Ape jan 2017 (4 Ergebnisse)
- Softcover
- Foto
Anbieter: AHA-BUCH GmbH, Einbeck, DeutschlandAHA-BUCH GmbH
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 19,62
EUR 60,95 VersandVersand von Deutschland nach USAAnzahl: 1 verfügbar
Taschenbuch. Zustand: Neu. Neuware - Idiosyncratic Machine is a shape-generating drawing method developed by Kristof Van Gestel in the context of his visual artistic practice. The space in between everyday objects become the basis from which unexpected abstract shapes are systematically derived. The artist then uses these abstra…ct shapes in the creation of networks. Tis is how this publication Idiosyncratic Copy Machine was conceived. In collaboration with Niek Pladet, a new procedure was developed that applies the logic of the Idiosyncratic Machine in the graphic realm. Two shapes were placed on the plate glass of a photocopier, copied and cut out. The resulting remainder then became the original for a new copy, again yielding a reminder to be worked with. These steps were repeated 30 times. This publication is the documentation of that process.
- Softcover
Anbieter: AHA-BUCH GmbH, Einbeck, DeutschlandAHA-BUCH GmbH
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 22,50
EUR 61,45 VersandVersand von Deutschland nach USAAnzahl: 1 verfügbar
Taschenbuch. Zustand: Neu. Neuware - The towering sign saying 'Meubelgalerie Vynckier' rises up in an ordinary street in the urbanised town of Waregem. The advertising message does not adorn the façade, but covers almost the entire blank side wall, which in Belgium is known as a 'waiting wall'. In anticipation of a neighbour who… will build his terraced house or business premises against it, this side wall, in brick and lacking any windows, contributes to the phenomenon of typically Flemish or Belgian ribbon development. The architecture, with its glazed brick and large glass display windows tells us that Meubelgalerie Vynckier must have been built at some time in the 1950s. The period of Expo 58, when Flanders, and with it the rural district of Waregem, enthusiastically embraced modernism. The Vynckier furniture business now no longer exists. An artist has moved into the workshops and makes the showroom available as an exhibition space. However, Meubelgalerie Vynckier was part of another modernity, another vision of furnishings, than that in which the Catalan artist Martí Anson grew up. Joaquim, Martí's father, designed and manufactured furniture with the approach of the modernist avant-garde, which did not conceive of utility objects as an artistic craft or as reduced to the role of consumer goods, but as 'constructions' that contributed to building a better - and more social - society . La Botiga de l'Anson (Anson's Shop), the project at Meubelgalerie Vynckier, does not simply show a number of pieces of furniture inspired by Anson's father's work. It is actually an ambiguous installation. It is in fact a revival of a project that he had already developed for the Species of Spaces exhibition at the MACBA (Museu d'Art Contemporani de Barcelona). In collaboration with Be-PART, Waregem.
- Softcover
Anbieter: AHA-BUCH GmbH, Einbeck, DeutschlandAHA-BUCH GmbH
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 29,44
EUR 61,96 VersandVersand von Deutschland nach USAAnzahl: 1 verfügbar
Buch. Zustand: Neu. Neuware - EN Why copy an album of postage stamps from the former Belgian Congo, page after page, stamp after stamp, and so precisely in terms of dimensions, illustrations and colours Despite the initial confusion about Tuur and Flup Marinus' project, when confronted by the materiality it soon becomes clear th…at there's something interesting going on here. We see perfectly reproduced sheets; sets of exotic stamps in soft hues, protected by a transparent strip of varnish, and framed by an intrusive black background. Go on looking and this painterly appropriation becomes the magnifying glass and the mirror which unmask the colonial rhetoric. When we look at colonial collections some 60 years after decolonization, we are struck first and foremost by what is missing in those collections: the real world of colonial subjects and their relationships with Belgians (and other Westerners) and the structural inequalities between the two categories which made the passion for collecting possible. In some of his best stories Jorge Luis Borges showed the absurdity of attempts to create an imaginary world which corresponds fully to the reality or even to another imaginary world, such as Miguel de Cervantes' Don Quixote. Flup and Tuur Marinus' artwork does something similar: the patience and diligence with which they toiled to create it reminds us how absurd it was to try and collect the complete colonial world through collections and by extension how absurd it was to try and control and dominate politically an area as large as Western Europe through colonial rule. (Bambi Ceuppens).
- Softcover
Anbieter: AHA-BUCH GmbH, Einbeck, DeutschlandAHA-BUCH GmbH
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 38,75
EUR 65,30 VersandVersand von Deutschland nach USAAnzahl: 1 verfügbar
Buch. Zustand: Neu. Neuware - Thorsten Brinkmann (1971, Herne (D)) calls himself a serial collector. In the storeroom at his studio you can find the most varied objects. He finds these objects on flea markets, in thrift shops, on the street, at refuse dumps, etc. They are part of middle-class domestic culture. He uses these obje…ts trouvés to show how we relate to the objects that surround us. Objects define our identity and inform our culture, and as a result what belongs to us is of considerable importance. We shape and design the objects that surround us and in turn they shape us and the lives we live. The Great Cape Rinderhorn is a word-play which on the one hand refers to a monumental bull's horn, to a cape (a sleeveless garment) and Cape Horn at the southernmost extremity of Chile. Apart from a lighthouse, a house and a chapel, Cape Horn is a barren landscape. The Great Cape Rinderhorn has been shown at the Rice University Art Gallery in Houston, Texas (US) and Be-Part, Waregem (B). This publication is made with images from these two exhibitions and acts as a new chapter for this installation. With the support of Be-Part (Waregem) and Rice Gallery (Houston).
