In this collection of photographs taken in over 36 countries, Christer Löfgren explores the international art of graffiti and wall paintings. From his base in Stockholm, Sweden, Löfgren travels to places where street art can be found, including places like the Antarctic, Greenland, and Svalbard, where you may not expect to see it. The book addresses the current duality of opinion about street art: it is still viewed as a criminal act in many places, and yet at the same time it is accepted as a valid and important art form. It crosses boundaries to unite communities all around the world. Organised in two sections, the first section of this book explores the methods and motivations behind the work, while the second section focuses on street art in specific countries around the world.
Spanish-born photographer Fadia Ahma (b.1975) lives and works in Lebanon. Her poetic series of photographs of Beirut eloquently captures the street life of that resilient city; merchants on street corners, grocers, fishermen, bathers, street artists, collapsed buildings, new construction. She presents fragments of life through fragments of the city itself. This is the first monograph of her vibrant and intuitive work on the people and places of Beirut.
She has been crisscrossing her city with a camera since 2003. District after district, house after house, she explores the complexity and humanity of Beirut and the Lebanese people. “I decided,” she explains, “to follow an itinerary, which is always the same, so that I wouldn’t disperse myself. It is my constancy that allows me to discover, to meld with this city.” Fadia Ahmad’s imagines her photographs as paintings, which mirror Beirut and capture the poetry of place and people which are nestled in the slightest details.
Text in English and French.
Bricks, one of the earliest materials associated with both housing and the body, are the subject and object of this publication. In terms of human agency, bricks are the basic unit through which the artist introduces his designs in the landscape. Kaufmann uses this simple, yet tough, material to build up an imaginative world that is not linked solely to the bricks as such, but also to the symbolic charge they possess (the concept of transparency, physical and metaphorical walls, and their associated imaginative world). A total of ten works will be exhibited and Kaufmann himself presents each in the book. The introduction is edited by Anne-Claire Schumacher, who discusses Kaufmann’s development and his place in the history of ceramic art and in contemporary art as a whole. This is followed by a contribution by Luca Pattaroni, who views the topic from a socio-political perspective. The five main works set in the park of the Ariana Museum and the continuation into the museum’s basement are described and commented by the artist.
Text in English and French.
Eclectic, eccentric and tirelessly innovative, art crafted from cut paper has experienced an exciting renaissance in recent years. Published to accompany a travelling exhibit organised by the Museum of Arts and Design in New York, Slash: Paper Under the Knife examines the resurgence of traditional handicraft materials and techniques in contemporary art and design. Highlighting the work of forty-five international artists, among them Olafur Eliasson, Tom Friedman, William Kentridge, and Kara Walker, the book features not only cut but also burned, torn, laser-cut, shredded and sculpted paper art. In addition, the book includes cut-paper animation, as well as cut paper incorporated in photography and fashion. Works range from small-scale intricate cuttings to large-scale architectural inventions and sculptures. With an essay by well-known decorative arts expert David Revere McFadden, this singular book reveals that, with ingenuity and craftsmanship, one of our most familiar implements can be transformed into unforgettable works of art.
“Haunting photographs” – The Wall Street Journal. “Henk van Rensbergen is a hero for urban explorers around the world” – Flanders Today. “As an airline pilot, Belgian-born Henk Van Rensbergen was used to travelling the world. But he found a great way to supersize that passion: hunting for the most wonderful, secret, haunting abandoned places” – CNN. While his crew is resting at the pool, pilot and photographer Henk van Rensbergen explores deserted city palaces, overgrown factories or desolate areas of nature, finding beauty in the decay. This engaging book of photographs, a revised edition with new material, lets us wander through abandoned places, including Abkhazia, a break-away region bordering Georgia and Russia and the newest must-visit for every urban explorer.
In The Power of the Avant-Garde, contemporary artists from different art disciplines enter into dialogue with their colleagues from the historical avant-garde movement. Luc Tuymans talks about ‘Le Grand Cheval’ of Raymond Duchamp-Villon; Marlène Dumas describes her passion for Edvard Munch; John Baldessari discusses the genius Marcel Broodthaers,… This book makes surprising links, shedding new light on the power and influence of art before, during and after World War I. Text in English, French, and Dutch.
“Vandekeybus brought into focus a whole new genre of modern dance… Combat rolls, breakneck sprints and savagely wrestled duets became the defining vocabulary of a new generation.” The Guardian
In 2016, Wim Vandekeybus’ company Ultima Vez celebrates its 30th birthday. Never before has his oeuvre been recorded in a book. Until now. This extraordinary book is a visual trip through the most powerful images from his repertoire, a quest for the ideas and themes that inspire him. It also contains unpublished texts, notes and scripts from his shows and films. A number of compagnons de route, such as David Byrne, Mauro Pawlowski, and Peter Verhelst, offer a personal textual contribution. Text in English, French, and Dutch.
“‘The marvellous is always beautiful,’ reads a sign on the wall of the Scottish National Museum of Modern Art. This stirring slogan, by Andre Breton, from his Manifesto of Surrealism, sets the tone for this fascinating, mind expanding exhibition.” – BBC Arts “Outstanding… The finest spread of surrealist art – paintings and objects – to be seen in Britain since the momentous Surreal Things: Surrealism and Design show at the V&A in 2007.” – Sunday Times
This book brings together over 160 of the finest surrealist artworks by legendary artists including Salvador Dalí, Max Ernst, René Magritte, Joan Miró and Man Ray. The works hail from the four renowned and extraordinary private collections of Edward James, Roland Penrose, Gabrielle Keiller and Ulla and Heiner Pietzsch, and together offer a superb overview of surrealist art. Ten essays explore the different origins, historical contexts and creative urges behind these collections. Artworks, perhaps more than anything else that one can acquire, are objects of desire and surrealist artworks even more so. The sheer quality of the works acquired (and, in the case of the Pietzsches, still being acquired) is astonishing and, while passionate about their private visions, all the collectors have been mindful of contributing something to the public good. The collections complement each other to an extraordinary degree and allow us to follow some of the artists’ careers from beginning to end. By uniting them, exciting new juxtapositions emerge along with a fuller and richer picture of the surrealist movement as a whole.
This stunning book documents a collection of 66 extraordinary pieces of petrified wood, mainly from Western United States (Arizona, Oregon, Washington). Specially photographed they are shown in their entirety and in magnificent details.
Petrified wood is formed from fallen trees that in the absence of oxygen and microbes, and with water containing minerals, through a replacement process called permineralization, slowly transform into visually spectacular fossils. But Nature often uses a paintbrush in its preservation magic, splashing the wooden canvas with an array of colours and hues before fixing it in a matrix of hard durable quartz, thereby creating splendid works of art. Petrified wood has been found throughout the world, but actual petrified forests are truly noteworthy in the United States, the most famous being the Chinle Formation forest of Arizona.
Mediating Environments examines fundamental and radical environmental conditions in the Arctic and provides a spectrum of innovative design approaches and spatial outcomes. Climate organises and sustains a broad range of activities in the Arctic, and it will dictate the future transformations in northern urban landscapes and their metabolic operations. As such, arctic urbanism must take into account the varied nuances of weather phenomena that are deeply engrained in everyday living practices and biophysical fabrics. By revisiting and reconfiguring the intersections between environmental and design systems, this publication aims to expand conceptual strategies in the arctic beyond the modes of insulation, stabilisation, and optimisation while repositioning the region as a central figure within the global network of exchanges. How can the ‘arctic wall’ as a defining feature of northern architecture be renegotiated? Can design, whether it is pavement assemblies or building foundations built on permafrost, escape the confines of technical precedence aimed to resist instability, and instead work with – take advantage of – dynamic environmental mechanisms, such as thermal cycles of ground, pronounced in the region? This study is not an argument against engineering but for greater synergies between engineering and design as well as between science and design, and for developing climatically responsive and arctic-specific paradigms for the construction and maintenance of arctic cities. The future of sustainable arctic development requires resiliency in urban form and programming that is adaptive to the current and future flux inherent in the region, as well as a repositioning of the arctic environment as a productive, robust, and dynamic foreground through which design and urbanism occur and are contextualised.
In Cachan, a suburb south of Paris, Ateliers O-S Architectes was commissioned with transforming a local theatre building, originally built in the early twentieth century, into a thriving cultural centre. The commission went well beyond merely rebuilding and modernising an existing structure. Rather, the firm was tasked with creating an entirely new neighbourhood. Everything but the auditorium and stage of the old building was demolished and replaced with a more spacious, new complex including an additional hall, a new foyer and exhibition space, a restaurant, and new rooms for building and stage equipment. The neighbouring tennis court became a public park. Lever de Rideau presents the creation of Cachan’s new Jacques Carat Theater. Designed to mimic a theatre programme, the book brings together short essays and interviews; portraits of key protagonists; a graphic short story; and ample illustrations, including plans and photographs by celebrated French photographer Cyrille Weiner, which show the building embedded in Cachan’s urban fabric. Offering captivating behind-the-scenes insights, this unconventional book will be welcomed by readers interested in modern architecture and urban planning. Text in English and French.
Architectural objects confront their environment. They constitute a boundary, a form with an internalised point of view. Understanding architecture as environmental objects suggests a questioning of these dichotomies of separation between the symbolic landmark and the landscape background. It represents an architecture that amplifies nature, attunes to it and makes us aware of it. Portugal Lessons takes Portugal as a case study for such contextualism going beyond an understanding of design as immunisation. Based on the latest research program conducted by EPFL’s Laboratory Basel (laba), it explores the topic of this architectural boundary: with whom we live, to whom we open our house, how permeable the boundary should be. The findings are visualised in striking images, graphics and maps. The book also features proposals for architectural interventions by laba’s students, all of them tackling issues of housing.
Jan Turnovský (1942-95), born and educated in Prague, emigrated to Austria in 1966 and worked for various architectural firms in Vienna. In 1975 he was appointed as a research and teaching assistant at Technische Universität Wien’s Institute for Architecture and Design. During his tenure, and as temporary head of the institute’s department of residential architecture in 1995, he proved to be an equally dedicated and unorthodox assistant and lecturer. His thinking and intellectual legacy has been influential for an entire generation of younger Austrian architects. This new book presents for the first time Turnovský’s previously unpublished The Weltanschauung as an Ersatz Gestalt as a facsimile-reprint of his illustrated and highly original typo-script. Penned as a thesis to obtain his Master’s degree at the AA in London, the text focuses on a philosophy of “open systems”, which Turnovský applies to the architectural design process. He relates the psychological term “gestalt” to the philosophical weltanschauung: A collective, contemporary, etc. “weltanschauung” always affects our perception of a “gestalt”, in this case a work of architecture. Turnovský questions conventional thinking both critically and constructively and presents his strategy of reading architecture and its elements in new contexts. Text in English and German.
Dry stone walls are a critical component of the landscape in Switzerland and many other countries. They support the cultivation of agriculture and livestock, and they are also integral to the ecosystem. And, in many locations across Switzerland, they are in need of restoration by those with a thorough understanding of their roles and vast range of types and purposes. Drawing on the copious research and practice of the Environmental Action Foundation, Dry Stone Walls is a uniquely comprehensive work on the topic, combining cultural history with a guide to plants and animals that find their habitat in such structures and a practical, step-by-step manual to the building and maintenance of dry stone walls. Richly illustrated with more than four hundred photographs and drawings, including many in colour, the book contains a wealth of advice for both the planning of new dry stone walls and the care of existing ones, as well as information on structural analysis and the organisation of building sites. The book will serve as a guide for future generations everywhere to this ancient practice that is in danger of extinction. With contributions by Werner Bätzing, Sandro Benedetti, Fredi Bieri, Giovanni Buzzi, François Busson, Klaus C. Ewald, Hans-Karl Gerber, Marianne Hassenstein, Thomas Kesselring, Hans Peter Kistler, Peter Krebs, Christine Loriol, Daniel Pelagatti, Ingrid Schegk, Theodor Schmidt, Mathias Steiger, Richard Tufnell, Andrin Willi, and Franziska Witschi.
Carleton Varney is “Mr. Color,” known for his inventive use of unexpected color combinations and for creating bright, happy interiors. His projects have ranged from some of the world’s most famous resorts, such as the Greenbrier in West Virginia, and the Grand Hotel in Michigan, to the White House, as well as residences from Europe to the South Pacific. As a young man, he trained under the tutelage of design world-icon Dorothy Draper. Now as the head of the venerable Dorothy Draper and Company, Inc., Varney continues the tradition of grand scale and bold contrasts in fabrics, wall coverings, and furniture designs, and yet he gives every room his signature style. For the first time, he gives an “on the set” tour of his popular HSN television show, Live Vividly.
“Living with color changes your life,” says Varney, and in Mr. Color, more than three hundred dazzling photographs by Michel Arnaud show you how. Contents:
Chapter One: A Memory for Color Chapter Two: Townhouse Color Chapter Three: Local Color Chapter Four: Time for Color Chapter Five: Color Inside Out Chapter Six: A Splash of Color
This volume travels through the most important moments and crossroads in the lifetime and career of Christian Boltanski, which have led him into reflecting upon the outcome of some historical events during the twentieth century and on the need to reconsider appropriate representation methods.
History, histories and the statute of the image are the fulcrum of the conversation being proposed. In particular, this conversation deals with some fundamental themes: the difference between collective memory, recollection and oblivion; relations between the individual and the crowd; the entity of absence, intended as proof of a destroyed presence, but also as device for the reactivation of memory; the incidence of an isolated glance, that of the observer, upon whose primacy the history of western art has constructed its foundations.
This catalogue includes Christo and Jeanne-Claude’s realised and unrealised large-scale projects from 1961 to 2016. Besides the famous wrapped monuments, from the Kunsthalle in Bern (1967-1968) to the Reichstag in Berlin (1971-1995), the publication also includes the barriers made with barrels or with fabric, from Wall of Oil Barrels – The Iron Curtain in Paris (1961-62) to Valley Curtain in Rifle, Colorado (1960-62), the great inflatable objects, from 42,390 Cubic Feet Package of Minneapolis (1966) to 5600 Cubicmeter Package, Project for documenta IV in Kassel (1967-1968), and the fabric pathways, such as Wrapped Walk Ways in Kansas City (1977-1978), or doors, such as The Gates in New York (1979-2005). The seven Water Projects – Christo and Jeanne-Claude’s installations sharing a connection with water – are considered in further depth. In these projects, from Running Fence, Sonoma and Marin Counties, California (1972-1976) to Over the River, a project for the Arkansas River, State of Colorado (1992), the artists worked on establishing a close connection with natural, suburban and urban landscapes that all share a relation with water, be it an ocean, a sea, a lake or a river. The Floating Piers, an installation that allowed visitors to walk across Lake Iseo, is also included here. Among the Water Projects we must mention The Floating Piers, an installation open from June 18 to July 3 2016, which allowed visitors to walk across Lake Iseo and along its shores on a 3-kilometre route. By means of modular floating piers covered in shimmering yellow fabric, the installation linked the town of Sulzano on the lake’s shores, to Monte Isola, also reaching the Island of San Paolo.
Considered today as work that moves in real space with the lightness of a gesture that suddenly takes shape, depositing itself on the walls of places in which it happens to be, Pino Pinelli’s painting offers the image of an energy source that seems to arise spontaneously from the spirit of the place, displaying its infinite possibilities of being, breathing, imagining, and generating new solutions; the fruit, as Pinelli’s friend, the poet Carlo Invernizzi, said in one of his first interventions dedicated to the artist at the end of the 1980s, “of an irrepressible yearning to be de-localised, so as to be a wandering centre on the margins and beyond the boundaries in a prefiguration of the world that is created as a possibility of the boundlessness.” In this, Pinelli’s painting never fails to go beyond the sensory perception one can have of space, of material-colour, even beyond the idea of painting itself. Text in English and Italian.
From 12 October 2019 to 19 January 2020, the South Korean artist Kimsooja will surround the City of Poitiers on the occasion of the first edition of Traversées, a new international artistic and cultural event, closely linked to the destiny of a major building, the Palace of the Dukes of Aquitaine, and its neighbourhood, historical and heritage heart of the city. Kimsooja welcomes other artists, with whom her work resonates, and invites them to look at the city and create new perspectives. From India to Morocco, via South Korea, Peru or Japan, Traversées / Kimsooja is an invitation to a kaleidoscopic trip around the world, punctuated by installations, concerts and performances.
Published to accompany an event at Poitiers, Palais des ducs d’Aquitaine taking place between 12 October 2019 and 19 January 2020.
Text in English and French.
Seven years after his first book, Bart Lens and his team Lens°Ass show how the direction they have chosen can lead to fascinating projects. The formulation of a clear and precise concept forms the basis of every single design. A concious choice of materials and elaborated detailing bring forth creations that express tranquility and serenity. The clear line-work emphasises the pure emotions that originate in the union of design and light. The great care that goes into the elaboration of the interior in all its facets is a constant preoccupation for Les°Ass. The book presents a wide variety of projects: new constructions, remodelling assignments, interior designs, even objects such as furniture and lamps. The introduction of a basic idea, a theme, forms the foundation of every project, no matter what its scale might be. This same vision is also the starting point for the recent large-scale architectural projects.
Text in English and Dutch.
Belgian designer Lieven Musschoot has a very pragmatic approach to interior design. Musschoot doesn’t impose his character and style on his designs – the designer’s ego is of very little to no importance – but attentively listens to the wishes and demands of his clients. Only afterwards he puts all things together in a detailed and thoroughly thought out plan. Musschoot designs total concepts, not only does he give spaces their appearance and function, he also designs the furniture, the wall coverings, etc- up to the smallest details that can make or break a space, such as napkins and cutlery. That graduating ‘cum laude’ doesn’t automatically equal a full order book, became painfully evident when Lieven Musschoot had to work in bars and restaurants to simply earn a living. Coincidentally, or maybe just because of his experience in this specific business, restaurant design would later become his trademark and the sort of design work he is most solicited for. Trendy bars, caterers, hip and young diners and several Michelin star restaurants have been conceptualised by Lieven Musschoot. Lieven Musschoot: Restaurant Designs is a first comprehensive overview of Musschoot’s restaurant designs. Text in English and Dutch.