His activities involve constructing buildings, reorganizing interiors, making cupboards, staging exhibitions, drawing pictures, writing poems, sculpting objects, producing paintings, designing scenographies, developing concepts, organizing collaborations, connecting spaces, starting conversations, giving lectures, teaching students, implementing designs, devising constructions, programming gifs, filling notebooks, putting up walls, and mounting installations. With an introduction by Christophe Van Gerrewey, and a Q&A with Olivier Goethals and Bernardo Kastrup.
Editing and Design: Ine Meganck & Valentijn Goethals, with Judith Eckhardt. ISBN 9789464460162
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|
425 |
Roma Publications #1-425 at Sitterwerk, St.Gallen |
Roger Willems (editor) |
160 |
14 × 20 |
Stiftung Sitterwerk, Sankt Gallen |
2022 |
|
424 |
Upstream |
Ari Marcopoulos |
240 |
20 × 28 |
Kunst Halle Sankt Gallen |
2022 |
|
423 |
Paare / Pairs |
Jochen Lempert |
112 + insert |
21 × 29 |
Portikus, Frankfurt |
2022 |
|
422 |
Deep Sea |
Nicolas Floc'h |
68 |
23 × 31 |
|
2022 |
|
421 |
Here and Elsewhere |
Irene Kopelman |
48 |
21 × 28 |
IAC Villeurbanne/Rhône-Alpes |
2022 |
|
420 |
Book of Hours (2020-2021) |
Kara Walker |
144 + insert |
19 × 25.5 |
|
2022 |
|
419 |
Denver Mosaic 1961 |
René Heyvaert |
36 |
22 × 28.5 |
KU Leuven |
2022 |
|
418 |
Noordereiland Drawings |
Bart Lodewijks |
160 |
17.5 × 24.5 |
Murals Inc., Rotterdam |
2022 |
|
417 |
Træfængslet |
Nick Geboers |
48 |
22 × 32.5 |
|
2022 |
|
416 |
Farben |
Marc Nagtzaam |
96 |
21 × 29.7 |
Jan van Eyck Academie, Maastricht |
2022 |
|
415 |
On The Self-Reflexive Page II |
Louis Lüthi |
304 |
13 × 20 |
|
2021 |
|
414 |
Seeing into Stone |
Anika Schwarzlose |
136 |
14 × 21 |
|
2021 |
|
413 |
Interne Correspondentie Issue 3 |
Experimental Jetset |
envelope + 6 items |
25 × 35 |
|
2021 |
|
412 |
Uranus |
Karel Martens |
688 |
21 × 29.7 |
IS A GALLERY, Shanghai |
2021 |
|
411 |
Serial Grey |
Jeff Weber |
192 |
20 × 30 |
Carré d'Art, Nîmes |
2021 |
|
410 |
i THINK and I think i've THOUGHT a thought |
Josse Pyl |
240 |
21 × 29.7 |
|
2021 |
240 pages / 21 × 29.7 cm
Language abounds in all areas of Josse Pyl's artistic practice. His sculptures and drawings are often attempts to translate the hidden logic of signs and symbols, while his animatronic works draw attention to the ways communication is performed. Working with a range of media and materials, Pyl gives shape to the experiences of thinking, writing, looking, and reading, locating them within spatial environments.
i THINK and I think i've THOUGHT a thought collects the various components of Pyl's practice from 2014 to 2021 in one publication by making use of the frottage technique. Working with pencil and paper, Pyl has inscribed each page with elements taken from different works. From these fragments, when they are taken together, a new vocabulary can be assembled: a collection of semantic artifacts rendered in binary patterns of light and shadow, negative and positive, and in no gradated or hierarchical order. The images that can be composed from these fractured parts are revealed only gradually as they superimpose upon each other, conjuring new associations, new ways of reading, with each turn of the page. Design: Jungmyung Lee/J-LTF. ISBN 9789464460018
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|
409 |
Patterns |
Karel Martens |
208 |
24 × 30 |
|
2021 |
|
408 |
Nice |
Mark Peckmezian |
224 |
21.5 × 28.5 |
|
2021 |
|
407 |
As If |
Uta Eisenreich |
156 |
22 × 29 |
|
2021 |
|
406 |
Heterotemporality |
Ari Marcopoulos |
80 |
15.5 × 21.5 |
|
2021 |
|
405 |
Robby Müller Flora Polaroid |
Robby Müller / Andrea Müller-Schirmer (editor) |
56 |
16.5 × 23 |
|
2021 |
|
404 |
Merelbeke-tekeningen |
Bart Lodewijks |
104 |
17 × 24 |
|
2021 |
|
403 |
Japan Works |
Aglaia Konrad |
496 |
20.7 × 26 |
|
2021 |
|
402 |
Wang Bing The Walking Eye |
Wang Bing / Diane Dufour, Dominique Païni, Roger Willems (editors) |
832 |
16 × 23 |
Le Bal, Paris |
2021 |
832 pages / 16 × 23 cm / in collaboration with Le Bal, Paris
Book about the work of Chinese film maker Wang Bing, published in conjuction with an exhibition at Le BAL in Paris in 2021. In 170 sequences (and more than 700 film stills), 8 iconic films are presented: West of The Tracks (2003), The Man with No Name (2009), Three Sisters (2012), 'Til Madness Do Us Part (2013), Traces (2014), Father and Sons (2014), Ta'ang (2016), and 15 Hours (2017). With text contributions by Diane Dufour, Dominique Païni, Teresa Castro, David Le Breton, Thierry Davila, Ada Ackerman, Jean-François Chevrier, Alain Bergala, Julie Ault, Catherine Perret. Edited by Diane Dufour, Dominique Païni and Roger Willems.
Including film notices, map of the film locations, biography, complete filmography, and bibliography. Design: Roger Willems with Dongyoung Lee. ISBN 9789492811851
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|
401 |
Bill 3 |
Julie Peeters (editor) |
184 |
23 × 31 |
|
2021 |
184 pages / 23 × 31 cm
A special archival issue, featuring unpublished Martin Margiela lookbook photographs, a horse, street style from the 90's, vases of Japan, a silver story, a flash forward and back, tennis, an icecube tray, more Margiela, Hysteric Glamour and a bunch of frivolous images. The stories are sourced from the book collections of RareBooksParis and Julie Peeters. Edited and designed by Julie Peeters. ISBN 9789492811875.
Out of print
|
400 |
Superstructures (Notes on Experimental Jetset / Volume 2) |
Experimental Jetset |
420 + 24 |
10.5 × 18 |
|
2021 |
420 + 24 pages / 10.5 × 18 cm
Superstructures (Notes on Experimental Jetset / Volume 2) is an inquiry into the role of the city as an infrastructure for language (and simultaneously, into the role of language as an infrastructure for the city), as seen through the lens of four historical movements: Constructivism, the Situationist International, Provo, and the Post-Punk explosion.
Based on a research project (and accompanying exhibition) by Experimental Jetset, the publication features footnotes written by Vasyl Cherepanyn, Leontine Coelewij, Linda van Deursen, Experimental Jetset, Owen Hatherley, Brad Haylock, Dirk van den Heuvel, Lieven Lahaye, Samata Masato, Tom McDonough, Kateryna Mishchenko, Other Forms, Mark Owens, Megan Patty, Adam Pendleton, Simon Reynolds, Ian F. Svenonius, McKenzie Wark, Lori Waxman, and Mimi Zeiger.
The 420-page paperback comes with a 24-page zine, zooming in on the design typology of the original exhibition. Design: Experimental Jetset. ISBN 9789492811868.
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|
399 |
Superstructures (T-shirt) |
Experimental Jetset |
T-shirt |
S, M, L, XL |
|
2021 |
S, M, L, XL
Accompanying the launch of Experimental Jetset's paperback Superstructures (ROMA 400), we released this T-shirt, carrying a pattern designed by Experimental Jetset.
Resembling an imaginary sign system (or cartographic language) for a fictional metropolis, the pattern also incorporates a quote by The Jam ("In the city, theres a thousand things I want to say to you"), referring to the main theme of the paperback; the notion of the city as an infrastructure for language.
The T-shirt is available in two color combinations (black/white, and violet/white), in sizes S, M, L, and XL.
Screenprinted with water-based ink on organic, premium T-shirts (100% fair-trade cotton). Price: 36 Euro + shipping
For availability mail to archive@romapublications.org
|
398 |
Off Camera |
Steven Humblet (editor) |
136 + 16 |
24 × 31 |
Royal Academy of Fine Arts, Antwerp |
2021 |
136 + 16 pages / 24 × 31 cm / in collaboration with Royal Academy of Fine Arts, Antwerp
Visual manifesto with works by 47 artists, exploring the notion of 'the photographic', an analysis of the effects the technical image has on the visual culture as a whole. The photo essay focuses on contemporary artistic practises and experimental approaches to photography, divided into four themes: The Photographic Fossil, Chemical Matter, Optical Confusion, and Performing the Image. The accompanying text insert, with contributions by Steven Humblet, Marc De Blieck, Liz Deschenes, Markus Kramer, and Joanna Zylinska, engages a discourse among artists and intellectuals on defining photography and technique. Off Camera is the conclusion of a research project carried out by Belgian researcher Steven Humblet's group, Thinking Tools, at the Royal Academy of Fine Arts, Antwerp. Design: Roger Willems, Dongyoung Lee. ISBN 9789492811882
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|
397 |
I long to meet the masses once again |
Walid Raad |
48 |
22 × 28 |
Kunst-Station Sankt Peter, Cologne |
2021 |
48 pages / 22 × 28 cm / in collaboration with Kunst-Station Sankt Peter, Cologne
Publication about a site-specific installation by Walid Raad in Kunst-Station Sankt Peter Köln (Cologne, Germany) in the exhibition series Replace Rubens. Shown are two sculptures made out of art transportation crates entitled I long to meet the masses once again (2019), and a second work, I long to meet the masses once more (2020), which shows us the reverse side of the famous painting The Crucifiction of St. Peter by Peter Paul Rubens, on which ornamental prints of plants, flowers, and a foliage can be seen. It is leaning against the wall, just below the original's traditional hanging position. With texts by Friederike Schuler, Johan Holten, and Walid Raad. Design: Roger Willems. Edition of 700 copies. ISBN 9789492811905
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|
396 |
Kerselare Drawings and Photographs |
Bart Lodewijks & Jan Kempenaers |
240 |
16 × 22 |
|
2021 |
|
395 |
AINSI SOIT-IL "SO BE IT" |
Ari Marcopoulos |
176 + 3 inserts |
21 × 28 |
|
2021-23 |
176 pages + 3 inserts / 21 × 28 cm
Limited edition photobook by Ari Marcopoulos with text by Kara Walker. All photographs were taken on trips in 2018 and 2019, when Ari and Kara went to visit their friends Robert Frank and June Leaf in their home in Mabou Mines, on Cape Breton in Nova Scotia, Canada.
Marcopoulos: "I came around the bend of the unpaved road that opened up onto a bay and a view out to the ocean as far as the eye could see. I knew this view very well, even though it was my first time there. I had seen it in the Scalo edition of Robert Frank's book The Lines of My Hand. The cover is graced with a drawing by June Leaf, Robert's wife. They invited Kara and me to their summer house in Mabou. We were visiting our friends, but that view from the bay made it feel like a pilgrimage to me. We spent time talking, sitting in silence, and sharing meals. Ainsi soit-il, was the sentence Robert taught me. Translated: So be it. There you have it."
The book was produced in 2021 but only released in 2023. It comes in a sleeve with 4 inserts, including a signed Riso print in black, blue or red, randomly selected out of two picture options. Design: Roger Willems. ISBN 9789492811844
For availability mail to archive@romapublications.org
|
394 |
Tokyo Papers |
Karel Martens |
80 |
15.5 × 21.5 |
|
2020 |
|
393 |
The Serving Library Annual 2020/21 (Objects) |
Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Vincenzo Latronico, David Reinfurt (editors) |
208 |
21 × 29.7 |
The Serving Library / 019, Ghent |
2020 |
208 pages / 21 × 29.7 cm / in collaboration with The Serving Library / 019, Ghent
This year's Annual is published in tandem with a long-term installation of The Serving Library's collection of (mostly) framed objects at 019, an artist-run space in a former welding factory in Ghent, Belgium. Apparently, the sole common denominator of the objects in the collection - which range from paintings, photographs, and LP sleeves, to a can of green paint, a German car license plate, and an ouija board - is to have appeared as illustrations in an issue of The Serving Library Annual or one of its immediate predecessors, Bulletins of The Serving Library or Dot Dot Dot, sometime over the last 20 years. The present volume assembles The Serving Library collection at the time of writing, arranged in chronological order of production, as full-page images with extended captions.
ISBN 9789492811820
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|
392 |
Seoul Portraits |
Karel Martens |
16 |
17 × 24 |
|
2020 |
|
391 |
2020 |
Geert Goiris |
44 + 16 |
28 × 36 |
VLP, Groot-Bijgaarden |
2020 |
|
390 |
Lithium |
Erik van der Weijde |
32 |
21 × 29.7 |
|
2020 |
|
389 |
Bottomless Bag |
Na Kim |
160 |
23 × 30 |
Seoul Museum of Art |
2020 |
|
388 |
Face |
Yannis Kyriakides, Johannes Schwartz, Maria Barnas |
Record + 12 p |
31.5 × 31.5 |
Unsounds, Amsterdam |
2020 |
|
387 |
Invisible |
Nicolas Floc'h |
284 |
23 × 31 |
Calanques National Park |
2020 |
284 pages / 23 × 31 cm / in collaboration with Calanques National Park
With Invisible, a visual, photographic research project on the underwater seascapes of the Calanques, Nicolas Floc'h set out to capture the state of the underwater seascapes at a given point in time, between 2018 and 2020, by following the entire 162-kilometre coastline of the Calanques National Park in the Mediterranean Sea near Marseille in France. The black and white photographs, taken between the surface and 30 metres below sea level, in natural light and with a wide-angle lense, present a panorama of the natural and man-made landscapes and their transformations. With text contributions in French and English by Muriel Enjalran, Pascal Neveux, Gilles Clément, and Nicolas Floc'h. Design: Roger Willems. ISBN 978949281178
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|
386 |
Un ami simple |
Valentin Carron |
56 |
23.3 × 30 |
Musée de Bagnes, Le Châble |
2020 |
|
385 |
Conrad McRae Youth League Tournament |
Ari Marcopoulos |
816 |
16.4 × 22 |
|
2020 |
816 pages / 16.4 × 22 cm
Photos taken by Ari Marcopoulos at the Conrad McRae Youth League Summer Tournament at Dean Street Playground in Brooklyn, NY, between 2014 and 2019. The yearly tournament began in the summer of 2000 in memory of Conrad Bastien McRae (1971-2000). McRae was an exceptionally talented basketball player, who had a successful career in Europe playing for teams in France, Italy, Greece and Turkey. He died in the summer of 2000 during practice at the Orlando Magic Camp in Irving, CA. His childhood friends, Anton Marchand, Cleon "Silk" Hyde and Troy Lemond, keep McRae's legacy alive every summer. The tournament has players from 6 years old and up and features some of the best basketball high school players from the greater New York area. With text contributions by Andrea Lissoni, Damani McNeil, and Ari Marcopoulos. Design: Roger Willems. Edition: 4 × 300 (4 different covers, randomly mixed). ISBN 9789492811752
Out of print
|
385 SP |
Conrad McRae Youth League Tournament (special edition) |
Ari Marcopoulos |
816 + jersey |
16.4 × 22 |
|
2020 |
|
384 |
The Absence of Mark Manders, Bonnefanten |
Mark Manders |
152 |
22 × 28.5 |
Bonnefanten, Maastricht |
2020 |
|
383 |
All Our Suns |
Olaf Nicolai |
120 |
24.5 × 31 |
|
2020 |
|
382 |
Notes on Representation Vol. 1-10 (Special edition box) |
Irene Kopelman |
10 books + drawing |
29 × 8.5 × 21.5 |
|
2020 |
|
381 |
Postscripts |
Jalal Toufic |
160 |
11.5 × 17 |
Moderna Museet, Stockholm |
2020 |
160 pages / 11.5 × 17 cm / in collaboration with Moderna Museet, Stockholm
Small sized text book by Jalal Toufic, published in conjunction with the exhibition Let's be honest, the weather helped by Walid Raad at Moderna Museet, Stockholm (February 15 - May 10 2020).
Joan Copjec about the book: A brilliant, ramifying series of thought experiments, Postscripts rigorously avoids becoming a no-stakes mind game. Here, the stakes - political, aesthetic, ethical - are quite high. For, the experiments are rigged to combust those ideas and stances thatinsufficiently tolerant of counterfactuals - fail to pass their test. Deadly serious and humorous at once, these thought rifts for a moment expose what is unthinkable - but for the creative collaboration they stage between the two aspects of "the mortal, dead while still alive" - before it is once again abducted. Jalal Toufic invents and masters his own transversal genre, sentence by ingeniously-placed sentence.
Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. His books are available for download, free of charge, at www.jalaltoufic.com.
Cover by Walid Raad. ISBN 9789198457162
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|
380 |
Let's be honest, the weather helped |
Walid Raad |
196 |
21.5 × 28 |
Stedelijk Museum Amsterdam / Moderna Museet, Stockholm |
2020 |
196 pages / 21.5 × 28 cm / in collaboration with Stedelijk Museum Amsterdam / Moderna Museet, Stockholm
Catalog for the exhibition Walid Raad - Let's be honest, the weather helped, organized by Moderna Museet, Stockholm (February 15 - May 10 2020), and the Stedelijk Museum Amsterdam (May 15 - October 13 2019). Besides installation views, the book includes illustrated text contributions by Fredrik Liew, and Maria Minera, and a scripted version of Raad's entire 75-minute performance/walktrough Kicking the Dead and/or Les Louvres.
Walid Raad engages in how violence affects bodies, minds, culture and tradition. In his works, Raad proceeds from historical events to imagine seemingly ludicrous, bizarre, and wondrous situations and documents. The projects are closely linked to his experiences of growing up in Beirut during the civil war in Lebanon, moving to New York, and being an artist in a globally expansive art world.
Design: Roger Willems. ISBN 9789492811707
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|
379 |
Composition with Yellow Verticals |
Mark Manders |
112 |
11.5 × 17 |
Bonnefanten, Maastricht |
2020 |
|
378 |
Kerselare Drawings and Photographs |
Bart Lodewijks & Jan Kempenaers |
e-books |
|
|
2019-2020 |
|
377 |
Shadow Studies |
Mark Manders |
144 |
21 × 27 |
Van Lanschot Kempen |
2019 |
|
376 |
Borrowed Space |
Marc Nagtzaam |
24 + card |
34.5 × 48 |
art3, Valance |
2019 |
|
375 |
Full Scale False Scale (Notes On Experimental Jetset / Volume 3) |
Experimental Jetset |
276 + 24 |
11 × 18 |
|
2020 |
|
375b |
Roma Tote Bag (Experimental Jetset 2020 after Van Doesburg 1925) |
Experimental Jetset |
tote bag |
35 × 37.5 |
|
2020 |
|
374 |
Fragments of a Conversation with a Counterfeiter |
Diego Tonus and Anonymous |
160 |
16 × 24 |
|
2019 |
|
373 |
Interne Correspondentie Issue 2 |
Experimental Jetset |
envelope + 6 items |
33 × 26 |
|
2019 |
|
372 |
Re-Printed Matter |
Karel Martens |
280 |
17.3 × 23.2 |
|
2019 |
|
372 SP |
Re-Printed Matter (special black and white edition) |
Karel Martens |
280 |
17.3 × 23.2 |
|
2019 |
|
371 |
Hands Make Mistakes |
Ariel Schlesinger |
136 |
19 × 25 |
|
2019 |
|
370 |
The Serving Library Annual 2019/20 (Bruno Munari Obvious Code) |
Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Vincenzo Latronico, David Reinfurt (editors) |
144 |
21 × 29.7 |
The Serving Library |
2019 |
144 pages / 21 × 29.7 cm / in collaboration with The Serving Library
The 2019/20 issue of The Serving Library Annual is entirely devoted to the late Italian designer, artist, inventor and polymath Bruno Munari. The core of the annual is the first English translation of
Obvious Code, the 1971 collection of Munari's own writings, sketches and poems about his own work, published by arrangement with Corraini, who issued the book's anastatic edition in 2017. It includes
iconic design objects such as the Abitacolo, ground-breaking artworks such as his 1952 series of hand-made projection slides, and little known rhymes about the art market, as well as an original piece
from his "unreadable books" series. In the margins, dozens of artists, designers, writers and curators have been invited to annotate Munari's texts - with a sketch or a quotation, an in-depth
analysis, a fragment of conversation, a free association - as a testament to the depth of the influence exerted on international art by an often underacknowledged pioneer, whose visual experiments
were so iconic as to become a self-evident part of visual culture, an anonymous invention: an obvious code. Annotated by, among others: Paola Antonelli, Leonor Antunes, Céline Condorelli, Matali
Crasset, Umberto Eco, Morgan Fisher, Rob Giampietro, Jenny Jaskey, Emily King, Lászlo Moholy-Nagy, Rosalind Nashashibi, Arturo Carlo Quintavalle, João Ribas, Alberto Salvadori, Orson Welles, and
Olimpia Zagnoli. Edited by Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Vincenzo Latronico, and David Reinfurt. Design: Stuart Bertolotti-Bailey. ISBN 9789492811653
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|
369 |
On Gestures of Doing Nothing |
Sander Breure & Witte van Hulzen |
128 |
22 × 28 |
Marres, Maastricht |
2019 |
|
368 |
Anastasis |
Giorgio Andreotta Calò |
112 |
24×33 |
De Oude Kerk, Amsterdam |
2020 |
|
367 |
The World Is All That Is The Case |
Arthur Ou |
56 |
18.5 × 26.5 |
|
2019 |
|
366 |
Hexamiles (Mont-Voisin) |
Batia Suter |
256 |
24 × 30.4 |
Musée de Bagnes, Le Châble |
2019 |
256 pages / 24 × 30.4 cm / in collaboration with Musée de Bagnes, Le Châble
For her solo exhibition at the Mauvoisin Dam in Switzerland in the summer of 2019, Suter focused on her ever-expanding archive of scanned landscape images, which had already started to play an important role in Parallel Encyclopedia #2 (ROMA 284, 2016). Many of those images depict wastelands, alternating between romantic and menacing views which simultaneously create sensations of majesty and disorientation. By layering them over each other, a variety of disparate geological and biological environments merge into composite landscapes we might only recognise from dreams and fairy tales. In the books sequence, a kind of adventurous journey takes shape, pitched between an odyssey, a safari and paradise. The book's title is derived from the term Hexameter, a poetic form of writing used in Homer's Odyssey. Mont-Voisin, which also serves as the title for the exhibition, is inspired by different spellings used by 18th and 19th century travellers to describe Mauvoisin. Design: Batia Suter, Roger Willems. ISBN 9789492811592
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|
365 |
NON |
Paulien Oltheten |
84 |
20 × 25 |
|
2019 |
|
364 |
Into the Air |
Marinus Boezem |
112 |
23 × 30 |
De Oude Kerk, Amsterdam |
2019 |
112 pages / 23 × 30 cm / in collaboration with De Oude Kerk, Amsterdam
Publication about the work of Marinus Boezem, named after the installation Boezem developed for the Oude Kerk in Amsterdam in 2016. Boezem is considered to be one of the founders of Dutch conceptual art. A certain levity is quite typical of his work, for which he often makes use of intangible elements such as wind, air and transparency. He has a profound fascination with Gothic architecture, particularly cathedrals, which he sees as a metaphor for the human desire for spirituality. Cathedrals embody our desire to fly, to rise up and leave all earthly things behind. One of Boezem's most famous works is the Green Cathedral (1978-2016) in the Dutch province of Flevoland. Still visible today, this project consists of 178 poplars planted in the form of the full-size plan of Reims Cathedral. The result is a cathedral of trees, with the sky as a canopy. This plan has become Boezem's personal logo. With text contributions by: Germano Celant, Nathalie Zonnenberg, Lorenzo Benedetti, Jacqueline Grandjean and Lorenzo Bruni. Design: Louis Lüthi. ISBN 9789492811615
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|
363 |
: |
gerlach en koop |
376 |
17.5 × 17.5 |
Bonnefantenmuseum Maastricht |
2019 |
376 pages / 17.5 × 17.5 cm / in collaboration with Bonnefantenmuseum Maastricht
This publication follows the exhibition : by collective artist gerlach en koop with the collection of the Bonnefantenmuseum Maastricht in 2016, at the invitation of curator Paula van den Bosch. This publication also follows the catalogue cubics by architects and designers Slothouber and Graatsma from 1970, such that it served as support for the artworks in print, just like their cubic system of blocks supported the artworks in the exhibition. All exhibited artworks are included in this publication, works by Francis Alÿs, Dan Asher, Joseph Beuys, Marcel Broodthaers, Pieter Brueghel, Ben d'Armagnac, Bethan Huws, Oscar Jespers, Marijn van Kreij, Agnes Martin, Willem de Rooij, Lily van der Stokker, Joëlle Tuerlinckx, Franz West and many others, plus several anonymous objects of different provenances and different times. The publication contains a long interview with the artists by a ghosted ghostwriter, in Dutch and English.
Design: Charles Mazé and Coline Sunier in collaboration with gerlach en koop. ISBN 9789492811516
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|
362 |
The Plant Collection |
Inge Meijer |
112 |
21 × 29.7 |
|
2019 |
|
361 |
Better be watching the clouds / I want to be able to welcome my father to my house |
Walid Raad |
leporello + 12 p |
21.5 × 28 |
Stedelijk Museum Amsterdam |
2019 |
|
360 |
Tomorrow's Sculpture |
Katinka Bock |
400 |
21.5 × 29 |
Kunst Museum Winterthur, Mudam Luxembourg, IAC Villeurbanne/Rhône-Alpes |
2019 |
|
359 |
Black Mat Oriole |
Suki Seokyeong Kang |
240 |
22 × 29 |
ICA, University of Pennsylvania |
2019 |
240 pages / 22 × 29 cm / in collaboration with ICA, University of Pennsylvania
A culmination of five years of research and production by Suki Seokyeong Kang, Black Mat Oriole was conceived as an installation that brings together sculpture, painting, and video to engage viewers with the power and politics of space. This book is published on the occasion of her exhibition at the Institute of Contemporary Art, University of Pennsylvania. While Kang's expanded painting practice is rooted in her interest in classical Korean poetry, craft, and dance, her concerns are firmly articulated in the present. She explores how a space can be divided into grids, whether with regard to systems of power, cultural customs, or artistic lineage. Traditional handwoven reed mats are also used to indicate how bodies might move through a choreographed space. Design: Sulki and Min. ISBN 9789492811547
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|
358 |
high up close by |
Misha de Ridder |
84 |
24 × 34 |
|
2019 |
|
357 |
World Without Us |
Geert Goiris |
172 |
21.3 × 25.5 |
Royal Academy of Fine Arts, Antwerp |
2019 |
|
356 |
Regular Features |
Marc Nagtzaam |
272 |
21.1 × 27.9 |
|
2019 |
272 pages / 21.1 × 27.9 cm
Artist book with text drawings by Marc Nagtzaam, made between 1992 and 2019. Complementary to the writings, 24 artists contributions on are inserted throughout the book. With contributions by Mark Manders, Louis Lüthi, Sue Tompkins, Stephan Keppel, Steve Van den Bosch, Nickel van Duijvenboden, Sophie Nys, Pierre Leguillon, Batia Suter, Experimental Jetset, Na Kim, Tim Hollander, Lily van der Stokker, Karin Herwegh, Karel Martens, Ruth Wolf-Rehfeldt, Kasper Andreasen, Jochen Lempert, gerlach en koop, Henri Jacobs, Anne-Mie Van Kerckhoven, Marijn van Kreij, and Willem Oorebeek. As a continuation of the first Roma publication, (SOME), dating from 1998, this book marks the 20+ years anniversary of Roma Publications. Design: Marc Nagtzaam and Roger Willems. Edition: 400, signed and numbered. ISBN 9789492811448 / Edition: 400
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|
355 |
Belgian Colonial Monuments |
Jan Kempenaers |
72 |
22 × 22 |
MuZee, Oostende |
2019 |
|
354 |
Bollenveld |
Erik van der Weijde |
32 |
17 × 24 |
|
2019 |
|
353 |
Entropy |
Ari Marcopoulos |
64 + poster |
24 × 33 |
|
2019 |
|
352 |
Bühnenbilder |
Silke Otto-Knapp |
128 |
22 × 28 |
Midway Contemporary Art, Minneapolis |
2019 |
128 pages / 22 × 28 cm / in collaboration with Midway Contemporary Art, Minneapolis
Bühnenbilder, the title of Silke Otto-Knapp's exhibition in Minneapolis, are the fabricated views resulting from dressing sets. Neutral until they are costumed, they are like blank volumes awaiting a set designer's meticulous treatment. The only colours in these works are black, grey, silver, and white. The artist's palette and methodology, in which she applies a dark watercolour wash and then subtracts from it using absorptive implements, raising images from the dark, reflects the photograph's urge to resurface something whose very location - in history, memory, desire - eludes the grasp of any image.
Design: Julie Peeters. ISBN 9780996524131
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|
351 |
Cardinal Points. Notes on Representation Vol. 10 |
Irene Kopelman |
84 |
21 × 28 |
|
2019 |
84 pages / 21 × 28 cm
Cardinal Points, the 10th volume in the series Notes on Representation, charts Kopelman's investigations through drawing, writing, and taking photographs on several trips in Argentina where she joined the research campaigns of different groups of scientists: to Pampa de Achala, Cordoba, working with biologists on invasive terrestrial species and studies of litter; to El Litoral, to the provinces of Entre Rios and Corrientes, with a team of ecologists studying floral ecology; to a lab in Puerto Madryn in the Patagonian region, with a team that works with invasions of marine organisms; and to the Ischigualasto Provincial Park and Jachal in the province of San Juan, with a team of geologists and palaeontologists. Design: Ayumi Higuchi and Roger Willems. ISBN 9789492811462
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|
350a |
Floor with Notional Newspapers |
Mark Manders |
box with 10 newspapers |
35 × 24 × 2.5 |
|
2019 |
|
350b |
Table with Notional Newspapers |
Mark Manders |
box with 10 newspapers |
35 × 24 × 2.5 |
|
2019 |
|
349 |
Pocket Folklore |
Shirin Sabahi |
196 |
14.5 × 21.5 |
Edith-Russ-Haus für Medienkunst, Oldenburg |
2019 |
196 pages / 14.5 × 21.5 cm / in collaboration with Edith-Russ-Haus für Medienkunst, Oldenburg
This book revolves around Matter and Mind, a sculpture by artist Noriyuki Haraguchi, permanently installed at the Tehran Museum of Contemporary Art since the museum's inauguration in 1977. Matter and Mind is a 640 × 480 × 30 cm steel basin filled with used engine oil. Over time a ritual came to be when visitors started throwing coins and other things into the oil pool, turning the sculpture into an unwilling wishing well. Forty years on, Shirin Sabahi invited Haraguchi back to the museum to restore his oil pool. The sunken objects were retrieved from the pool and two films were made in the process. The book hosts a previously unpublished booklet by the first chief curator of the museum. This inclusion follows the enveloping logic of the project, where Sabahi's films, Haraguchi's sculpture and the objects it holds sequentially encase one another. With contributions by: Negar Azimi, Media Farzin, Farnoosh Fathi, David Galloway, Adam Kleinman, Edit Molnár, Shirin Sabahi, Sissel Tolaas. Design: Louis Lüthi. ISBN 9789492811455
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|
348 |
The Photographic II: Signal or Noise |
Martin Germann, Tanja Boon (editors) |
64 |
20 × 27 |
S.M.A.K., Ghent |
2019 |
64 pages / 20 × 27 cm / in collaboration with S.M.A.K., Ghent
Catalog accompanying the second part of a diptych exhibition in S.M.A.K., Ghent, curated by Martin Germann and Tanja Boon. The first chapter, Other Pictures, questioned the special potential of the still image. In Signal or Noise the gaze is turned inwards and explores the camera as a metaphor for human existence.
Photography is to a large extent produced by machines. The reading of an image thus also requires knowledge of the technological development of the discipline, especially because photography has gradually anchored itself in the social sphere. The more images and their environment merge, the more signal and noise become interchangeable. Readable, manipulated and hidden information are increasingly difficult to distinguish from one another, yet are of equal importance in our visual culture. The myth of photographic transparency seems to be irreversibly lost in a mass of pixels, bits and algorithms.
Design: Roger Willems. ISBN 9789492811424
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