|
To hang a photograph, you need to hammer a nail into the wall; to bind a book, you need to punch holes in the paper to create a tunnel for stitching. Pricking the desired surface is the first act in the process of mounting something, both in the case of installing an exhibition and in the case of making a book about it.
|
|
Exhibitions only last for a certain period of time while a book about it can always be accessible. In a way, this is the main reason that prompts the creation of the books in this selection. If the work is bound to lose its "aura" when represented in a space, how can a publication provide extensive annotations to the exhibition, and the work itself? How should the reader approach the work when it's situated in a given space, then photographed and laid out on pages?
In this selection, we present some of our titles on exhibitions (not limited to exhibition catalogues) that ponders on the questions above.
|
|
|
ANTIMATTER
|
$39.00
|
Catalogue of the exhibition MATTER by Aleix Plademunt at Canal de Isabel II, Madrid. Featuring texts, unseen images, and exhibition map, ANTIMATTER serves not only as an exhibition catalogue but also a guide for reading MATTER the project: how it was developed in chronological order and how it is presented in a physical space.
|
|
|
|
|
|
Serial Grey
|
$45.00
|
Publication for Jeff Weber's exhibition at Carré d'Art, Nîmes. Corresponding to the exhibition space, the book has four chapters on Weber's photographic and archival practices, centering the tension between an objective status of a photographic picture in relation to the object depicted and the subjective take on the world through the eye/mind of the artist.
Weber has incorporated exhibiting works by collaborating with other artists through the gallery space Kunsthalle Leipzig, which constitutes his body of work of An Attempt at a Personal Epistemology, where he attempts to define the paradoxical place of the artist, who is always located between objective knowledge and personal experience.
The publication sheds light on his recent work of photograms (the Neural Networks) exploring photography, film, cognitive images, and the (de-)construction of the above materially. The idea of ‘Serial Grey’ (in quantity) is intended to unify photographic forms that seem at first sight very distant, and even opposite; and the title refers above all to the (mental and material) network’s very constitution.
|
|
|
|
|
|
Grand Bazar, choix de Jean-Hubert Martin dans la collection Antoine de Galbert
|
$45.00
|
Exhibition catalogue for the Château d’Oiron presents more than 170 artworks from the collection of Antoine de Galbert, placed in such a way as to dialogue with the permanent collection of contemporary art Curios & Mirabilia (curiosities and marvels), assembled by the same Jean-Hubert Martin in 1993.
The collection of Antoine de Galbert is deployed in exhibition galleries according to themes inherent to it, with great importance being attached to the eye, the face and its expressions, and to injuries.
A number of artists are featured in both collections: Hubert Duprat, Markus Raetz, Wim Delvoye, Annette Messager, Christian Boltanski, Marina Abramovic, Bertrand Lavier, Nicolas Darrot… Others have onlyrecently entered Oiron: Théo Mercier, Gilles Barbier, Stéphane Thidet, Barthélémy Toguo, Jackie Kayser, Steven Cohen...
|
|
|
|
|
|
Daniel Gustav Cramer: 01-72
|
$28.00
|
|
This two-part publication has been released in March 2014 on the occasion of the exhibition “01-72″ by Daniel Gustav Cramer at SALTS, Basel.
With texts from Quinn Latimer, Kirsty Bell and an interview with the artist.
The publication begins with proposal from the artists to the residents in the building, enquiring about the possibility of installing a group of his photographs in each room of each apartment in a building of his choosing. The concept is to install 72 photographs, each depicting a fragment of seawater, taken from roughly 30 meters above sea-level somewhere in the Mediterranean Sea. The same piece of blue, the ocean, scattered in time and then in different rooms, encounters of this building.
|
|
|
|
|
|
PROP SHOP
|
$45.00
|
Catalogue designed and produced by Visible Publications to accompany the exhibition Prop Shop (2020) presented at Campbell Hall Art Gallery, Los Angeles. Also referred by the artist as the "green book."
Includes photo documentation of two exhibitions: Know Yer City (2017) held at The Wattis Institute of Fine Arts, San Francisco (curated by Jamie Stevens,Kim Nguyen, and Leila Grothe), and The Third Floor (2013) held at Francois Ghebaly in Los Angeles. Also includes a commissioned essay by James Morrison.
Working as a collector and maker, Patrick Jackson creates immersive environments. Intermingling high- and lowbrow aesthetics, he is invested in narrative and conceptual installations, taking into consideration everything that gives a space shape: its architecture, how it directs the gaze, the shadows created at specific hours, how someone navigates a room, how many curvatures constitute a maze, what details create the familiar and which ones perpetuate a routine of fiction.
From pamphlet for Know Yer City (2017) held at The Wattis Institute of Fine Arts, San Francisco
|
|
|
|
|
|
Prefaces
|
$50.00
|
|
At first glance, Tate appears to have one of the strongest exhibition histories of any contemporary artist. It boasts installation shots of the Swiss Institute in New York, Pilar Corrias Gallery in London, Wiels in Brussels and even immaculate depictions of his work hanging in the Guggenheim. This is all artifice - these images are Tate’s latest body of work titled Prefaces.
Prefaces and Appendices, together, constitute an artist’s book by Jordan Tate, who constructed various artworks and then took on the role of curator and created exhibitions. Prefaces is driven by the potential of the unrealized while Appendices includes essays by a select group of curators, directors and artists that all respond to and/or contextualize Tate’s work.
|
|
|
|
|
|
Revue Faire n°25 — Exhibition views: Jonathan Monk.
|
$25.00
|
|
Photographs of works of art in an exhibition or studio setting, enlarged to the size of the wall, have become an essential and increasingly systematic element of contemporary museography.
To create a kind of retrospective of his work, in 2016 Johnathan Monk debuted a series of exhibitions entitled Exhibit Model*, which consisted of covering the walls of the exhibition space with archive photographs that documented his work in different contexts over the last 20 years. Marie J. Jean considers these staged exhibition views as a form of augmented reality: “This manner of considering the exhibition, in other words, of exhibiting the work along with the context of its appearance, reminds us that the work of art “is a place”, “establishes a place”, is “a has taken place**”.
However for Johnathan Monk, who often uses the work of other artists, isn’t it simply a way in which to appropriate his own work?”
* — Kunsthaus Baselland and Galerie Nicolai Wallner in Copenhagen in 2016, VOX, centre de l’image contemporaine, Montreal in 2017, KINDL, Center for Contemporary Art, Berlin in 2019.
** — Marie J. Jean. Autour de Jonathan Monk. Les vues d’expositions comme réalité augmentée. Ciel variable, issue 109, Spring 2018, p. 56–65
|
|
|
|
|
|
Included in this issue: A1 format poster printed in CMYK on blue back paper
Jonathan Monk, «Exhibit Model Four», 2019 Kindl, Berlin
Photograph: Jens Ziehe
|
|
|
What (MORE) can a bookstore do? - A question we must constantly propose.
Bungee Space is an image study- and image criticism-focused art book store, which also sells coffee, wearable designs, and works as an artist-run space & publisher. Rooting in where we come from, our ways of working, and means to survive, we simultaneously try to pursue independence and sustainability to provide a valuable space for emerging contributors to our art ecology. Standing beyond conventional definition of a bookstore, we involve, form, and transform community, intervene social, political, and cultural lives, creating chaos.
|
|
|
|
|
