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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 |
479 |
The Images of Luis Barragán |
Mark Manders, Roger Willems |
80 |
21 x 28 |
|
2024 |
|
478 |
Love Letters |
Karel Martens |
96 |
16 x 22 |
|
2024 |
96 pages / 16 x 22 cm
Love Letters is a selection of 46 envelopes for the letters that Karel Martens sent to his love, Lous between 1962 and 1963. These envelopes have been manually printed during the time Karel was stationed in the drawing room of the Welfare Service in the Frederik Hendrik Barracks for his military service, tasked with designing a poster titled “Don’t croak about the military service matters, the enemy is listening.”
Design: Karel Martens. ISBN 9789464460704
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|
477 |
New Surface Research |
Henri Jacobs |
328 |
21 × 29.7 |
|
2024 |
328 pages / 21 × 29.7 cm
A collection of works by Henri Jacobs who has been conducting an investigation into two-dimensionality, the flat nature and recto-verso proposition of a surface. Materialising in various forms such as plaited paintings to wall hangings, murals, brickwork,
ceramic works, and drawings made using a variety of techniques. One technique Jacobs regularly experiments with is that of plaiting paper, whereby old and new works or figurative and geometric images are woven together into a two-sided 2-D surface that is image, pattern, texture, and structure all-in one.
Text by Kasper Andreasen and Henri Jacobs. Design: Yuri Sato, Roger Willems. ISBN 9789464460698
Coming soon
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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 |
|
472 |
Interference |
Philippe van Wolputte |
352 |
21 × 26.5 |
|
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
For availability mail to archive@romapublications.org
|
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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|
347 |
Cloud Service |
Batia Suter |
104 |
19.5 × 28.5 |
Printed Matter Inc. |
2019 |
|
346 |
Bill 2 |
Julie Peeters (editor) |
184 |
23 × 31 |
|
2019 |
184 pages / 23 × 31 cm
Bill 2 is the second issue of an annual magazine of photographic stories, edited and designed by Julie Peeters. Twelve contributors present new or previously unpublished work. The images in the magazine are printed without any accompanying text: Bill prioritizes visual reading without distraction. Contributors to the second issue are: Gintaras Didziapetris, Jason Dodge, Archiv Hans Hollein, Inge Ketelers, Tadashi Kurahashi by Tadanori Yokoo - Tadanori Yokoo by Tadashi Kurahashi, Jochen Lempert, Raimundas Malasauskas, Bart Julius Peters / T L P S, Reto Schmid, Megan Francis Sullivan, Linda van Deursen, Ann Woo, and Jiajia Zhang. ISBN 9789492811417
Out of print
|
345 |
Reference Guide |
Michiel De Cleene |
176 |
24.5 × 32 |
HOGENT, Ghent |
2019 |
176 pages / 24.5 × 32 cm / in collaboration with HOGENT, Ghent
Reference Guide is a collection of entries, connected and fuelled by cross-references. These not only determine the characteristics of the collection and its use, but they are also the mechanism behind its expansion. Although the main focus of Reference Guide lies within moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress. Reference Guide allows each reader to construct his or her own path through the different entries. This movement is similar to one you might make within an encyclopedia; a movement that might take you from the entry on the aorta, to the heart, to surgeon, to scalpel, to knife, to axe, to forestry only to end up at silver birch or - with a different turn somewhere along the way - at windmill, oil painting, carbon monoxide, the moon or keel. The collection incorporates modified carousel projectors, two pacemakers taking each other for a heart, transcripts, framed pictures, manuals, short films, a giant billboard, recordings, altered batteries, a collection of low pressure sodium lamps, a carpet, a pronouncing dictionary, postcards, eighty pigeon rings on a rope, seven scale-models of a Himalayan mountain, etc. This book is the reference guide to this collection: for each entry, it gathers both the DIN A4-page(s) and - in the margins - the provisional set of cross-references. The publication Reference Guide is part of the eponymous research project and was financed by the HOGENT Arts Research Fund. Design: We Became Aware, Michiel De Cleene, Zsa Zsa Tuffy. ISBN 9789492811400
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344 |
A Die with Twenty-Six Faces |
Louis Lüthi |
104 |
13 × 20 |
Lectoraat Art & Public Space, Gerrit Rietveld Academie, Amsterdam |
2019 |
104 pages / 13 × 20 cm / in collaboration with Lectoraat Art & Public Space, Gerrit Rietveld Academie, Amsterdam
In A Die with Twenty-Six Faces, the author - let's call him L. - guides the reader through his collection of alphabet books, that is, books with letters for titles. Some of these titles are well known: Andy Warhol's a, Louis Zukofsky's "A", Georges Perec's W. Others are obscure, perhaps even imaginary: Zach Sodenstern's A, Arnold Skemer's C and D. Tracing connections between these books, L. elaborates on what the critic Guy Davenport has called the "Kells effect": "the symbolic content of illuminated lettering serving a larger purpose than its decoration of geometry, imps, and signs." Mixing essay and fiction, A Die with Twenty-Six Faces is a playful meditation on contemporary literature, typography, and book collecting. Designed by the author. ISBN 9789492811394
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343 |
An Attempt at a Personal Epistemology |
Jeff Weber |
524 |
11 × 18.5 |
Kunsthalle Leipzig |
2018 |
|
342 |
Great Temptations / Grote verleidingen |
Dominic van den Boogerd |
392 |
17 × 23 |
|
2018 |
392 pages / 17 × 23 cm
'I can resist everything', wrote Oscar Wilde, 'except temptation'. What is it that makes a painting so attractive, so irresistible? In this collection of essays, Dominic van den Boogerd writes with passion about the exhibitions he has seen, the painters he has spoken with, and the talks by artists that he has organised as the director of De Ateliers. About the pleasures and pitfalls of painting, forbidden favourites and the flirtation between the art of painting and other muses. The book is richly illustratied with works by Rob Birza, Michaël Borremans, Kerstin Brätsch, Varda Caivano, Giorgio de Chirico, Bill Copley, Walter Dahn, René Daniëls, Peter Doig, Marlene Dumas, Jana Euler, Ricardo van Eyk, Lucio Fontana, Bernard Frize, Philip Guston, Eberhard Havekost, Mary Heilmann, Charline von Heyl, Gary Hume, Natasja Kensmil, Raoul De Keyser, Martin Kippenberger, Thoralf Knobloch, Willem de Kooning, Édouard Manet, Henri Matisse, Rik Meijers, Edvard Munch, Navid Nuur, Paulina Olowksa, Blinky Palermo, Avery Preesman. R.H. Quaytman, Michael Raedecker, Neo Rauch, Daniël Richter, Gerhard Richter, Wilhelm Sasnal, Julian Schnabel, Dana Schutz, Jessica Stockholder, Luc Tuymans, Floris Verster, Jan Hendrik Weissenbruch, Ina van Zyl. Design: Dongyoung Lee, Roger Willems.
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341 |
STRAY: A GRAPHIC TONE |
Shannon Ebner |
audio record |
31 × 31 |
Fonograf Editions, Portland |
2019 |
audio record / 31 × 31 cm / in collaboration with Fonograf Editions, Portland
This fourteen-track vinyl LP in gatefold sleeve features poems of American poets Susan Howe (b. 1937) and Nathaniel Mackey (b. 1947) as produced by visual artist Shannon Ebner. Juxtaposing historic and recent material from 1991 until 2018, the work brought together here examines the two writer's lifelong preoccupation with subjects adrift in narratives of dispossession both real and imagined. Liner notes contain excerpts of original interviews as well as reproductions of the poets' published materials. According to Ebner, "STRAY: A GRAPHIC TONE is the full-length version of what I started in 2016 when I began seeking exchanges with these two poets. I was drawn to their works for their experiments with poetic form - for their politics of poetic form, to be exact - for their poems' stray figures and stray errant marks."
It was recorded at various locales between 1991 and 2018. The album was edited and produced by Shannon Ebner and mastered and engineered by Joseph Stewart. Design: Julia Born and Shannon Ebner.
Susan Howe: "Sound is everything in poetry. It's measure; the measure is everything. Even though I have gone on about silence. This is the mystery. I don't have a set measure, but I feel that something about the way I place words on paper amounts to a kind of dictation I'm receiving from somewhere. Every mark on paper is an acoustic mark. Sound is also, obviously, sight. It's that instant flash of recognition that echoes and re-echoes. A work of art if it works teaches us we haven't seen what we suddenly see."
Nathaniel Mackey: "Graphite is soft carbon. Were it hard enough to withstand contact and remain totally self-contained, it would not be useful for writing. Graphite gives up some of itself upon contact with paper. Graphite suffers a loss that leaves a mark. So, the music I'm talking about, the writing I'm talking about, is talking about loss that leaves a mark. And not just talking about it; it is the mark that's left."
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340 |
Calcutta Drawings |
Bart Lodewijks |
e-books |
|
CARF |
2018 |
|
339 |
Friendly Good |
Lily van der Stokker |
224 |
24 × 30.5 |
Stedelijk Museum Amsterdam / Migros Museum für Gegenwartskunst, Zurich |
2018 |
224 pages / 24 × 30.5 cm / in collaboration with Stedelijk Museum Amsterdam / Migros Museum für Gegenwartskunst, Zurich
"I Am a beauty specialist. I have commissioned myself to research happiness and friendliness in my artwork, and with that I take a stand against irony and cynicism."
The Dutch artist Lily van der Stokker ('s-Hertogenbosch, 1954) lives and works in Amsterdam and New York. In the 1980s she ran an art gallery in the East Village. She achieved her international breakthrough in the following decade, with her exuberant decorative murals. Van der Stokker's work deals with subjects such as beauty, friendship, and kindness, and everyday activities such as cleaning, tidying, and a visit to the doctor. Her conceptual approach adds a completely new dimension to these ostensibly prosaic themes. This book presents the themes that have characterized Van der Stokker's work since the early 1990s. The artist's close involvement in the compilation is reflected in the playful, highly suggestive visual references. With essays by the curators Leontine Coelewij (Stedelijk Museum Amsterdam) and Raphael Gygax (Migros Museum für Gegenwartskunst, Zurich). Design: Roger Willems.
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|
338 |
Interne Correspondentie Issue 1 |
Experimental Jetset |
envelope + 5 items |
26 × 37 |
|
2018 |
envelope + 5 items / 26 × 37 cm
First issue of an irregularly published archive of documents related to Experimental Jetset. Limited edition of 50 copies.
Out of print
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337 |
Indexing Water. Notes on Representation Vol. 9 |
Irene Kopelman |
68 |
21 × 28 |
|
2018 |
|
336 |
Tupac Biggie |
Dana Lixenberg |
64 + poster |
24 × 34 |
Patta, Amsterdam |
2018 |
|
335 |
The Serving Library Annual 2018/19 (Translation) |
Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Vincenzo Latronico, David Reinfurt (editors) |
208 |
21 × 29.7 |
The Serving Library |
2018 |
208 pages / 21 × 29.7 cm / in collaboration with The Serving Library
The Serving Library Annual comprises a number of individual "bulletins" organized around a theme for an international audience of designers, artists, writers, and researchers. This year's collection explores how translation is fast becoming a significant site for the negotiation of identities and power dynamics in an increasingly Anglocentric cultural scene. Although departing from literature and the visual arts, the issue soon veers off into mathematics, music, architecture, religion, and more. The Serving Library Annual 2018/19 is guest co-edited by Italian novelist and translator Vincenzo Latronico and it features contributions by Meehan Crist, Katrina Dodson, Lucile Dupraz, Claudia Durastanti, Joseph Grigely, Meg Miller, Minae Mizumura, National Security Agency, Philip Ording, David Osbaldeston, David Reinfurt, Anna Della Subin, The Annotated Fall, and Emily Wilson. Design: Stuart Bertolotti-Bailey. ISBN 9789492811318
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|
334 |
AÆUÅÆØ |
Nick Geboers |
48 + print |
24 × 33 |
|
2018 |
|
333 |
Works and Words |
Josine van Droffelaar, Piotr Olszanski (editors) |
92 |
21 × 29.7 |
De Appel, Amsterdam |
2018 |
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332 |
FOUCAULT IN |
Olaf Nicolai |
128 |
17 × 22 |
Kunstmuseum St. Gallen |
2018 |
128 pages / 17 × 22 cm / in collaboration with Kunstmuseum St. Gallen
Michel Foucault was invited to the University of California, Berkeley, in 1975. During his visit, Simeon Wade, who assisted and accompanied Foucault, persuaded him to join him and his partner, Michael Stoneman, on a trip to Death Valley and Zabriskie Point, where Foucault took LSD for the first time. Wade wrote about this experience in his unpublished manuscript Foucault in California. When Olaf Nicolai asked to use excerpts from the text for an artist's publication, he was permitted a maximum of 250 words. He selected 205 words from throughout the manuscript. Although the broader contents can only be guessed at, this abbreviated text is itself a trip.
Published on the occasion of the exhibition by Olaf Nicolai That's a God-forsaken place; but it's beautiful, isn't it?, at Lokremise / Kunstmuseum St. Gallen, curated by Lorenzo Benedetti. Design: Dongyoung Lee, Roger Willems. ISBN 9789492811271
Out of print
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331 |
Fortress of Solitude |
Mike Kelley |
96 |
17 × 22 |
|
2018 |
|
330 |
The Presidents' Hammers |
Diego Tonus |
304 |
17 × 24 |
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2018 |
|
329 |
The Ooze |
Brud / Aditya Mandayam |
144 |
12 × 17 |
Kunstverein München |
2018 |
144 pages / 12 × 17 cm / in collaboration with Kunstverein München
The Ooze is the twelfth publication in Kunstverein München's 'Companion' series, and corresponds to The Donut of Confusion - a mid-career retrospective by Brud (and also Season Zero of their TV show 'Gewgaw'). Brud is often described as a set of heuristics that gained sentience in the twenty-teens and will self-destruct sometime in the twenty-thirties. Brud focuses their attention somewhere between the stage, the screen, and the eye, to examine the cultural, political, and technological histories of sight (primarily through linguistic and musicological modes) and to expose the hidden structural and ideological precursors to contemporary communication. This 144-page publication contains a compendium of idiosyncratic texts by Aditya Mandayam, reproduced in facsimile from various English-language zines and chapbooks. It also includes new texts about Brud (in English, German, and Polish) by Chris Fitzpatrick, Kees van Gelder, Andrea Liu, and Michal Novotny.
Edited by Aditya Mandayam, with Chris Fitzpatrick, Julie Peeters, and Post Brothers. Design: Julie Peeters. ISBN 9789492811288
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328 |
One Wall a Web |
Stanley Wolukau-Wanambwa |
248 |
17 × 24.5 |
|
2018 |
248 pages / 17 × 24.5 cm
This book gathers together work from two photographic series, Our Present Invention (2012-14) and All My Gone Life (2014-17), as well as two text collages all made in and focused specifically on the United States. Through a mixture of writing, portraiture, landscape and appropriated archival images, the book describes quotidian encounters with fraught desire, uneven freedom, irrational fear and deep structural division, asking whether the historical and contemporary realities of anti-Black and gendered violence - when treated as aberrations - do not in fact serve to veil violence's essential function in the maintenance of 'civil' society. One Wall a Web traces a chronological path through the production of two series, the first of which (Our Present Invention) sets out with a particular interest in the entanglement of masculinity with violence. The second series of photographs (All My Gone Life) comprises two chapters, the first of which consists of appropriated archival images which track continuities between past and present circumstances. These revenant images enter into dialogue with the final strand of contemporary photographs in the second chapter, which address themselves to the spectral form and the visceral costs of this history in the book's penultimate section. One Wall a Web concludes with an extensive essay that explores resonances between the field of black studies, questions of black life, and the strange ontology of the photographic image. Design: Roger Willems. ISBN 9789492811226
Out of print
|
328 SP |
One Wall a Web (special edition) |
Stanley Wolukau-Wanambwa |
248 + 3 prints |
17 × 24.5 |
|
2018 |
248 pages + 3 prints / 17 × 24.5 cm
Box with a signed copy of the book, and three archival pigment prints*, one from each of the three sections of the book. This set can be purchased for EUR 250. Limited edition of 40 copies, signed and numbered.
*
1: W. Baker Street ( Our Present Invention)
2: Unknown ( All My Gone Life, Vol. 1)
3: Paderewski Drive ( All My Gone Life Vol. 2)
Image size: 13.9 × 17.5 cm (5.5" × 6.9")
Paper size: 15.2 × 20.2 cm (6.0" × 8.0")
For availability mail to archive@romapublications.org
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327 |
An Invitation to Disappear |
Julian Charrière |
104 |
24 × 30.5 |
Musée de Bagnes, Le Châble / Kunsthalle Mainz |
2018 |
104 pages / 24 × 30.5 cm / in collaboration with Musée de Bagnes, Le Châble / Kunsthalle Mainz
In April 1815 the volcano Mount Tambora, situated on Sumbawa Island in Indonesia, erupted into flames, ash and lava, its effects rippling around the globe. In the Canton of Valais, Switzerland, a neighboring glacier expanded through the summer of 1816 causing the Lac de Mauvoisin to overflow its banks. Julian Charrière's new works, An Invitation to Disappear, move, as Dehlia Hannah writes, along "the historical and geographical path between Tambora and the Alps, between 1818 and 2018," tracing the entangled threads of climate devastation, monocultural farming, and an imaginary in which apocalyptic ecological threats find poetic utterance in the aesthetic of the sublime. A series of installations of the works were installed at Kunsthalle Mainz, on the dam of Mauvoisin and at Musée de Bagnes, comprising dystopic installations and an absurdist film centered around the palm oil plantations that now carpet the flanks of Mount Tambora. With texts in English by Stefanie Böttcher and Dehlia Hannah, including 2 postcards and an insert with a French translation of Hannah's text. Published to coincide with exhibitions at the Mauvoisin Dam, the Museum of Bagnes in Le Châble, and Kunsthalle Mainz. Design: Roger Willems. ISBN 9789492811264
Out of print
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326 |
Room of Peace |
Bas Princen |
leporello + 16 p |
24 × 30 |
|
2018 |
leporello + 16 pages / 24 × 30 cm
This edition presents the "Room of Peace", first shown as an exhibition-installation at the 2014 Venice Architecture Biennale. It is the first in a series of books and publications by the author, each dedicated to one photographic project or installation. The hardcover leporello and the accompanying insert are designed by Joris Kritis, and printed by Tienkamp in Groningen in an edition of 500 copies. With an introduction text by Bas Princen, and an essay by Marc Angélil and Cary Siress. ISBN 9789492811257
Out of print
I was allowed to photograph Sala della Pace, the Room of Peace, in early morning before visitors would arrive. On the first day, I turned off the spotlights that are used to highlight Ambrogio Lorenzetti's famous fresco panorama and opened the curtains covering the only window in the room. In the daylight, the panorama does not appear like a singular work of art - rather, it is part of a painted architectural order that fully covers the walls and ceiling. The lower part of the space is painted to create the impression of an ornamental wall relief in various materials. Looking up, above eye level, a painted frieze frames the space and seamlessly turns into the fresco panorama depicting the City-State Under Tyranny, Virtues of Good Government, and Good City-Republic. The space has been fully painted to create the impression of a complex and grand room inside a simple, rectangular, plastered volume in the side wing of the Palazzo Pubblico in Siena. This room, from which the city used to be governed by the elected Council of Nine, was not articulated through rare or expensive materials but through a single image depicting a room of power - or an illusion of it. Though, to us, these frescos may look like documents of the long-forgotten past, to their contemporaries they were meant to project future visions: one that they feared, the other, that to which they aspired. The painted image of the room as a work of art had the power to instill the governing Council with the sense that every possible future was still in their hands. The Room of Peace reminds us that an image is, of course, nearly always a projection - an image nearly always speaks about visions more than it speaks about facts. But for me the crucial message of the Room of Peace is that an image has more power when it is contextualized, in an architectural or urban space and in a specific social situation. In contrast, contemporary images are rarely contextual, viewed on mobile devices and endlessly circulating. They are unspecific and therefore neutralized. In contemporary public and political spaces, could a contextual image - an image in a space, like in the Room of Peace - still be a vital agent? BP 2018
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325 |
WORK |
Zarouhie Abdalian |
20 + 4 |
24 × 34 |
LAXART, Los Angeles |
2018 |
|
324 |
Onder inspecteurs |
Bart Lodewijks |
48 |
19.5 × 26.5 |
|
2018 |
|
323 |
Radial Grammar |
Batia Suter |
296 |
22.5 × 30 |
Le Bal, Paris |
2018 |
296 pages / 22.5 × 30 cm / in collaboration with Le Bal, Paris
Radial Grammar was created by Batia Suter in 2018 on the occasion of her eponymous exhibition at Le Bal in Paris, from May 25 till August 26, 2018. The imagery in this book, which revolves around radial shapes and concepts, also forms the basis of a video work in the exhibition. Specific for the book is the use of two separate layers of black ink, allowing Suter to create double images and to merge patterns and screens. Departing from pages scanned from her collection of second hand tomes - mainly concerning natural science, precision machinery and art history - Suter freely manipulates them and reorders them within the space of a book, which can be seen as a condensed exhibition on paper. The result is a journey along visual phenomena that reconnects us with the endless curiosity and patience of our younger selves leafing through an encyclopedia, unattended and unable to read, yet all the more sensitive to its inner visual rhymes and correspondences. With a text by Henri Michaux from 1968. Design: Roger Willems. ISBN 9789492811233
Out of print
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322 |
Glaz |
Nicolas Floc'h |
424 |
20.8 × 26.2 |
Frac Bretagne |
2018 |
424 pages / 20.8 × 26.2 cm / in collaboration with Frac Bretagne
Glaz is a Breton word used to describe a colour between green and blue, the colour of water. Since childhood, Nicolas Floc'h has developed a passion for the ocean and devoted his life and work to encapsulating and conveying the infinite riches and aspects of its reality. This voluminous monograph, published after his exhibition at Fonds régional d'art contemporain Bretagne, covers an oeuvre of sculpture, photography, and conceptual works, organised in themes like 'Invisible Architecture', 'Productive Structures', 'Natural Habitats', 'Painting', 'Functional', and 'Recycling'. A major part of the book is dedicated to underwater photographs of artificial reefs in France, Portugal, and Japan, as well as specific seascapes taken by Floc'h during a scientific expedition on the Tara Pacific in Japan.
With texts in French and English by Catherine Elkar, Jean-Marc Huitorel, Yves Henocque, Nicolas Floc'h, and Hubert Loisel. Design: Roger Willems. ISBN 9789492811165
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321 |
Lua Cão |
Alexandre Estrela and João Maria Gusmão & Pedro Paiva |
208 |
21 × 29.7 |
Kunstverein München |
2018 |
208 pages / 21 × 29.7 cm / in collaboration with Kunstverein München
Lua Cão is the eleventh publication in Kunstverein München's Companion series, and corresponds to an exhibition by Alexandre Estrela and João Maria Gusmão & Pedro Paiva. Initiated by Natxo Checa at ZdB in Lisbon, then optimized for Munich with Kunstverein München, the exhibition is an immersive moving-image experiment, with a projectionist arranging 20 analog films and digital videos by Estrela and Gusmão & Paiva in five 15-minute constellations, according to a 4-hour technical script. This publication departs from the exhibition to recount the endless encounters of Tom, an avid image consumer, and Jerry, a zealous projectionist, through more than 150 texts (in English and German) by Alexandre Estrela, Chris Fitzpatrick, João Maria Gusmão, Pedro Paiva, and Post Brothers. Designed by Julie Peeters, the A4 publication is punctuated by a series of 10 full color collages that Estrela and Gusmão & Paiva produced collaboratively by superimposing film stills and video stills from the exhibition. Design: Julie Peeters. ISBN 9789492811219
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|
320 |
Works from 2006 to 2017 |
René Daniëls |
80 |
24 × 31 |
Reset, Borgloon |
2018 |
|
319 |
10 Madnesses |
Fiona Tan |
120 |
11.5 × 18.5 |
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2018 |
|
318 |
MMDC2 |
Sophie Nys |
36 |
22 × 22 |
Middelheimmuseum, Antwerp |
2018 |
|
317 |
Recollecting Landscapes - Rephotography, Memory and Transformation 1904-1980-2004-2014 |
Bruno Notteboom, Pieter Uyttenhove (editors) / Georges Charlier, Michiel De Cleene, Jan Kempenaers, Jean Massart (photographers) |
228 |
19.5 × 34 |
Ghent University |
2018 |
228 pages / 19.5 × 34 cm / in collaboration with Ghent University
Between 1904 and 1911, botanist Jean Massart (1865-1925) made a series of landscape photos mainly situated in Flanders, the northern part of Belgium. They had a didactic purpose: Massart wanted to show the natural vegetation in its landscape context, and the relationship between agriculture and geography. In 1980, Georges Charlier rephotographed about sixty of Massart's landscape images for the National Botanic Garden of Belgium and the Belgian Nature and Bird Reserves association. For each photo, point of view and framing were identical to Massart's. Both series were published and shown in the travelling exhibition Landscapes in Flanders Then and Now. It had to illustrate the impoverishment of the natural environment. In 2003, Labo S, the Laboratory for Urbanism at Ghent University, and the Flanders Architecture Institute commissioned Jan Kempenaers to rephotograph the same landscapes. A fourth series of photos was made by photographer Michiel De Cleene, commissioned by the Province of West Flanders in 2014. Due to the restrictions of rephotography, Charlier, Kempenaers and De Cleene did have only little freedom to express a personal point of view. However, a different emphasis on documentarian, artistic and scientific aspects can be distinguished in their work. Besides their photographic qualities, the four series are in this book considered as part of a 'chronophotographic' collection showing in detail the transformation of landscapes. Since several years, the collection has served multidisciplinary research at Ghent University, in particular on urbanisation and landscape mutations in terms of agriculture, biodiversity, infrastructure, economical development and lifestyles. Photography and research are the two components of this book. Design: Roger Willems with Wout Neirynck. ISBN 9789492811172
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316 |
Intenso |
Katinka Bock |
174 |
21 × 28 |
Kunst Museum Winterthur / Mudam Luxembourg / IAC Villeurbanne/Rhône-Alpes |
2018 |
|
314 |
Alex |
Elena Narbutaite |
48 |
16 × 24 |
Kunstverein München |
2017 |
48 pages / 16 × 24 cm / in collaboration with Kunstverein München
Alex is the 10th publication in the Companion series, and was produced during Alex a light programme by Elena Narbutaite in Kunstverein München's Foyer, which began on New Year's Eve 2016 in Vilnius, and ended on New Year's Eve 2017 in Vilnius. Alex was edited by Elena Narbutaite and Julie Peeters, and features an extended correspondence between Elena Narbutaite and Candice Lin, as well as dialogue excerpted from the 1994 Atom Egoyan film Exotica, a WeTransfer.com caption by Chris Fitzpatrick, an unbound 'filmstrip', a textual intervention by Goda Budvytyte & Bernardo José de Souza, various visual contributions by An Breugelmans, Gintaras Didziapetris, Alix Eynaudi, Ieva Kabasinskaite, Elena Narbutaite, Onute Narbutaite, Julie Peeters, Viktorija Rybakova, Cécile Tonizzo, and a reproduction of a painting by August Kopisch. Design: Julie Peeters. ISBN 9789492811110
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313 |
Dying is a solo |
Yael Davids |
156 |
23 × 30 |
|
2018 |
156 pages / 23 × 30 cm
This publication compiles material of performances and installations produced during a five year period, featuring scripts, and documentation of the works Ending with Glass, Learning to Imitate in Absentia, Obliterating an Image, The Distance between V and W, Objects in Diaspora, and A Reading That Loves - a Physical Act, of which the last two were shown at documenta 14. Yael Davids positions the reception of her performances and installations as a constitute force in her practice. Each performance repeats what has preceded, yet also expands, modifies, and nuances the previous version. Through this practice of perpetually attuning the central components of the work - voice, body and object - a series of augmented repetitions turns into a single composition, a single artwork. Design: Mevis & Van Deursen. ISBN 9789492811097
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312 |
Peak Oil |
Geert Goiris |
68 + print |
24 × 30.5 |
Rubis Mécénat cultural fund |
2017 |
|
311 |
Animal Books for Jaap Zeno Anna Julian Luca |
Lous Martens |
416 |
17 × 24 |
Martens Family |
2017 |
|
311 SP |
Animal Books for Jaap Zeno Anna Julian Luca (special edition) |
Lous Martens and children |
416 |
17 × 24 |
Martens Family |
2017 |
|
310 |
Funnelflux |
Navid Nuur |
116 |
22 × 30 |
Be-Part, Waregem |
2017 |
|
309 |
Bill 1 |
Julie Peeters (editor) |
176 |
23 × 31 |
|
2017 |
176 pages / 23 × 31 cm
First issue of an annual magazine of photographic stories, edited and designed by Julie Peeters. Twelve contributors present new or previously unpublished work. BILL prioritizes visual reading without distraction, the images that appear in the magazine are printed without any accompanying text. Contributors to the first issue are: Jochen Lempert, Ketuta Alexi-Meskhishvili, Katja Mater, Elena Narbutaite, Rosalind Nashashibi & Vivian Suter, Arthur Ou, Scott Ponik, Adam Putnam, Johannes Schwartz, Algirdas Seskus, Linda Van Deursen and Stand Up Comedy. ISBN 9789492811080
Out of print
|
308 |
The Photographic I: Other Pictures |
Martin Germann, Steven Humblet (editors) |
128 |
20 × 26.5 |
S.M.A.K., Ghent |
2017 |
128 pages / 20 × 26.5 cm / in collaboration with S.M.A.K., Ghent
Catalog accompanying the first part of a diptych exhibition in S.M.A.K., Ghent, spread over two years, curated by Martin Germann with Tanja Boon and Steven Humblet. The exhibition comprises new and existing work by artists and photographers including Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser, Alair Gomes, Jitka Hanzlová, Roni Horn, Stephanie Kiwitt, Aglaia Konrad, Jochen Lempert, Zoe Leonard, Jean-Luc Moulène, Zanele Muholi, Jean-Luc Mylayne, Trevor Paglen, Doug Rickard, Torbjørn Rødland, Michael Schmidt, Arne Schmitt, Allan Sekula, Ahlam Shibli, Malick Sidibé, Dayanita Singh, Wolfgang Tillmans, Marc Trivier and Tobias Zielony. The selection, ranging from the 1960s to the present, demonstrates a lively interest in the power of the still image as a means of examining the world. It concentrates on indefinable images with an open view, whose multi-layering requires slow reading. With an introduction by Martin Germann and Philippe Van Cauteren, and an essay by Steven Humblet in Dutch and English. Design: Roger Willems. ISBN 9789492811059
Link: www.smak.be
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|
307 |
MECHANISMS |
Anthony Huberman (editor) |
288 |
22 × 21 |
CCA Wattis, San Francisco |
2017 |
288 pages / 22 × 21 cm / in collaboration with CCA Wattis, San Francisco
This catalogue accompanies a major group show at the CCA Wattis in San Francisco, and Secession in Vienna, curated by Anthony Huberman. It reflects on ways the "machine" determines how we live and what we believe in. A machine is also a mechanism, not just a physical object but also an abstract ideology. The artworks point to the forms and instruments that make up our technological infrastructure, as well as to the values they are designed to enforce. Contesting a world that rewards efficiency, speed, and productivity, the participating artists test existing systems with inefficient machines, impossible tools, wasted time, and elaborate protocols that misalign outputs and inputs. With contributions by Zarouhie Abdalian, Terry Atkinson, Lutz Bacher, Eva Barto, Neil Beloufa, Patricia L. Boyd, Jay DeFeo, Trisha Donnelly, Harun Farocki, Richard Hamilton, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Louise Lawler, Park McArthur, Jean-Luc Moulène, Pope.L, Charlotte Posenenske, Cameron Rowland, and Danh Vo. Design: Julie Peeters and Scott Ponik. ISBN 9789492811042. Link: www.wattis.org
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|
306 |
Exarcheia Athens Sunday Feb.5.2017 13:07-16:51 |
Ari Marcopoulos |
176 |
16.7 × 22.8 |
|
2017 |
|
305 |
The Serving Library Annual 2017/18 (Public Fiction) |
Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Angie Keefer, Lauren Mackler, David Reinfurt (editors) |
200 |
21 × 29.7 |
The Serving Library |
2017 |
200 pages / 21 × 29.7 cm / in collaboration with The Serving Library
The Serving Library Annual comprises a number of individual "Bulletins" organized around a theme for an international audience of designers, artists, writers, and researchers. Newly published by ROMA Publications in a yearly format, this inaugural issue is realised in collaboration with Public Fiction, a journal and exhibition-maker based in Los Angeles. It deals with acts of civil disobedience and other forms of resistance, particularly in view of the relationship between entertainment and power. Contributors include Hilton Als, Tauba Auerbach, Anne Carson, Mark Leckey, Adrian Piper, Frances Stark, and Martine Syms.
Public Fiction's next project, which runs broadly concurrent to this new Annual's lifespan, is named The Conscientious Objector - a multifaceted endeavour commissioned by West Hollywood City Council that unfurls in parts from September 2017 to April 2018. Curated by Public Fiction founder Lauren Mackler and Serving Library editor Francesca Bertolotti-Bailey, The Conscientious Objector comprises a series of "commercials" produced by artists for public access TV, an exhibition of artworks and performances at the MAK Center for Art and Architectures Schindler House in West Hollywood, and the present publication. Design: Stuart Bertolotti-Bailey. ISBN 9789492811011
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|
304 |
MCMXCIX |
Kara Walker |
212 |
15 × 23 |
|
2017 |
212 pages / 15 × 23 cm
This sketchbook was begun in Munich in 1999, when I was 29 years old. Like most sketchbooks it served as a portal between the real world and the realm of her imagination. Although it was never intended to be shared, nevertheless quite a bit of "work" came out of this particular book, including the installation 'Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)', which is in the collection of the Guggenheim Museum. That, however, is an exception to the rule. For the most part the pages in this sketchbook reflect uneasy, unrefined, unfinished thoughts and anxieties, written and drawn with no objectives, no ulterior motives, and no filters. Kara Walker, July 2017. Scans: Ari Marcopoulos. Design: Roger Willems. ISBN 9789492811004
Out of print
|
303 |
SCHAUBUCH: Skulptur |
Aglaia Konrad |
192 |
13 × 20 |
MONOLITH production |
2017 |
|
302 |
Rokin Fountain |
Mark Manders |
64 |
21 × 28 |
City of Amsterdam |
2017 |
|
301 |
A rock that keeps tigers away |
Hasan Veseli, Post Brothers, Chris Fitzpatrick (editors) |
224 |
12 × 17 |
Kunstverein München |
2017 |
224 pages / 12 × 17 cm / in collaboration with Kunstverein München
The ninth in the Companion series, this 224-page publication contains the theoretical grounding for A rock that keeps tigers away - a group exhibition at Kunstverein München, with work by Beth Collar, Tania Pérez Córdova, Jason Dodge, Laura Kaminskait, Simon Dybbroe Møller, Francesco Pedraglio, Adrien Tirtiaux, Freek Wambacq, and Herwig Weiser. The publication contains texts (in either German or English) by Claudia Blum, Heinz von Foerster, Sigfried Großmann, Katrine Dybbroe Møller, Timothy Morton, Francesco Pedraglio, Edgar Allen Poe, Steven Shaviro, Julian Sigmund, and Doug Zongker, which wrap an extensive interview with the exhibition's main curator Post Brothers, conducted by the Kunstverein's director Chris Fitzpatrick, and with contributions from the publication's co-editor Hasan Veseli (in English and German). A collection of quotes from comedians, writers, and philosophers, transcriptions from episodes of the television programs, Sesame Street, The Simpsons, and The West Wing, a charting of the development of the 'Chicken or the Egg' debate in popular media, and artistic interventions by Beth Collar, Laura Kaminskait, Simon Dybbroe Møller, Gianni Motti, Julie Peeters, Tyler Vigen, and Freek Wambacq are also contained in the publication. Co-edited by Post Brothers and Hasan Veseli, with Chris Fitzpatrick and Julie Peeters. Designed by Julie Peeters. Link: www.kunstverein-muenchen.de
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|
300 |
Hoboken |
Jan Kempenaers |
104 + print |
31 × 22 |
|
2017 |
|
299 |
Copy Construct |
Kasper Andreasen (editor) |
68 |
19.7 × 27.1 |
Cultural Centre Mechelen |
2017 |
|
298 |
I Come From the Other Side |
Claudio Moser |
56 + 8 |
23.5 × 29.5 |
Le Musée de Bagnes, Le Châble |
2017 |
|
297 |
On Glaciers and Avalanches. Notes on Representation Vol. 8 |
Irene Kopelman |
96 |
21 × 28 |
|
2017 |
96 pages / 21 × 28 cm
This book, the 8th volume in Kopelman's series Notes on Representation, focuses on glaciers, alpine forests, and avalanche-sculpted mountainscapes, especially their texture, morphology, and readability. It brings together drawings and field notes made during multiple stays in the Swiss Alps, notably Davos, as well as paintings produced later in a studio setting. It also contains contributions by scientists with whom Kopelman worked. Their research offers relevant perspectives into glaciology, ecology, dendrochronology, and art history. Design: Roger Willems. ISBN 9789491843921
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|
296 |
SET (Revised edition) |
Na Kim |
136 |
23 × 30 |
|
2017 |
|
295 |
The Bathers (Inverted) |
Megan Francis Sullivan |
52 |
14 × 21.4 |
Kunsthalle Bern |
2017 |
|
294 |
16 Sheets from Walled Garden |
Kees Goudzwaard |
16 prints |
30 × 30 |
Jan van Eyck Academie, Maastricht |
2017 |
16 prints / 30 × 30 cm / in collaboration with Jan van Eyck Academie, Maastricht
Special edition of 16 prints by Kees Goudzwaard, printed in 5 layers of Riso at the Jan van Eyck Academie, Maastricht, in an edition of 100. By systhematically combining 5 compositions in different colours, Goudzwaard created a large variety of colorful prints, inititially produced as fragments for a large mural called Walled Garden, which has been installed in 2016 at the MMCA, Seoul, Jan van Eyck Academie, Maastricht, and Zeno × Gallery, Antwerp.
The 16 different prints in this edition can be viewed as a sequence of individual parts, but together they can form an endless amount of unique compositions, eventually to be mounted as a small-sized wall paper measuring 120 × 120 cm. With a text by Lex ter Braak. Design: Roger Willems.
For availability mail to archive@romapublications.org
|
293 |
30 Jahre Kunst. Verkaufskatalog |
Jos De Gruyter & Harald Thys |
192 |
21 × 29.7 |
Kunstverein München |
2017 |
192 pages / 21 × 29.7 cm / in collaboration with Kunstverein München
The eighth in Kunstverein München's Companion series, this 'Verkaufskatalog' contains images, prices, material descriptions, and gallery designations for each of the works included in the exhibition 30 Jahre Kunst by artists Jos de Gruyter & Harald Thys. Over 192 black and white pages, the diverse spectrum of the artists' collaborative practice is represented - drawings, paintings, sculptures, photographs, kinetic objects, videos. Additionally, a number of lost, destroyed, and forgotten works have also been included, as well as new works commissioned on occasion of the exhibition. Design: Julie Peeters and Harald Thys. ISBN 9789491843891. Link: www.kunstverein-muenchen.de
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|
292 |
Moving and Being Moved |
Yvonne Rainer |
128 |
20 × 28 |
Fondazione Antonio Ratti, Como |
2017 |
|
291 |
A Long Long Road |
Bart Lodewijks |
32 |
20 × 28 |
|
2017 |
|
290 |
Motion |
Karel Martens |
304 |
21 × 29.7 |
Kunstverein München |
2017 |
|
289 |
Concrete Islands |
Douglas Fogle, Hanneke Skerath (curators) |
80 |
14.8 × 21 |
Kayne Griffin Corcoran Gallery, Los Angeles |
2016 |
80 pages / 14.8 × 21 cm / in collaboration with Kayne Griffin Corcoran Gallery, Los Angeles
Small-sized catalogue published on the occasion of the exhibition Concrete Islands, curated by Douglas Fogle and Hanneke Skerath at Kayne Griffin Corcoran Gallery in Los Angeles, from November 2016 till January 2017. The selection of works offers a poetic investigation into the intersection of words and objects. Inspired by Marcel Broodthaers 1964 sculpture Pense-Bête in which the artist took the unsold copies of one of his books of poetry and encased them in plaster creating an object that literally solidified poetry into a concrete form, Concrete Islands posits the question: where does language end and the world begin? With works by Marcel Broodthaers, Joseph Beuys, Henri Chopin, Irma Blank, Alighiero Boetti, Mark Leckey, Jean-Luc Moulène, Ruth Wolf-Rehfeldt, Michael Dean, Michael E. Smith, Jimmie Durham, Bas Jan Ader, Mark Manders, Robert Filliou, Martin Boyce, and Dom Sylvester Houédard. Design: Roger Willems. ISBN 9789491843846
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|
288 |
Choses tuées 2 |
gerlach en koop |
120 |
20.5 × 29 |
Temporary Gallery, Cologne |
2016 |
|
287 |
These Strangers.... Painting and People |
Ann Hoste (curator) |
56 |
22.5 × 28 |
S.M.A.K., Ghent |
2016 |
56 pages / 22.5 × 28 cm / in collaboration with S.M.A.K., Ghent
This catalogue, published on the occasion of a group exhibition of nine artists taken place in the autumn and winter of 2016/17 at S.M.A.K. in Ghent, reflects upon contemporary figurative painting. Each painter has developed an idiosyncratic vision of how to represent people, and this books bold juxtaposition of their widely varied styles offers an intriguing cross-section of the genre and its possible futures. Works by the contributing artists Nicole Eisenman, Victor Man, Alice Neel, Paulina Oowska, Henry Taylor, Nicolas Party, Elizabeth Peyton, Avery Singer, and Katharina Wulff are accompanied by texts from several authors. Design: Roger Willems. ISBN 9789491843822
Out of print
|
286 |
The Athens Recorder |
Johannes Schwartz |
544 |
27 × 38 |
|
2016 |
|
285 |
Rome-Malibu |
Ari Marcopoulos |
368 |
21 × 28 |
|
2016 |
|
284 |
Parallel Encyclopedia #2 |
Batia Suter |
592 |
21.6 × 28.6 |
|
2016 |
|
283 |
A Public Character |
Shannon Ebner |
216 |
19.5 × 29 |
ICA, Miami |
2016 |
216 pages / 19.5 × 29 cm / in collaboration with ICA, Miami
This book was published after Shannon Ebner's exhibition A Public Character, held at the Institute of Contemporary Art, Miami. Ebner's work is an extended mediation of language that often takes the form of photography. Certain aspects, especially seen in the ongoing series 'Black Box Collision A', represent her efforts to reflect upon our experience of language at the intersection of landscape and architecture, looking to the
social world as a realistic, concrete location of poetics found and made; observed and constructed. Also included are the works A Hudson Yard, A Self, and A Singular, as well as the title work A Public Character. Essays by Alex Gartenfeld, Bruce Hainley, Laura Hoptman, Eileen Myles and Ellen Salpeter. Design: Julia Born. ISBN 9789491843747
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|
282 |
The Preparator |
Kasper Andreasen, Louis Lüthi |
76 |
15.5 × 20 |
|
2016 |
76 pages / 15.5 × 20 cm
This fiction, a collaboration between Kasper Andreasen and Louis Lüthi, takes as its starting point the painter Alexander Cozens s publication A New Method of Assisting the Invention in Drawing Original Compositions of Landscape (1785). Set one morning in an empty gallery and told from the point of view of a young man who installs exhibitions for a living, The Preparator combines text and image in a series of compact, associative tableaus, each revolving around a landscape or rather, the memory of a landscape: a title page, an eighteenth-century ink drawing, the network of cracks in a ceiling, a walk along the Rhine, a satellite photograph, Thomas Bernhard holding forth in a private garden, and others. Design: Louis Lüthi. ISBN 9789491843754
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|
281 |
Prints |
Karel Martens |
48 |
17 × 24 |
|
2016 |
|
280 |
Horseday |
Mohamed Bourouissa |
32 |
17 × 23 |
Stedelijk Museum Amsterdam |
2016 |
|
279 |
Falaise |
Misha de Ridder |
52 |
30 × 36 |
|
2016 |
|
278 |
Composite |
Jan Kempenaers |
72 + print |
24 × 31 |
HOGENT Arts Research Fund, Ghent |
2016 |
|
277 |
Hamburger Eyes -The continuing Story of Life on Earth |
Hamburger Eyes |
114 |
21 × 29.7 |
Kunstverein München |
2016 |
114 pages / 21 × 29.7 cm / in collaboration with Kunstverein München
Published on the occasion of an exhibition at Kunstverein München, this volume begins by recounting the prospectus written by American publishing magnate Henry Luce, outlining what would become Life magazine. Today, to see, and to be shown is an almost universal obsession for all. Founded in 2001 by David and Ray Potes, Hamburger Eyes has grown into a magazine, publisher, and distributor of zines by an international photographers network. This particular publication complies facsimiles of spreads from back issues, plus images by such names as Ricky Adam, Stevie Dacanay, Ryan Florig, Troy Holden, Lele Saveri, Jai Tanju, David Uzzardi, a.o. Design: Julie Peeters. ISBN 9789491843716
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|
276 |
The House of Beauty and Culture |
Kasia Maciejowska (Editor) |
154 |
23 × 31 |
ICA, London |
2016 |
154 pages / 23 × 31 cm / in collaboration with ICA, London
The House of Beauty and Culture (HOBAC) was an avant-garde boutique, design studio and crafts collective in the late 1980s and the first destination to put Dalston on the fashion map. Alongside Judy Blame key members of the group included shoe designer John Moore, fashion designers Christopher Nemeth and Richard Torry, photographers Mark Lebon and Cindy Palmano, furniture duo Fric and Frack, and artist Dave Baby.
HOBAC developed deconstruction, both as a design technique and a grunge aesthetic, and were among the first to upcycle found materials and champion androgynous urban style. Their key influences were the provocative iconography and DIY spirit of Punk plus outsider idols such as David Bowie and William Burroughs. HOBAC worked and played at the heart of London's creative gay club scene, then in Soho, collaborating with the era's most progressive culture-makers including Derek Jarman, Susanne Bartsch and Leigh Bowery.
HOBAC's lasting legacy was acknowledged by Kim Jones in his AW15 menswear collection for Louis Vuitton, a tribute to this radical collective that sprung from what may now be considered to have been the first guerrilla store. Design: Roger Willems, Sam de Groot. ISBN 9789491843686
Out of print
|
275 |
Une après-midi japonaise |
Alain Bublex |
48 |
24 × 31 |
Musée de Bagnes, Le Châble |
2016 |
|
274 |
MMDC1 |
Philip Metten |
36 |
22 × 22 |
Middelheimmuseum, Antwerp |
2016 |
|
273 |
Latent Image |
Michaela Frühwirth |
112 |
22 × 28 |
|
2016 |
|
272 |
Roma 1-272 (Seoul) |
Roger Willems, Helen Ku, LIM Kyung yong (Editors) |
224 |
17 × 24 cm |
Mediabus, Seoul |
2016 |
|
271 |
Rio de Janeiro Drawings |
Bart Lodewijks |
160 |
23.2 × 31 |
|
2016 |
|
270 |
Nieuw Texas / Klein Chicago |
Bart Lodewijks |
88 |
20 × 28 |
FLACC, Genk |
2016 |
|
269 |
ANY |
Katinka Bock |
88 |
20 × 28 |
Kunstmuseum Luzern |
2016 |
|
268 |
Otarkino |
Otarkino |
64 |
15 × 21 |
Kunstverein München |
2016 |
64 pages / 15 × 21 cm / in collaboration with Kunstverein München
This fifth in Kunstverein München's 'Companion' series was compiled as an extension of the 3 'film dinners' Otarkino presented in the Kunstverein in May 2016. Otarkino was founded in 2012, when film curator Vincent Stroep joined food collective Otark Productions (Hadas Cna'ani and Charlotte Koopman), and paired food and film in immersive events that are as auditory, gustatory, olfactory, and tactile as they are visual. The 21 menus and 32 corresponding films Otarkino has presented have been chronologically indexed through 64 full-color pages of receipts, notes, grocery lists, diagrams, serving timelines, and photographic documentation. Design: Julie Peeters. ISBN 9789491843631
Out of print
|
267 |
A Play |
Uta Eisenreich, James Langdon |
96 |
11 × 18 |
Eastside Projects, Birmingham |
2016 |
96 pages / 11 × 18 cm / in collaboration with Eastside Projects, Birmingham
This book reproduces Gertrude Steins 'Objects Lie On A Table (1922), a modernist play told through still life. Objects appear on the eponymous table and are transformed, from their humble selves into symbolic representations or characters in a series of cryptic narratives. Surpassing the representational aspects of language, the text is structurally illegible. James Langdon's typography supports the melodiousness of the text and breaks it open into smaller units. Visually, the book departs from Stein's text in an entirely graphic direction, constructing narrative from a set of simple geometric shapes. These forms ask the reader, for example: 'Am I a saucer, or a moon, or just a circle of printed ink? Published in accompaniment to Things On A Table, a performance by Uta Eisenreich and Eva Meyer-Keller with Katrin Hahner. Design: James Langdon. ISBN 9789491843600
Out of print
|
266 |
Brittle Land |
Alexandra Navratil |
176 |
15.5 × 21.5 |
Dan Gunn, Berlin |
2016 |
176 pages / 15.5 × 21.5 cm / in collaboration with Dan Gunn, Berlin
Brittle Land encompasses black and white sequences of stills from Navratil's works Resurrections (2014) and Silbersee (2015), enriched with essays by Paul Feigelfeld and Keston Sutherland, and a poem by Rachel O'Reilly. Taking the former Agfa-Orwo filmfactory in Wolfen-Bitterfeld as a point of departure, the book divulges the interdependent histories of photographic emulsion, gelatin, labour, explotation, exhaustion, chemical contamination, fragility and slow violence. Design: Roger Willems. ISBN 9789491843594
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|
265 |
You've got beautiful stairs, you know |
Ola Vasiljeva |
96 |
21 × 29.7 |
Kunstverein München |
2016 |
|
264 |
The Be-Part Exercises |
Dirk Zoete |
128 |
20 × 26 |
Be-Part, Waregem |
2016 |
|
263 |
Alexandra Leykauf |
Alexandra Leykauf |
240 |
20 × 28 |
|
2016 |
240 pages / 20 × 28 cm
Kaleidoscopic sequence of installation views and details of Leykauf's work from 2003 till 2015, substantiated with texts by Dominikus Müller, Jonathan Pouthier, Robert Barry, Maria Barnas, and a conversation between Leykauf and Caroline Soyez Petithomme. Design: Studio Felix Salut with Paul Bernhard. ISBN 9789491843563
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Fragment from the conversation between Leykauf and Caroline Soyez Petithomme in this book:
CSP: The reproduction of your own work is always at stake, and even more so here in the context of the current book: an artist's book and an autonomous work playing with the publication format as opposed to a conventional exhibition catalogue or a classical artist's monograph. Was this a way for you to get around the reproduction of your works?
AL: I consider installation views not only as documents of a past situation, but as something like shards, pieces of a whole - to stay with the metaphor of the kaleidoscope you introduced. You've suggested earlier that there is an elsewhere that arises within the various layers of reproduction in my work; maybe here that's located between the pages of this book.
CSP: And is it also a way to mirror your own process of creation - where the book remains the initial vehicle and source of your work, here to return again as a form, as in the current book?
AL: Yes, at the end of our conversation we return to the book, but also to the beginning: an observation of the act of looking and of our own position towards that at which we look.
|
262 |
Sligo Drawings |
Bart Lodewijks |
120 |
17 × 22.5 |
The Model, Sligo |
2016 |
|
261 |
Record |
Steve Van den Bosch |
328 |
21 × 27 |
|
2016 |
|
260 |
CARL ANDRE ROBERT BARRY DOUGLAS HUEBLER JOSEPH KOSUTH SOL LEWITT ROBERT MORRIS LAWRENCE WEINER [also known as the 'Xerox Book'] |
Seth Siegelaub |
372 |
21.1 × 27.9 |
Stedelijk Museum Amsterdam / De Appel arts centre / Stichting Egress Foundation |
2015 |
|
259 |
Entanglement. Notes on Representation Vol. 7 |
Irene Kopelman |
152 |
21 × 28 |
Smithsonian Tropical Research Institute, Panama |
2015 |
152 pages / 21 × 28 cm / in collaboration with Smithsonian Tropical Research Institute, Panama
This book is the result of the work Irene Kopelman produced during visits to the Smithsonian Tropical Research Institute in Panama between 2012 and 2015. Without formal scientific training, Kopelman aimed to achieve an understanding of methods in field biology, and contacted three researchers to assist as interlocutors: Stuart J. Davies (forest ecology), Owen McMillan (adaptive variation), and Bill Wcislo (animal behaviour). Her drawings include the forms of woody vines, mangrove roots, and randomly scattered crab pellets in the sand. Texts by Stefan A. Schnitzer, John H. Christy, Mark Torchin, Andrew H. Altieri, William Wcislo and Irene Kopelman. Design: Roger Willems, Ayumi Higuchi. ISBN 9789491843501
Out of print
|
258 |
The Soul in Limbo |
Jennifer Tee |
200 |
21 × 28 |
Cobra Museum of Modern Art, Amstelveen |
2015 |
200 pages / 21 × 28 cm / in collaboration with Cobra Museum of Modern Art, Amstelveen
Jennifer Tee, winner of the 6th Cobra Art Prize (2015), investigates the mutability and complexity of constantly overlapping cultures and identities through works that blur the line between static physical forms and potential carriers of anticipated action, ritual, and animation. This publication richly illustrates through installation and performance photographs her expression of the dialogue between material experimentation and philosophical contemplation, which mingles art history, Western culture, and Eastern philosophy.
With texts by Zöe Gray, Maxine Kopsa, and Monika Szewczyk. Design: Richard Niessen (Niessen & de Vries). ISBN 9789491843518
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|
257 |
Three Exchanges |
Zachary Formwalt |
300 |
17 × 23 |
Stedelijk Museum Amsterdam / MoCAB, Belgrado / KIOSK, Ghent |
2015 |
|
256 |
Choses tuées |
gerlach en koop |
118 |
21 × 29 |
De Appel arts centre, Amsterdam |
2015 |
118 pages / 21 × 29 cm / in collaboration with De Appel arts centre, Amsterdam
Let s provide an example. A mother buys her child two T-shirts. The child puts on one of the shirts and steps forward smiling, whereupon the mother says: Don t you like the other one?
The child is taken aback.
A dilemma like this is called a Double Bind. And what a dilemma it is! Practically insoluble.
However, the child straightens itself out and puts on the other T-shirt as well, over the first one, but realises immediately the deadendedness of this solution because it also shows a preference. Not in the wearing admittedly, but still in the showing. Because which T-shirt goes on top?
Disillusioned the child shambles off, to return shortly with the second T-shirt pulled over the first, but inside out this time. Now the front sides of both shirts, that normally carry texts or images, face each other, invisible to us.
1. Did the child redeem itself?
2. Or is this a new piece by gerlach en koop?
3. If so, can it be fabricated?
4. If so, can it be shown?
Or is there no reason?
Choses tuées is published on the occasion of the eponymous exhibition held at de Appel arts centre in Amsterdam. With photographs by Kristien Daem and text contributions by Lorenzo Benedetti, Valentina Desideri, Nickel van Duijvenboden, Maxine Kopsa, Candice Lin, Raimundas Malasauaskas.
Texts in English and Dutch. Design: Louis Lüthi. ISBN 9789491843488
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|
255 |
The Registry of Promise |
Chris Sharp (Editor) |
204 |
22 × 29 |
Fondazione Giuliani, Rome / Le Parc St. Léger, Pougues-les-Eaux / Centre d art contemporain d Ivry-le Crédac, Ivry-sur-Seine / SBKM De Vleeshal, Middelburg |
2015 |
204 pages / 22 × 29 cm / in collaboration with Fondazione Giuliani, Rome / Le Parc St. Léger, Pougues-les-Eaux / Centre d art contemporain d Ivry-le Crédac, Ivry-sur-Seine / SBKM De Vleeshal, Middelburg
Over the course of a year, The Registry of Promise consisted of four interrelated exhibitions, which are represented as chapters in this book. In these chapters, Chris Sharp reflects on our increasingly fraught relationship with what the future may or may not hold, and the work engages with and plays upon the various readings and mutability of promise , along with the inevitability of what may come, whether positive or negative. Such polyvalence is particularly topical, as we have shifted from the anthropocentric promise of modernity to a negative faith in the post-human. Richly illustrated with works and installation views, and an archive of previously published articles by Chris Sharp.
With: Becky Beasley, Patrick Bernatchez, Juliette Blightman, Peter Buggenhout, Nina Canell, Michael Dean, Alexander Gutke, Jochen Lempert, Jean-Luc Moulène, Marlie Mul, Matt Mullican, Rosalind Nashashibi, Antoine Nessi, Jean-Marie Perdrix, Reto Pulfer, Mandla Reuter, Hans Schabus, Lucy Skaer, Michael E. Smith, Carlo Gabriele Tribbioli, Francisco Tropa, Andy Warhol and Anicka Yi. Texts in English and French. Design: Roger Willems. ISBN 9789491843495
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|
254 |
On a Universal Serial Bus.* |
Dexter Sinister |
96 |
21 × 29.7 |
Kunstverein München |
2015 |
|
253 |
Politics of Installation |
Hans Demeulenaere, Bas van den Hurk |
64 |
21 × 28 |
|
2015 |
|
252 |
Opus 1. The Artist's Beginnings |
Koen Brams, Ulrike Lindmayr, Dik Pültau (Editors) |
208 |
20 × 25 |
LLS 387, Antwerp |
2015 |
208 pages / 20 × 25 cm / in collaboration with LLS 387, Antwerp
Whenever we set out to tackle an artist's oeuvre we generally try to trace the "decisive moments" - the turning points, the interruptions, the final work... There is one "key moment", however, that seems virtually to guarantee the ultimate understanding of the oeuvre - its beginning, its Opus 1. It is not without some justification that the inception of the oeuvre or artistic activity is surrounded by myth and mystification. As will appear time and time again in this book, the oeuvre and the Opus 1 are "constructions". Whatever one regards as the oeuvre and whichever Opus 1 is pointed out, those choices are always based on a predetermined and well-defined image of the artist s production. With contributions by: Koen Brams, Steven Jacobs, Matt Mullican, Christian Nagel, Herman Paul, Hermann Pitz, Dirk Pu ltau, Joëlle Tuerlinckx, Ernst van Alphen, Antje von Graevenitz, Marc-Joachim Wasmer, Christoph Fink, Guido Goossens, Henri Jacobs, Suchan Kinoshita, Ulrike Lindmayr, Gert Verhoeven. Printed on newspaper stock, bound in hardcover. Design: Roger Willems. ISBN 9789491843457
Out of print
|
251 |
SET |
Na Kim |
122 |
23 × 30 |
DOOSAN Gallery, New York |
2015 |
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... earlier publications |
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