C Magazine 118

C Magazine 118, Criticism
Softcover, 60 pp., offset 4/1, 210 x 295 mm
Edition of 2200
ISSN 1480-5472
Published by C Magazine

$7.50 ·

Issue 118 includes feature essays by Adam Lauder on “Sensitivity Information”, Charlene Lau on “Problems in the Evaluation of Contemporary Art”, Stephen Horne on the “Doing(s) of Art Criticism”, Ben Davis on “Surviving the Crisis”, and Peta Rake on “Private Acts: Note taking in the Margins of Art Criticism”, as well as Sky Goodden in conversation with Dave Hickey.

Artist Projects include Dave Dyment’s Old Man Deciphering a Briefcase, and Charmaine Wheatley’s The Painting is Better.

Also, in this issue, reviews from across Canada and around the globe: Rose Bouthillier on Julia Dault, Jessica Bradley Annex, Toronto; Heather White on Jimmy Limit: Show Room, Clint Roenisch Gallery, Toronto; Shannon Anderson on Volume: Hear Here, Blackwood Gallery, Mississauga; Kyla Brown on Peter Dykhuis: Inventories & Micro-mapping, Red Head Gallery, Toronto; Vanessa Parent: Invisible Violence, Artspeak, Vancouver; Gloria Hickey on Philippa Jones: MIRIAD, The Rooms Provincial Art Gallery, St. John’s; Jane Affleck on Position As Desired, Canadian Museum of Immigration at Pier 21, Halifax; Daniella E. Sanader on Manuela Lalic: Activisme timide, Optica, Montreal; Jill Gleesing This Will Have Been: Art, Love & Politics in the 1980’s, Institute of Contemporary Art, Boston; Jen Hutton on Jordan Wolfson: Raspberry Poser, REDCAT, Los Angeles; and Michael Davidge on Robert Tombs: L’Occupation, ParisCONCRET, Paris.

C118 also includes book reviews of The Last Art College: Nova Scotia College of Art and Design, 1968-1978, review by Leah Modigliani; West of Center: Art and the Counterculture Experiment in America, 1965-1977, review by Felicity Tayler; and Work Work Work: A Reader on Art and Labour, review by Amber Landgraff.

Adam Lauder, Amber Landgraff, Art, Artspeak, Ben Davis, C Magazine, Charlene Lau, Clint Roenisch Gallery, Culture, Daniella E. Sanader, Dave Dyment, Dave Hickey, Distribution, Felicity Tayler, Gloria Hickey, Heather White, Jane Affleck, Jen Hutton, Jill Gleesing, Jordan Wolfson, Julia Dault, Kyla Brown, Leah Modigliani, Manuela Lalic, Michael Davidge, Peta Rake, Peter Dykhuis, Philippa Jones, Robert Tombs, Rose Bouthillier, Shannon Anderson, Sky Goodden, Vanessa Parent

The Electric Information Age Album

The Masses, The Electric Information Age Album
12-inch vinyl record, sleeve silkscreened/letterpress 2/1, 12.25 x 12.25 inches
Inventory Records 01 [IR01-A]
Edition of 400
Published by Inventory Books

$20.00 ·

Created as an audio extension to “The Electric Information Age Book” by Jeffrey T. Schnapp and Adam Michaels, the LP was made in the spirit of the experimental 1967 “The Medium is the Massage LP”, the “first spoken arts record you can dance too” based on media theorist Marshall McLuhan’s groundbreaking book of the same name.

Produced by Schnapp, Michaels, and Daniel Perlin in a process paralleling the books production, the album incorporates new music drawing upon a wide range of genres (such as Post-Punk, Mutant Disco, Baile Funk, and Chicago Juke) with samples, quotations, and text from the Electric Information Age Book. Recorded and mixed at Perlin Studios; Mastered at Bonati Mastering; Pressed at Brooklyn Phono; Designed at Project Projects ; Letterpress Printed at Sheffield Product; Screenprinted at Haven Press.

A side: The Book of the Now; Involve US in Depth; Verbal-Visual Vernacular; In the World of Emotion; Mass Glass; Erasing Time; Page 82; Decisions; Page In.

B side: Drill Press (Dub); Page 122; Philosophical Works; Tomorrow Today; Printing Printing Printing Printing; Non-Tribal Placard; Pattern Recognition Pattern; T>E>I>A>B; Arts First Spoken Dance To; Page Out.

Digital download of 19-track album.

‘What’s the difference between this “second spoken arts record you can dance to” and its 1967 predecessor “The Medium is the Massage LP”? For all its pop fizz, the latter dangles its propositions and prepositions, but seems to leave the body stumbling, fumbling for itself on the dance floor. In its labors of reworking, The Electric Information Age Album honors its predecessor while seeking to further advance its claims.’

— Jeffrey T. Schnapp

The Masses, The Electric Information Age Album

Adam Michaels, Art, Bonati Mastering, Brooklyn Phono, Culture, Daniel Perlin, Distribution, Haven Press, Inventory Books, Inventory Records, Jeffrey T. Schnapp, Marshall McLuhan, Music, Perlin Studios, Project Projects, Recording, Shannon Harvey, Sheffield Product, The Masses

C Magazine 117

C Magazine 117, Translations
Softcover, 60 pp., offset 4/1, 210 x 295 mm
Edition of 2200
ISSN 1480-5472
Published by C Magazine

$7.50 ·

“Who has time for cynicism? If there is one role model in handling implication it is Jackie Chan…. At moments it’s all flying in his face but look at how he suddenly realigns the whole mess into a landfill art piece.”

— Hito Styerl

Issue 117 includes feature essays by Kristin Campbell, on the work of Kristiina Lahde, Diana Sherlock on the conference “Institutions by Artists,” Ania Wroblewski on the exhibition Feminism after Elles, as well as Patricia Reed in conversation with Hito Steyerl and Jacquelyn Ross in conversation with Tiziana La Melia.

Also, in this issue, reviews from across Canada and around with globe: Sean Alward: A Vertical City Goes Both Ways, Vancouver; Kika Thorne: The wildcraft, Windsor; Vanessa Maltese: Two-fold Tally, Toronto;, Archival Dialogues: Reading the Black Star Collection, Toronto; Michèle Provost: Rebranding Bytown, Ottawa; Nicolas Grenier: Proximities, Montreal; Rick Leong: The Sublimation of Self, Halifax; Hazel Meyer: Walls to the Ball, St. Johns; XTRAVAGANZA: Staging Leigh Bowery, Vienna; Roman Liška: Nu Balance, London; and A New Novel by Bjarne Melgaard, New York. C117 includes book reviews of One for Me and One to Share: Artists’ Multiples and Editions, edited by Dave Dyment and Gregory Elgstrand; Open! Key Texts, 2004–2012: Art, Culture and the Public Domain, edited by Jorinde Seijdel and Liesbeth Melis; Disturbances, by Critical Art Ensemble; and Summer of Hate, by Chris Kraus.

Artist Projects include FAG’s (Feminist Art Gallery) Faging it Forward, and Christopher Kulendran Thomas’ When Platitudes Become Form.

Ania Wroblewski, Archival Dialogues, Art, Bjarne Melgaard, C Magazine, Christopher Kulendran, Critical Art Ensemble, Culture, Dave Dyment, Diana Sherlock, Distribution, Feminist Art Gallery, Gregory Elgstrand, Hazel Meyer, Hito Styerl, Jackie Chan, Jacquelyn Ross, Jorinde Seijdel, Kate Monro, Kika Thorne, Kristiina Lahde, Kristin Campbell, Liesbeth Melis, Michèle Provost, Nicolas Grenier, Patricia Reed, Rick Leong, Roman Liška, Sean Alward, Tiziana La Melia, Vanessa Maltese, XTRAVAGANZA

Frank Peter John Dick

K8 Hardy, Frank Peter John Dick

K8 Hardy, Frank Peter John Dick
Softcover, 52 pp., offset 4/4, 230 x 300 mm
Edition of 500
ISBN 978-0-9822090-2-8
Published by Capricious

$25.00 ·

K8 Hardy’s work riffs on pop culture and all the images we encounter as consumers. The art she exhibits are photographs and sculptures, but part of her process is gathering masses of images from disparate sources and obsessively collaging them together. In a sense, these collages are edits of photos torn from magazines, printed advertisements, and other visual imagery that Hardy finds compelling. Yet they also include her darkroom test strips and snapshots found at the junk store. These collages were never originally intended for exhibition or print, but merely research for the artist’s work. It was only after a few people saw them in her studio that she was encouraged to show them. For this reason, the collages are powerful and weighty; each is it’s own essay. Hardy has made visual examinations that deal with complicated ideas, issues of representation, phenomenon in style, and playful contemplations of fashion.

K8 Hardy (USA, b. 1977) is a New York-based artist who mines popular culture for material and has no regard for originality. She has no allegiance to any particular medium, but performance is a thread that weaves through her body of work. Hardy eschews virtuosity to craft and is currently exploiting photography. She believes in the power of flamboyant and bold gestures, and the conversations of play, which come across in her endeavors toward total expression. The surface is often used as a decoy in her work to address the political conditions of its production. She has recently been working on a series of photographs called the “Position Series” that employ the tropes of self-portraiture and abstract photography. Hardy is a founding member of the queer feminist journal and artist collective, LTTR. She has shown internationally at spaces including: Reena Spaulings Fine Art, NY; The Tate Modern, London; Artist Space, NY: Galerie BaliceHertling, Paris; Galerie Sonja Junkers, Munich; PS1 MOMA, NY; Higher Pictures, NY; Biennial of Photography and Visual Arts, Heerlen, NL; and the Brooklyn Museum, Elizabeth A. Sackler Center for Feminist Art, NY.

A.K. Burns, Art, Capricious, Collage, Culture, Distribution, Eileen Myles, K8 Hardy, LTTR, Photography, Ulrike Müller

Juliaan Lampens

Juliaan Lampens
Softcover, 152 pp., offset 4/1, 210 x 275 mm
Edition of 2000
ISBN 978-94-6117-005-7
Published by ASA Publishers

$40.00 · out of stock

The architecture of the Belgian Modernist Juliaan Lampens (b. 1926) goes beyond designs for conventional living and instead suggests a utopian avant-garde of living without barriers. He experimented with the use of raw concrete and created sculpture-like exteriors leading onto open vistas. Edited by Angelique Campens. With contributions by Angelique Campens, Sara Noel Costa De Araujo, Joseph Grima, Jan Kempenaers, Hans Ulrich Obrist and Francis Strauven.

Angelique Campens, Architecture, ASA Publishers, Culture, Distribution, Francis Strauven, Hans Ulrich Obrist, Jan Kempenaars, Joseph Grima, Juliaan Lampens, MER. Paper Kunsthalle, Thomas Desmet

Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant
Softcover, 256 pp., offset 4/1, 230 x 230 mm
English and German
Edition of 2000
ISBN 978-94-611-7007-1
Published by ASA Publishers

$60.00 ·

Jef Verheyen (1932-1984) is one of the most important Flemish artists of the twentieth century. This book brings together contributions from international authors, exploring for the first time, from a variety of perspectives, Verheyen’s art and his close connections with the avant-garde Group ZERO. A quarter of a century after his untimely death, Verheyen’s abstract paintings are re-examined, interpreted and accorded their place in the history of art. The production of the book has led to the rediscovery of a painter who had fallen into oblivion. Here, unpublished texts and letters and a wealth of photographs bring Verheyen’s creations back to life. Book published on the occasion of ‘Jef Verheyen & Friends,’ at the Langen Foundation in Neuss.

“Jef Verheyen painted an essential distillation of his vision, a perfume of the visible, and his paintings offer their viewers possibilities of seeing something new, remembering things forgotten, and experiencing things they have never experienced before.”

— Dirk Pörschmann

Art, ASA Publishers, Beate Kemfert, Dirk Pörschmann, Distribution, Francesca Pola, Jef Verheyen, Jenny Trautwein, Johan Pas, Langen Foundation, Léonore Verheyen, MER. Paper Kunsthalle, Tijs Visser, Tiziana Caianiello

Parties de voyant

Benoit Platéus, Parties de voyant
Softcover, 100 pp., offset 4/4, 210 x 280 mm
English and French
Edition of 2000
ISBN 978-94-906-9337-4
Published by MER. Paper Kunsthalle

$28.00 ·

This first work on the Belgian artist Benoit Platéus is a monography as well as an artist’s book. It comprises a selection of works created between 1997 and 2011, as well as a text written by the artist and proposing a direct insight into his universe. Platéus work doesn’t neglect any medium — photography, video, drawing or sculpture — in order to search for ambiguities in the most mundane field of visibility. In this way his art often acts as a ‘psychic apparatus’ that plays on, and questions and reflects the viewer’s perception and consciousness.

Animation, Art, Benoit Platéus, Distribution, Drawing, Film, James W Haenlin, MER. Paper Kunsthalle, Michelle Van Brussel, Photography, Sculpture

Hands of Time

Johan De Wilde, Hands of Time
Softcover, 240 pp., offset 4/4, 210 x 297 mm
English and Dutch
Edition of 2000
ISBN 978-94-906-9339-8
Published by MER. Paper Kunsthalle

$45.00 ·

For many years now, Johan De Wilde’s work has been praised for its meticulous drawing style. The many solemnly applied layers that compose the works also hide in their folds, ever shrinking never to vanish, the Great Irony of our existence and its languages. This first monography presents over 500 drawings, prints and collages from the early nineties to today, concluding with the epic series Hands of Time. The book includes an essay by Hans Theys. A must for those acquainted with De Wilde’s works and a perfect introduction for all others.

Alison Mouthaan, Art, Dirk Pauwels, Distribution, Drawing, Duncan Brown, Els van de Perre, Hans Theys, Hilde D’haeyere, Jeroen Wille, Johan De Wilde, Luc Derycke, MER. Paper Kunsthalle

Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue
Postcards from the Future
Softcover, 158 pp., offset 4/1, 170 x 240 mm
Edition of 2000
978-94-9069-355-8
Published by MER. Paper Kunsthalle

$28.00 ·

Epilogue retraces Postcards from the Future’s journey across the nine different city districts in which the project has taken place, each time involving its inhabitants and users in the realisation of a dedicated postcard/performance.

Postcards from the Future has taken place during an entire year, in collaboration with very diverse populations of the city, in places and at moments remote from another. This book takes up the challenge of gathering this multiplicity within a single bundled work, in order to give to all those who have taken part an overview of what the project has accomplished, partcipants in as much as audience members.

The book does not only document how these nine performances appeared in the visual realm of the city. Epilogue develops for each one of them the very thematic which has conditionned the most its realisation. The book portraits nine different interactions with the city, with its different neighborhoods, populations, infrastructures, administration, et al.

Just like any postcards, the Postcards from the Future are linked to the specific place they depict. What makes them special is that each one is associated with a precise point in time located in the future. Rather than being souvenirs, these postcards act primarily as invitations. By accepting the invitation and going to the address on the date and time indicated on a Postcard from the Future, one will be able to verify the prophecy made, thereby not only questioning the determinism, but also the pertinence of the images printed on the paper.

Art, C&H, Christophe Meierhans, Christophe Ragg, Culture, Distribution, Heike Langsdorf, Manuele Dechamps, MER. Paper Kunsthalle, Otamendi, Performance, Sébastien Hendrickx

Dislexicon

Hilde D’haeyere, Dislexicon
Hardcover, 64 pp., offset 1/1, 130 x 195 mm
Edition of 2000
ISBN 978-94-906-9331-2
Published by MER. Paper Kunsthalle

$20.00 ·

The ‘Dislexicon of Slapstick Humor, Funny Cinematography, and Very Special Effects’ is a richly illustrated glossary containing 138 witty words used in the Mack Sennett Comedy Studios between 1912 and 1933. It comprises clever concepts connected to slapstick comedy, gag strategies, funny pratfalls, dangerous stuntwork, and secrets of the filmmaking trade. In a mishmash of slapstick facts and fictions, the Dislexicon fully accepts tall tales, technical reports, jokes, and gossip as historical sources. Hopping from “gag” to “laugh” to “trick,” the dictionary presents a slapstick universe in which everything makes perfect sense — as only a fictional construction can.

Cinematography, Comedy, Distribution, Film, Hilde D’haeyere, Hollywood, Los Angeles, Mack Sennett, MER. Paper Kunsthalle, Petra Van der Jeught, Photography, Slapstick, Sophie Nys

Neither Appearance Nor Illusion (’ni apparence ni illusion’)

Joseph Kosuth, Neither Appearance Nor Illusion (’ni apparence ni illusion’)
Hardcover, 164 pp., offset 4/4, 260 x 320 mm
English and French
Edition of 5000
ISBN 978-94-906-9303-9
Published by MER. Paper Kunsthalle

$65.00 ·

Published on the occasion of Joseph Kosuth’s installation ‘Neither Appearance Nor Illusion’, an exhibition in the Medieval Louvre. Joseph Kosuth installed on the foundation walls of the original Louvre palace 15 neon text lines he appropriated from an artwork he developed to be read on the Internet, a project for young artists at the Brooklyn Museum. In this context combining a medieval archeological site with a historical art institution the exhibition circuit unfolds the field of potential meanings that always has been the hallmark of Kosuth installations. Entitled ‘Neither Appearance Nor Illusion’ in reference to Nietzsche, it is undoubtedly one of the artist’s most successful and spectacular interventions to date.

Texts by Henri Loyrette, Marie-Laure Bernardac and John Welchman and an interview between Joseph Kosuth and Jacinto Lageira.

Antiquity, Art, Brooklyn Museum, Distribution, Fiona Biggiero, Florian Kleinefenn, Friedrich Nietzsche, Henri Loyrette, Installation, Jacino Lageira, John Welchman, Joseph Kosuth, Liz Dalton, Luc Derycke, Marie-Laure Bernadac, MER. Paper Kunsthalle, Musee du Louvre, Sculpture

IKO IKO at Printed Matter’s Los Angeles Art Book Fair

The Geffen Contemporary at MOCA
Printed Matter’s Los Angeles Art Book Fair
February 1-3, 2013
Opening: Thursday, January 31, 2013, 6–9pm

IKO IKO will be participating at Printed Matter’s first annual Los Angeles Art Book Fair, with WAKA WAKA book-friendly furniture; a selection of forty books from Texfield, Inc.; IKO IKO limited edition screen prints, t-shirts and totes; and a MATERIAL Press special edition by artist Michael Bauer.

New York Times Tmagazine.
Hrag Vartanian/Hyperallergic.

Free and open to the public, the Los Angeles Art Book Fair is a unique international event for artists’ books, art catalogs, monographs, periodicals and zines presented by more than 220 international presses, booksellers, antiquarians, artists, and independent publishers from twenty countries.

Featured projects include an Homage to Mike Kelley presented by Gagosian, a Larry Clark Pop-Up Shop by BOO-HOORAY, and a stunning new installation by John Armleder with Three Star Books. Fulton Ryder will present publications by John Dogg and Howard Johnson; unique books and Untitled Originals by Richard Prince, and naughty pulp paperbacks.

Zine World is a super-sized subsection of the Los Angeles Art Book Fair, featuring zinesters from home and abroad, together with three zine exhibitions. GSD: Skate Fate till Today begins from Gary Scott Davis’ early, ground-breaking zine publishing of the 80s. Zine Masters of the Universe features zines by Mark Gonzales, Ari Marcopoulos, Ray Pettibon, and Dash Snow. Bedwetter and Beyond is a survey of the artist books and zines of Los Angeles-based artist Christopher Russell.

The Los Angeles Art Book Fair is the companion fair to the New York Art Book Fair, held every fall in New York. Over 20,000 artists, book buyers, collectors, dealers, curators, independent publishers, and other enthusiasts attended the New York Art Book Fair in 2012.

HOURS and LOCATION
Opening: Thursday, January 31, 6–9pm
Friday, February 1, 11-5pm
Saturday, February 2, 11-6pm
Sunday, February 3, 12-6pm

The Geffen Contemporary at MOCA
152 North Central Ave
Los Angeles CA 90012
(213) 626-6222

AA Bronson, Brooke Hodge, Distribution, Ginny Cook, Hrag Vartanian, IKO IKO, Jonathan Maghen, Kim Schoen, Kristin Dickson, LAABF, Los Angeles, MATERIAL Press, Michael Bauer, MOCA, Printed Matter, Publishers, Shin Okuda, WAKA WAKA

Capricious 13

Capricious 13, Water
Softcover, 158 pp., offset 4/4, 210 x 270 mm
Edition of 2000
ISSN 1573-3076
Published by Capricious

$17.00 ·

With the theme of Water, Capricious delves into one of the most pressing global concerns of the 21st century, finding a dynamic intersection between social consciousness and fine arts photography. Culled from hundreds of submissions, the editorial selection evokes not only the most visually profound forms of water, but documents our shifting relationship with water, whether it be through celebration, or sense of loss.

Capricious 13 moves through sections like Arid, Drift, and Quiet, a fluid visual narrative honoring water. And speaks to our palimpsest-like landscape, where the rise and fall of water lines are marked, and the history of water remains tangible. The work selected explores a myriad of watery dimensions, from the intimate, as water spills into our personal histories, quietly shaping our daily rituals; to global, as water is tamed, an ancient presence spun through industrialization. What ultimately comes to surface is, to what degree water has, in turn, overwhelmed and overcome us.

Also included, is a special chapter of curated texts by Hanna Wilde, including diverse variations on the theme, from poetry to political essay, to stage performance and film excerpt.