Nr éditions (61 Ergebnisse)

Paperback. Some minor traces of use, else in good condition. Text in French. Please see description or ask for photos.

Paperback, pocket format, edges worn, faint stain on book edge, some traces of use, still a good reading copy. Text in French. Ex-bibliotheca Simon Vinkenoog, with his name on halftitle. Please see description or ask for photos.

Original printed wrappers. Edges a bit worn, contents slightly browned, else very good. Text in French Please see description or ask for photos.

Softcover. 48 Seiten Zustand: keine Beschädigungen, keine Eintragungen. Rücken, Ecken, Kanten gut. Sprache: Französisch Gewicht in Gramm: 100.

Original half leather extra binding. Spine slightly chafed, some minor traces of use, still a very good copy. Please see description or ask for photos.

Hardcover. Hellgrauer Originalleinenband wenig lichtrandig. Weißer Originalumschlag, lichtrandig mit minimalen Randläsionen. 25,5x22 cm, 132 Seiten m. 94 Abbildungen und 4 Farbtafeln. Guter Zustand. (=Städte und Landschaften der Schweiz) Mit Literaturverzeichnis. -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! // Bitte beachten Sie auch unsere Fotos! / Please also note our photos! / Veuillez noter nos photos -- Wenn es draußen stürmt, können Sie es sich mit einem guten Buch gemütlich machen und ein warmes Getränk dazu genießen. Bei uns finden Sie die passende Lektüre! -- Wir kaufen Ihre werthaltigen Bücher! K02713.…

Zustand: Very Good. Envoi rapide Très Bon Etat de conservation. 16x1x16cm. 1987. Broché. Very Good.

Couverture souple. Zustand: Bon. Dédicace de l'auteur. Comme neuf. Réf 23999. 16 x 23cm, 96 pages, broché (272g).

169(1) pp. OBr. avec un frontispice illustr. Ex. numeroté. Bon état.

Rayon : Province Editeur : NR éditions Date de parution : 1997 Description : In-8, 96 pages, broché, occasion, très bon état. IMPORTANT : Pour les envois internationaux, merci de vous renseigner avant de passer commande. Les envois se font uniquement en point relais MONDIAL RELAY ou INPOST pour les pays suivants : Belgique, Espagne, Italie, Luxembourg, Pays-Bas, Pologne, et Portugal. Merci de nous indiquer en retour le point relais choisi ainsi que votre numéro de téléphone mobile pour assurer le suivi du colis. ATTENTION : Les expéditions nationales de plus de 2 kilos et les expéditions internationales de plus de 1 kilo se voient appliquer un supplément de port. Envois quotidiens du mardi au samedi. Les livres sont envoyés sous enveloppe bulles. Les frais de ports comprennent les frais d'affranchissements et d'emballage. Librairie Le Piano-Livre. Merci. Référence catalogue vendeur: X10499.…

PB, 297 x 210 mm, 72 pages, EN-NL edition. ISBN 9789491262050. Bootleg Paintings' is a series of works based on classics of 20th-century painting. In his own way, Durinck translates well-known and lesser-known 20th-century works by repainting them in a combination of bright green and black oil paint. This collection contains works by a wide variety of artists: including Picasso's Les demoiselles d'Avignon (1907), L'usage de la Parole (1927-29) by Magritte, Le movement des billes (1926) by Fernand L ger, Zig-zag Zigzag (1987) by Ren Dani ls, The Studio (1969) by Philip Guston, K the Gr sse (1990) by Luc Tuymans, . The series was started in 2019 and counts 36 paintings today. Book launch and concert: Fri 12/05- 20:00 20h30: live concert by rimov / rimov, a young / future band who will play (amongst others) a cover of Robert Wyatt - Pigs. (In There) 0 g.…

Hardcover. Zustand: Very Good. No Dust Jacket. Hard cover, in very good condition, from the collection of Dr. Cathy E. King, who worked in the Heberden Coin room at the Ashmolean Museum, Oxford for more than three decades. No jacket. Light shelf wear, including bumped corners and some discolouration to page block. Boards are very clean, with gilt text to front and spine. Pages are tightly bound, and content is in 'as unread' condition. CN. Used.…

1949, Couverture illustrée en couleurs par Louis Carrière, orné d'illustrations hors texte en noir. Quelques petit signes des usage, bon etat.

PB, 297 x 210 mm, 32 pages, NL edition, Illustrated. ISBN 9789491262159. Stijn Van Dorpe (b. 1970) got the idea for the work A Bookcase while assembling three bookcases at home and at the same time listening to music. He found it interesting that the music had no influence on the ultimate form of the assembled bookcase. With this premise established, he invited students of a vocational school for woodworking to take part in a performance during a residency at Hotel Charleroi. Van Dorpe asked them to assemble a bookcase in an old shopping arcade in Charleroi, while a rap group performed alongside them. A film of this performance was shown at the exhibition in Aalst. At the exhibition, the artist first provides an explanation of the images in the form of subtitles on a black screen. Then the filmed performance is shown. In the projection space, there is also a wooden panel with photos of the performance mounted on it. During the exhibition at Netwerk Aalst, the performance was also repeated, again with local rappers and students from a vocational school. All that remains of this performance is the bookcase in the corridor of the arts centre. Van Dorpe's explanation of the film shows his fascination for the difference between, on the one hand, the rappers who give their creativity free rein and, on the other hand, the mechanical, repetitive actions involved in assembling the bookcase: the difference between art and work, between 'a music concert that is seen by the rappers as a stand against a normative society' and, by contrast, the manufacture of a mass-market product within a capitalist system. From: 'Mechanical labour - creative labour' Sarah K senne, in: a Bookcase. 0 g.…

S.D. (1943), 64pp. Broche. 16x10,5cm. Bon etat.

PB, 297 x 210 mm, 72 pages, ENG-NL edition. ISBN 9789491262111. I think it may be no coincidence that Hans Demeulenaere (b. 1974) ?grew up? in Ostend. The modesty of fishermen. And also the stubbornness. Doubting now and then but nevertheless that push-further-without-delay attitude. That direct-thinking. That assertiveness. Nothing too complicated. Work invented with the hard headedness of seafarers. Simple ?forms? made ??in a simple way. Self-built. Diligently continue to do so. And Hans ? the Ostend-Bruges-man ? that presses on. This and that is being planned. Proposals are mailed, occasionally telephoned. Ploughing further. No strategic thinking, all sympathetic and cosy. But persistently hammering on. It will have to be so, must be, at least almost. And regularly looking around to see who may eventually help pull the weight. Because collaboration suits Hans well. The sharing of the doubt.? From: ?Thoughts, Short? Kris Kimpe, in: h/ up 0 g.…

PB, 297 x 210 mm, 64 pages, Illustrated. EN-NL edition. ISBN 9789491262081. ?It is as if the images in this book close their eyes and immediately transform each other into a little impression we can take with us to the next page. And so, as we read the book, we take each individual image with us. Because the book is arranged in three parts, we feel we are getting closer and closer to the core, and to the truth; the more naked, the thinner and sharper the images become, the closer we come to the essence. Or is it the other way round? And once we are beyond the halfway point, we go through the same process all over again in the other direction. Perhaps every page of Exactly how I remembered it contains the same image, one that we change ? by looking, reading, turning the pages and remembering ? into another lie.? From: ?Images to take away? Christophe Van Gerrewey, in: Exactly how I remembered it 0 g. …

softcover 297 x 210 mm, 64 pages ENG text ISBN 9789491262128. The work of Julia Sp nola (b. 1979) departs from an intuitive and empirical practice, in which there is no place for metaphors or symbolisms. She is interested in the laws of physics such as connectivity, transference, movement, which have been present in her practice since earlier works. "One night in Madrid, a lamp came swirling down, as if it were a butterfly. It just missed the table and it did not break. The lamp was still burning, but it was hanging at a different level than usual: it had left the ceiling. Suddenly, a funny dialogue developed, a play with various lamps. It became obvious that Sp nola wanted to link heart, head, feet and hands in her work - that she was in search of a form for them. Her work shows the effect of experienced and experimental material, it is imagined and created, one sees spaced possibilities that can be thought clearly at a certain moment in this space - a moment that surprises us." From: 'Julia Sp nola: Form as Figure-Object, Engaged in a Dialogue with Sequenced Gestures and Action Codes' Sofie Van Loo, in: Habla/Dice 0 g.…

PB, 297 x 210 mm, 76 pages, EN-NL edition, Illustrated. ISBN 9789491262142. In Demoen's work, things are not entirely like Richard Wolheim once objected to Ernst Gombrich, claiming that in the case of a theory of the double, our attention must be divided between two things or issues. There is more going on and down for that matter. Demoen (b. 1965) presents collages with cut-up echoes, which in their fragmented state function as motif-protagonists in a mise en sc ne that has fallen on its back and has not found its place yet. The studio, geometry, magazine sensationalism and the art history book are cut up and practised while dancing, as if the artistic practice were a lost nightclub with entering daylight that is used as outfit. Demoen dances the gesture till it blindly follows the work of art. (.) The scattered motifs have been cut up. They show how in the Western tradition beauty was defined by the sublime, and no design could cope with that, unless it becomes ornamental and at a certain moment also boring if radiation is impossible. When things get out of hand, a gesture playfully tries to regain control. One by one, the cards are played on the worktable. They are presented to the spectator and hidden from our glance by another playing card. The memory of the spectator is exercised, stimulated, annoyed and teased. What makes the whole thing mysterious, is that despite all the historical references in Demoen's work, the reference as such is thrown back on its own, though it is like a collection of ellipses and ovals." From 'What If Seven Days of Vase Guarantee Are No Longer Sufficient?' Sofie Van Loo. 0 g.…

PB, 297 x 210 mm, 16 pages, EN-NL edition. ISBN 9789491262074. Many projects serve as licenses for adventurous travels and rambles through the most desolate of places in extreme circumstances. Mich le Matyn (b. 1978) uses her camera in a very intense and personal experience of the landscape, and in a fashion highly contrasting to the usual documentary approach of distance and objectivity. Her sensitivity for nature is stimulated by a research in age-old folk tales en customs, anthropological myths and sagas, but also popular comics and films about the narrow, supposed boundaries between man and animal, between human and demon. These animistic thoughts, folktales, and charged places are triggers for Mich le Matyn's travels. She uses traveling as an atelier. The way of dealing with her surroundings can be read as 'participative observation'. It connects Matyn's photography to her performances. "To become a beast To wander loose To buy a leash To seek a tamer To get stuck on thoughts To get caught To go feral To breed mistakes To seek a tamer To speak to no one To seek a tamer To withold no one To seek a tamer To leave no stone unturned To seek a tamer To ignore every opposition For centuries the master For centuries the beast" From: 'Arrows of Thought' Saskia De Coster 0 g.…

HB, 297 x 210 mm, 104 pages, EN-NL edition Illustrated. ISBN 9789491262135. In selecting the photographs for this publication, Lisa Spilliaert (b.?1990) was adamant that the image of a sunrise should be among the first in her book. It is, indeed, an emblematic image. For anyone with a camera, such a splendid sunrise is an irresistible trope: a visual motif that simply begs to be captured and fixed on film. In reality, however, the magic of this scene resides in the fleeting, subtle changes in colours and vibrations. This is the dynamic that captivates us. Photography is usually understood as a technique for ?stopping? the flow of time. But as Spilliaert here demonstrates, the impact of photography can also be used to manifest an awareness of time and transience. By accentuating the photographer?s fixed position vis- -vis the endlessly changing light source, Spilliaert evokes a correlation between stasis and movement, between the cosmic and the mundane. This duality is echoed again in the confrontation of the two equivalent silhouettes: that of the photographer and of his alias or ?partner?: a life-size technical camera.? From ?Time and Tide? Edwin Carels 0 g.…

PB, 200 pages, Illustrated. ENG-NL edition. ISBN 9789491262265. Curating the Library In 2003, the Antwerp art centre deSingel, starts the project Curating the Library, initiated by Moritz K ng. One evening a month there will be two lectures with a variety of individuals???writers, archi tects, choreographers, composers, artists, philos o phers, sce nog raphers, scientists???presenting their favourite books: pub li cations that have inspired their work or that have played a decisive role in their life. The lectures are recorded on DVD and together with the books, they are part of a steadily growing archive that is stored in the Curating the Library space: a mobile, seemingly hermetically closed, mirroring sculpture that was designed by visual artist Richard Venlet in 2002 for the twenty-fifth S o Paulo Art Biennial. In 2009 Curating the Library ends. In the course of six years, 110 guest speakers have presented 1,557 books to the public. Reading Curating the Library In 2016-17, at the request of LUCA School of Arts and KU Leuven, Faculty of Architecture, the book collection and the reflective sculp ture move to Sint-Lucas Ghent. From January to June 2017 they become the backdrop of bustling events and lectures under the heading Reading Curating the Library. 0 g. …

HB, 297 x 210 mm, 20 pages, EN-NL edition, Illustrated.; This books is a ?leporello? of 20 leaves, length 4,2 m. ISBN 9789491262166. Griet Dobbels (b. 1964) is a visual artist. Key concepts in her work are: the dialectic between grandeur and insignificance, transience and timelessness, nature and culture, beauty and horror, safety and danger, chaos and control, universality and individuality. Formally, these subjects translate into various media: drawings, video installations, sculptures and happenings. Dobbels explores boundaries, both in terms of content and form, and strives for an objective position. The line is a constant in her work, be it the contour line, the coast line, the front line or a border. This line is exposed, excavated, walked, drawn or cut-and-pasted. ?A digital collage of the Belgian coastline is printed on this twenty-part concertina book. When it is unfolded completely, to its lenght of 4,2 m., the coastline zigzags up and down. This rendering accentuates the fact that it is constructed. When it is stood upright in the form of a concertina, like a sculpture, the viewer, if he finds the right viewing height, can observe the coastline in a straight line.? 0 g.…

softcover PB, 297 x 210 mm, 160 pages, Illustrated. ENG-NL edition. ISBN 9789491262524. In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck's work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply. The book 'Screensaver Error' is conceived as a symmetrical, folded stack of sheets with images of Lisa's paintings and collages. At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages. The book consists of one section of 144 pages held together in the centre by coloured bookbinder's thread. The 'stack' of sewn paper sheets are not trimmed on the cut, creating a convex shape that is entirely in keeping with the language of Lisa's work. As an object, the book has the status of an autonomous work of art. Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel. In KIOSK, Lisa Vlaemminck presented a series of new paintings and a sixty-metre long textile sculpture that occupied the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient. At the end of the exhibition, the sculpture, Meat A Morph Hose, was cut into 35 separate, new sculptures that were offered as unique artworks. The artist is reprented by gallery rodolphe janssen 0 g.…

HB, 297 x 210 mm, 64 pages, EN-NL edition, Illustrated. ISBN 9789491262234. buren the collective of Melissa Mabesoone (b. 1988) and Oshin Albrecht (b. 1986) ? functions as a noun and as a verb, as an umbrella term for their practice and as a way of working together. They research, amongst others, subconscious sensations and desires, ways of dealing with commodity and property, the promise of happiness and a unique identity. How to deal with today?s impasse and the possible failure of our good life fantasies? This is expressed in different media such as performance, installation, video and film. The book Confusion of Tongues rejoices in confusion: the artists assume inexplicable poses, surrounding objects that are groped in an inappropriate manner. Over 20 short texts, Koen Brams conjures a world of fingers, watches, buses and other ?Things? Image and text come together to create a theatrical world in which the everyday seems to flirt with the supernatural. ?IN THE PALM OF THE HAND ? The objects have just two things in common: they have all belonged to different owners and they all fit in the palm of the hand. Whether it be a poker chip, a glass marble, a watch or a badge, they were all once noticed, picked up and safely concealed in a clasped hand. Then they travelled with him in his shirt or trouser pocket. The paths of his walks could be traced retrospectively and maps drawn up based on the things. This map of things would take you along fields, rivers and canals, on steep paths and ridges, into blind alleys and via secret shortcuts.? From: ?Things? Koen Brams, in: Confusion of Tongues 0 g. …

softcover, 297 x 210 mm, 160 pages, NL edition. ISBN 9789491262197. Nel Aerts (b. 1987) moves in a freely, intuitive way between different media as painting, drawing, collage, performance and sculpture. Since a few years she focuses more often on the portrait-genre, which she visualises on paper or on wooden panels, with careful attention to the different qualities of each material. As such, she is creating a large collection (family almost) of posing subjects caught between abstract patterns and hard-edged figuration. The figures she portraits refer to both popular culture and her direct, everyday surroundings. The self-portraits are tragicomic in the sense of the contrasts they evoke. Alternately they are desperate or funny, extra- or introverted, thought- or playful carved from wood or originated as a collage, but they are always introspective and self-relativistic. In Hundred Zundert, ?Nel Aerts evokes a visual rendezvous with Vincent van Gogh and sets the tone for the near one hundred drawings that would be made during her three-month residency at the Van Gogh House in Zundert. Rather than ?following in the footsteps of Van Gogh?, Aerts is interested in examining the mud and earth around them by (literally) placing herself in the environment of Van Gogh?s youth. The resulting work is characterised by a deceptive interplay between formal simplicity and playfulness which belies a substantial complexity. (?) Nel Aerts?s working process is uncomplicated and free of any pretension: black ball pen (dozens), sheets of white A4 paper (hundreds) and spontaneous, almost naive line work (in seemingly infinite supply) are the building blocks of a story that is nevertheless rich in visual and intimate detail, a story that teeters between seriousness and playfulness, at once both comical and deeply emotive.? From: ?Portrait of the Artist?, Grete Simkut , in: Hundred Zundert. 0 g.…

PB, 297 x 210 mm, 96 pages, ENG edition. ISBN 9789491262432. Colombian anthropologist and artist Juan Pablo Plazas is fascinated by the ability of people and communities to interpret the world in different ways. In his practice, he starts from everyday objects and raw materials that have special material or formal properties. With wonder and a sense of humour, he takes them out of their ordinary context, turns them into sculptures or gives them a role in a performance. Through this action, Plazas breaks through the 'dead normal' and invites us to understand objects as animated, living matter. 'Even if You' is a book in which all the lines set out by the artist in recent years come together as if they were a crossroads. 'When I think of the art I create and the discourse that surrounds my art, this image comes to mind: a ship adrift between icebergs. The icebergs being the found things, stories, encounters, situations that surface in an unpredictable way. The fact that I'm able to see only the tip of the iceberg, that maybe there are other parts of things that I can't understand or even put into words. It makes me think of the sublime being portrayed on the top of the mountain, without being able to what's underneath. Only in this case, the mountain is submerged in water and constantly on the move. What we can't see in the case of trees, is that they are all connected through a net of roots.' Fragment of By Any Other Name, a conversation between Tania Nasielski and Juan Pablo Plazas 0 g.…

HB, 297 x 210 mm, 48 pages, EN-NL edition, Illustrated. ISBN 9789491262630. Arnaud ( 1977), is een veelzijdig kunstenaar: hij maakt tekeningen, keramisch werk, schrijft po zie maar is ook actief als danser en performer. In elk van die media blinkt zijn werk uit in het verbergen, weglaten, vertragen, pauzeren, verzuimen of verstillen. In dans en in theater herkennen we de kunstenaar Arnaud die in de stilte de kreet onderstreept. Door te vertragen laat hij het publiek van beweging dromen. De kracht van Arnauds tekeningen ligt veelal in de ruimte die hij niet tekent. De tekening zijn met een heel zacht potlood getekend en ogen daardoor heel breekbaar. Arnaud gaat op een zeer gevoelige manier om met zijn media. Zijn werk komt met heel veel concentratie en geduld tot stand. Zijn keramisch werk bestaat o.a. uit bustes van personages die het midden hielden tussen mens en dier, waarbij enige sprookjesachtige connotatie nooit ver weg was. Voor dit boek maakt de uitgever een uitgekiende selectie van zelfportretten en tekeningen van mensen uit Arnauds omgeving. Elke tekening staat alleen op een pagina, soms tegenover een andere tekening maar soms ook helemaal alleen. De keuze voor veel ruimte is bewust, we willen geen overvloed aan tekeningen tonen. 0 g. …

Hardcover. Zustand: Fine. No Dust Jacket. 4to 11" - 13" tall; 191 pages.

PB, 297 x 210 mm, 96 pages, Illustrated. ENG-NL edition. ISBN 9789491262517. sawing a plank is like going for a walk by Kato Six (b. 1986) is published on the occasion of Kato's solo exhibition at M Leuven this autumn. This book encapsulates 10 years of her quest as an artist. The work of Kato Six balances between abstract and figurative art. She works with different themes which she develops into series or ensembles. Architecture, design, domesticity and utensils all function as important references. Starting from these, she uses recognisable and everyday materials such as MDF, stone, plastic or textiles. Kato wants to question certain affinities and let the viewer look at familiar objects or images from a different perspective. As a viewer, you feel connected to the object or image but the actual meaning or function no longer applies. "Some of my works refer to the domestic, especially the most recent ones, such as 'Carpet Beater Carpet' and 'Striped Knitwear'. The invisible work done by housewives, but also by workers or maintenance staff, is certainly one of the themes addressed in 'Carpet Beater Carpet'. The above works are textile works, created with so-called soft skills. In the arts, these soft skills are often attributed to female artists - women often being assigned a certain medium." Kato Six in conversation with Eva Wittocx in 'sawing a plank is like going for a walk' 0 g.…