Fine Art - May 2024
Fine Art - May 2024
The official history of 20th-century avant-garde electronic music has been predominantly narrated
from the point of view of Anglo-American and Western European experiences and largely
remained focused on its male protagonists. To destabilize this history, this editorial project
presents a collection of perspectives, essays, interviews, archival photos, and work reviews
centered on the early electronic music production by Latin American female creators, who were
active from the 1960s to the 1980s. The book also brings us closer to the work of a new
generation of researchers who have focused on offering a non-canonical reading of the history of
music and technology in Latin America. The publication is the record of a new vision, an account
of the condition of being a woman in the field of music technology at a time when this was a
predominantly masculine domain.
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When used as a listening instrument, a glass is no longer a mere container. By amplifying sounds
and voices through a surface, it becomes a conduit between two seemingly distant environments.
In 'The Aquarium is a Listening Glass', nine short, non-linear stories - set amid scientific archives,
underwater research stations, natural history museums, national aquaria and oceanic
infrastructure - evoke the glass as a listening device to present singular relationships between
humans and fish that would otherwise go unheard.
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Roberto Paci Dalo - eBAU - Art Dreams for the New European Bauhaus
Quodlibet 2024 ISBN 9788822922458 Acqn 34666
Pb 13x21cm 128pp col ills £26
eBAU is a collection of thoughts and ideas on what a New European Bauhaus could be. Not an
essay, not an administrative document, not a plea, nor a manifesto. Simply a series of
suggestions morphing into fleeting visions, sudden vistas breaking through the fog of daily life.
What can art mean for the European Bauhaus? What can artists bring to the idea of a new school
that invents a new aesthetics, green and sustainable and equal, for a better world? Artist Roberto
Paci Dalo shares his thoughts in drawings and texts. An artist's book, a light collection of insights
and incitements fluttering out of the page, to point to other realities that are ours to invent.
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Desire, lust, intimacy, and resistance are reoccurring themes in Karlsson Lundgren's practice. For
more than 20 years, often with a starting point in the hidden micro-histories of the archive, he has
gently let surface perspectives on queer experiences and Swedish gay history. Shared and
temporary spaces such as the park, the night club, the bedroom or the work of activism often set
the stage for his investigations. Within the parameters set up by the works, political and juridical
structures are made visible, while often intertwined with moments of ecstasy, community, or
liberation. Published in collaboration with Bonniers Konsthall in conjunction with the exhibition I
Kiss Your Eyes (2024).
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Mercedes Azpilicueta's expansive project, 'Bestiary of Tonguelets' was initiated with curator
Virginie Bobi and unfolds as the artist's yet largest ongoing endeavour. Rooted in a script for an
unrealized performance, the project employs local, obsolete knowledges, "neobarroso" poems,
and failed translations to craft a grotesque choir of characters honoring chaos and excess.
Azpilicueta pays homage to pre-modern knowledge practices disseminated among women,
preceding suppression by capitalism, religion, and modern medicine. Inspired by encounters in
Paris, Madrid's Botanical Garden, and Bolzano's magical forests, the project weaves a new
embodied cartography through storytelling, fables, and ancient rituals.
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Enlightenment, Culture, Leisure: Houses of Culture in Czechoslovakia is the first book that
provides a comprehensive overview of the creation of a nationwide network of houses of culture
that were systematically established during the period of state socialism in the former
Czechoslovakia. As places of public life in post-war society, these buildings enjoyed generous
economic, political and legislative support. In addition to their specific typology, the book also
looks at the educational and emancipatory potential of houses of culture and their role in the
organization and control of leisure time. The publication also takes in the programmatic
precursors of this type of cultural and social institution dating back to the nineteenth-century and
the inter-war period (clubhouses, national or workers' houses), as well as overlaps into the period
after 1989, when buildings and their operators had to, and sometimes still have to, cope with the
demands of modernisation. The book covers both the Czech and Slovak context of the
construction of houses of culture, which not only manages to cover the entire territory of the
former Czechoslovakia, but also to capture the different historical experiences.
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Antonia Hirsch's 'Search Engine' is a book project that situates the Berlin-based artist's
conceptual practice on par with her production of images and objects. The book's title and its
central feature, a classic index, reveal the full spectrum of Hirsch's oeuvre. Mobilising
contemporary tools, narratives, and epistemic systems, she transforms raw information and raw
material into investigations of how we situate ourselves socially, politically, and economically. The
publication comprises an extensive image section, texts by Henriette Huldisch and Katharina
Rein, a conversation between Elena Filipovic and Hirsch, and an introduction and glossary by the
artist.
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Mary Ellen Bartley's series 'Morandi's Books' comprises meditative still life compositions in muted
colours, transformed by collage elements. Their palette and restraint, not to mention their
understated geometry, are clear homages to the Italian painter Giorgio Morandi (1890-1964).
Using photographs from her brief residency at his studio and library in Bologna, she combined
these with vellum, pieces of cut-out paper, or aged glassine typical of the papers that covered
many of the books from Morandi's collection, adding a beguiling layer of complexity. Her images
of the tattered and well-read volumes that informed Morandi's thinking and work transform them
into sacred relics.
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Christian Marclay's 'Telephones' (1995) was a precursor to the video collages he would produce
later, such as 'Crossfire' (2007), 'The Clock' (2010), and 'Doors' (2022). This publication takes the
earlier moving image work - where scenes were sampled from movies in VHS format rented at
video stores and edited into a seven-minute montage - and adapts it into book form. Based in our
collective memory of cinema, the original video's structure revealed a clash of technologies,
behavioural patterns, sound effects, and cultural references associated with audio and visual
communication. Almost 30 years later, its relevance seems to have grown rather than diminished.
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One of the most well-known artists of his generation, Nicu Ilfoveanu has built a reputation in not
only photography of the urban and human periphery but also the production and design of art
books. Both documentary and personal, his output has generated a new way of looking at
photography in Romania. 'Phantom Inventory' is part of a series of publications initiated by
Galeria Posibila in 2018 that bring the public closer to photography. Besides an introductory
essay, this volume includes several previously published texts as well as new commissions that
cover topical subjects on the working process in relation to film, education, Romanian printing
houses, and more.
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The first comprehensive monograph on the exploratory practice of visual and media artist Ayoung
Kim presents a selection of artworks produced between 2007 and 2022 through images and
installation views, together with contributions from critical voices. Kim weaves reality anew
through hybrid narratives, integrating geopolitics, mythology, technology, and futuristic
iconography. Her synthesised narratives trigger far-reaching and retroactive speculation,
connecting biopolitics and border controls, geological and virtual memories, and ancestral origins
and imminent futures in the forms of video, virtual reality (VR), game simulation, sonic fiction,
diagrams, and texts.
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Canonically Speaking is the second title to appear on our First Drafts imprint, a zigzag in
Kunstverein Publishing's output that's dedicated to publishing completed manuscripts that would
otherwise, for an array of reasons, not see the light of day in this rough early form. Central to
Canonically Speaking is the idea that (female) life is an inherently surrealist experience. In this
spirit, the 'absurd' is embraced as a means to speak out on themes such as self-image,
spirituality, mental health and work. While slipping between poetry, comprehensive list-making,
knock knock jokes and intertextual references, forms of recital and misinterpretation often take
place, whereby characters quote and repeat sentences and words from a large variety of
sources, jumping from the health benefits of whale blubber to court transcripts of Bill Clinton's
impeachment to the plasma that is released when microwaving two grapes side by side.
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Proceeding from an iconic installation by artists Marissa Lee Benedict, Daniel de Paula, and
David Rueter in the central atrium of Oscar Niemeyer's pavilion for the 34th Bienal de Sao Paulo,
this volume traces the salvage, displacement, and exhibition of the last corn commodities futures
trading pit from the Chicago Board of Trade. Essays and interviews provide divergent lenses from
which to view the work, moving from intimate to distant, scanning over the object, the artists, the
art institution, and the architectures of the geopolitical landscape in which these elements
operate. Section by section, the book works through the multiple, and compacted, meanings of
the word "deposition" (geologic, legal, art historical), layering images and texts to build concrete
yet non-linear relations, as the 32 fragments of the former trading floor are dragged from Chicago
to Sao Paulo.
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Art for Radical Ecologies is a platform impulsed by Institute of Radical Imagination that brings
together art workers and eco-activists to discuss the role art can play in the creation of new
radical ecologies. The Art for Radical Ecologies Manifesto is the initial result of this collective
writing, to reflect on the positioning and role of art within the interconnected struggles for climate
and ecological justice. The essays in the book expand on the main points presented in the 16
articles of the Manifesto: the need to intertwine new materialisms and historical materialism; the
specification of who the subjects of the struggles are in a more-than-human perspective; the
setting of possible strategies against censorship and artwashing, and a radical critique of
extractivism and colonialism.
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Nabuurs&VanDoorn – Greyzones
Kunstverein Publishing 2024 ISBN 9788832125115 Acqn 35906
Pb 17x24cm 144pp col ills £41
Greyzones, conceived and edited by the artists Nabuurs&VanDoorn, holds the middle between
an artist's book and a art publication, it is part and parcel of the Zwischenlandschaften series-with
a narrative of its own. The publication consists of interviews, conversations, with experts on the
various themes addressed in each episode of the Zwischenlandschaften, often drawing the work
into a particular strand of the art narrative. First readers, share their perspective on those
conversations to add to the perspectives that within a landscape are indeed myriad, and highly
individual. A visual narrative is carefully laid out by the artists weaves itself through the book.
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The book focuses on artists from the Baltic countries who have been living and working outside of
the region for longer periods of time or who have been engaged in a nomadic lifestyle, constantly
travelling between different cities and countries. It explores different aspects of migration,
precariousness, belonging, and community-building in the practices of these artists, in order to
reflect on how the working conditions shape their artworks. Your Time Is My Time also captures a
turning point in the perception of temporal, geographic, and social proximity, and the shift towards
finding more sustainable artistic methods and practices in response to deepening economic and
ecological distress. Has this current era of crises resulted in new ways of working? How has the
meaning of home and workplace changed?
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Abdullah Al Saadi - Sometimes you have to go a long way to come back a short distance
KAPH 2024 ISBN 9786148035678 Acqn 35908
Pb 20x28cm 242pp col ills £47
Abdullah Al Saadi has a long and storied relationship with the Emirate of Sharjah. Al Saadi was
an integral part of the pioneering 'Five' - the generation of conceptual artists who emerged in the
1980s and reshaped the traditional cultural landscape, ushering in a new philosophical and
conceptual turn in the local arts scene. In keeping with the ambition of the exhibition to evoke the
far-ranging scope and unique vantage point of his work, the book aims to present an important
cross-section of his prolific and inimitable practice. Generated solely from the efforts and archives
of the Sharjah Art Foundation in collaboration with the artist and local cultural organisations, it is
by no means an attempt at a definitive or exhaustive volume; instead, it intends to crystallise and
ground the human and environmental narratives at the core of Al Saadi's work. Featuring extracts
from the artist's sketchbooks and journals, as well as his installations and live documentation of
his travels, the monograph is an initiation into Al Saadi's life and art, and we hope, a catalyst for
further research into artistic practices beyond the canon and an initiation into environmental and
land art from the region on its own terms.
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Kehinde Wiley, whose work reinterprets pictorial representations of power and prestige through
the tradition of portrait painting, began to question the meaning of presidential leadership after the
election of Barack Obama. In 2012, he imagined an unprecedented series dedicated to African
heads of state. For the next ten years, he travelled the continent to meet them. With each of
them, he has explored the history of aristocratic, royal and military portraiture in 17th- 18th- and
19th-century Europe, to create a composition that illustrates each leader's singular view of what it
means to be a contemporary African leader. In September 2023, the series A Maze of Power was
exhibited for the first time at musee du quai Branly - Jacques Chirac.
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In Zulu, imbizo means "gathering" which is called by the elders when there are communal
problems so that everyone listens to each other to see how solutions can evolve. The book
Globalisto. A philosophy in flux. Acts of an Imbizo is intended as a hybrid between a catalogue of
the exhibition held at MAMC+ from 25 June to 16 October 2022 and the publication of the
proceedings of the symposium held on 6 and 7 October 2022. The book is therefore in two parts.
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This publication embarks on a rigorous reappraisal of the historical exchanges between the
German Democratic Republic and its so-called 'Bruderlander' (brother countries). Appearing on
the occasion of the eponymous research and exhibition project at Haus der Kulturen der Welt in
Berlin, it examines the resonant aesthetic, social, and political implications of an era from the
perspectives of those who were deeply affected by the GDR's state and labour policies.
Conversations and essays from witnesses, scholars, and artists reveal a more discerning
perspective on the connections of solidarity that linked the GDR to countries such as Angola,
Cuba, Vietnam, and more.
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A collective publication resulting from a research project led by Sophie Orlando and Katrin Strobel
at the Villa Arson in Nice (2014-2023), this book takes as its starting point the way in which
current geopolitical, economic, and social changes induce a renewal and adjustment of artistic
strategies. By investing in an intersectional perspective, contextual thinking, and feminist, queer,
and postcolonial thinking, it reveals how a body of collective, cross-disciplinary, and ephemeral
practices that share collaborative and educational aspects was set in motion, giving rise to a
prolific exchange between the textual and visual forms of the multiple authors and artists
involved.
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This book features the masterful work of Shunei Nishida, a Japanese painter who believes that
"painting is work". Nishida started out painting landscapes that capture the dense, humid climate
of Japanese and European landscapes, contemporary flower and bird paintings, and even Borzoi
dogs, but continues to take on a variety of subjects, including portraiture. The artist is guided by
everything in the natural world and draws on the spirituality and universality of this realm from his
deep connection with nature. His spatial expressions are backed by solid techniques, embracing
things that cannot be seen with the naked eye and fantastical themes to express the pure beauty
of existence.
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The provocative coat featured on the cover conceals a special issue about clothes, how they
behave, and how they move us. Guest curator and trend forecaster Lidewij Edelkoort lends her
visionary gaze to the issue's content. Discover how being overdressed is a social dilemma and
how moving from one colour to another is an almost geographical choice, how textiles need to be
revitalised and venerated, and how 20th-century art is influencing 21st-century fashion design,
with a focus on collage and sculptural shapes. Featured are trends researcher Meryem Laghmari,
design consultant Philip Fimmano, interior designer Rozemarijn de Witte, artist Marisol, and
more.
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