VALIZ
fall/winter 2018
www.valiz.nl
Series
Antennae-Arts in Society Series RELEASED
The Antennae-Arts in Society Series maps the interaction between changes in society and cultural practices. It looks upon the arts as ‘antennae’, feelers for the cultural interpretation and articulation of topical political, economic, social, technological or environmental issues. It is a peer-reviewed book series that validates artistic, critical, speculative and essayistic writing as an academic publishing method. Publications in the Antennae series contain essays, theoretical explanations, socio-cultural explorations, activist calls, practicebased research, and artist’s contributions.
DESIGN Metahaven, metahaven.net SIZE 21 x 13,5 cm LANGUAGE English FORMAT Paperback PRICE € 19,50–€22,50
Commonism A New Aesthetics of the Real
CONTRIBUTORS Michel Bauwens, Giuliana Ciancio, Santiago Cirugeda, Maria Francesca De Tullio, Nico Dockx, Futurefarmers, Harry Gamboa Jr., Lara Garcia Diaz, Pascal Gielen, Liam Gillick, Eric Kluitenberg, Rudi Laermans, the land foundation, Sonja Lavaert, Peter Linebaugh, Matteo Lucchetti, Pat McCarthy, Antonio Negri, Hanka Otte, Elizabeth A. Povinelli, Jörn Schafaff, Stavros Stavrides, Evi Swinnen, Dennis Tyfus, Nomeda & Gediminas Urbonas, Walter Van Andel, Louis Volont, Judith Wielander
In much, if not all, printed matter that the artist Tyfus produces on his own label Ultra Eczema (UE) he invites, engages, and collaborates with other artists, writers, musicians. His work is about many different things and one can perhaps even say that UE is a production platform rather than just a regular record label. It is also a communication tool that enriches and enlarges his personal network of friends and collaborations. His artists’ books speak for themselves as they are simply things he really wants to publish, sometimes in conjunction with events, performances, or exhibitions, and sometimes just out of the necessity to share this work with friends. The great diversity of vinyl records that he releases on UE are mostly the product of collaborations in which the audio is created by musicians, artists, or performers he invites for a project. As part of his practice, Tyfus always designs and makes the artwork for these record sleeves. In most cases he tries to mix and collage both audio and visual materials. The personal relationship he has with other artists is the most important aspect in realizing all these collaborations. A lot of the music that UE releases is from Antwerp, as it totally makes sense—as a protest against forgetting—to document and record what is happening or what has happened in this small harbour city. Antwerp is pretty much known for its experimental music, fashion, and art, but there is still so much more to discover. UE wants to support, release, and communicate both his own practice as well as other people’s practices and all of this happens because there is an immediate and mutual understanding of each other’s work. It is all based on notions of friendship and commoning. Then again, collectivity brings its own difficulties. Sometimes, Tyfus has the feeling that collectivity is not feeding his energy but rather stopping it from taking place. He always has very clear ideas about the how and what of making a vinyl record, a book, an installation, a film, a performance, an architectural object. I guess this makes him a difficult, although very interesting and challenging character within any sort of group dynamics. A while ago—as part of our one-year long interview—Tyfus told me how he visited an exhibition of Assemble at the Architekturzentrum in Vienna. He told me that he was blown away by their work and their ideas as well as by their collective working attitude. And, to quote Tyfus: ‘This (positive) power of many hands joined together.’ Even though, in many cases, past experiences have indicated that collectivity is not where Tyfus functions at his best, there are a number of
— ‘Scheld’apen’ concert space, Antwerp, 1998. Photographer unknown — ‘Vol Au Vent’, found image — Club Moral, To All Who Are Interested…, Cthulhu Records–CR 09, Germany, 1989
T he Va lue of S q u at t i n g a Nipple
INFO 448 pp, English, September 2018 ISBN 978-94-92095-47-3 € 22,50
The Future of the New Artistic Innovation in Times of Social Acceleration Thijs Lijster (ed.)
innovate? How useful are terms such as ‘avant-garde’, ‘novelty’ and ‘progressive’ in the art world, now that they have become co-opted and therefore tainted by consumer capitalism? How revolutionary are the artistic revolutionaries actually, now that the modus operandi of capitalism is itself the ‘permanent revolution’ once dreamt of by Trotsky? The Future of the New brings together debates in different disciplines: debates within art theory and sociology concerning the historical and institutional origins of artistic innovation, debates within aesthetics and philosophy of time concerning the ontology of innovation, and debates within critical social theory concerning the social, political, and cultural pathologies created by acceleration and perpetual innovation. The book addresses a theme that is highly relevant to the contemporary fields of art and art theory. It is aimed at critics, artists, researchers, students, and all those who are interested in the current state of artistic innovation or concerned about its future. Combining timely analyses of contemporary art and inspiring visions for the future, The Future of the New attempts to set the agenda for the debate on the function, value and future of artistic innovation.
new’, but how can the arts and its institutions provide such relief or resistance when they are continually forced, either by nature or habit, to be innovative? Artists themselves, as well as the art institutions, are struggling with a legitimation crisis and find it difficult to respond to the ever-growing influence of the creative and culture industries, where innovation is continuously hailed as the primary source of profit. How can the arts critically relate to the contemporary culture of change when they are themselves and by their own definition forced into innovation?
PARTNERS IKK, Institute for Art and Critique; West, Den Haag; University of Groningen, Faculty of Arts, Arts in Society INFO 304 pp, English, September 2018 ISBN 978-94-92095-58-9 € 19,90
The Future of the New
176
The Paradox of the New Institution
177
9 789492 095589
CONTRIBUTORS Lietje Bauwens, Franco ‘Bifo’ Berardi, Robin Celikates, Wouter De Raeve, Elena Esposito, Boris Groys, Alice Haddad, Akiem Helmling, Bojana Kunst, Thijs Lijster, Suhail Malik, Benjamin Noys, Hartmut Rosa, Nick Srnicek, Carolyn F. Strauss, Rolando Vázquez, Alex Williams
The Future of the New In The Future of the New: Artistic Innovation in Times of Social Acceleration artists, theorists, and professionals working the art field reflect on the role of the arts in a world that is speeding up and changing through joint forces of globalization, digitization, commodification, and financialization. In this book the reader will find an investigation and exploration of concepts and strategies that allow us to deal with some of the problems and challenges mentioned above. How do artists, theorists, and art organizations deal with the changing role of and discourse on innovation? Should we renounce innovation as a neoliberal ideology and turn Outline to traditional practices (the revival of craftsmanship)? Should we The first part of the book focuses on the notion of acceleration, look for alternative ways to innovate, or should we change our and opens with the leading theorist of social acceleration, the discourse and look for other (new!) ways to talk about the new? German sociologist and critical theorist Hartmut Rosa. In a Or should we, as the accelerationists have proposed, immerse conversation with Robin Celikates and myself, Rosa reflects on ourselves fully in social and technological acceleration, as in a the implications of his theory of social acceleration for the arts. gesture of over-identification, so as to speed-up even more in order Though Rosa considers acceleration to be the main source of conto let capitalism crash against its own limits? temporary social and political alienation, the solution, in his view, For The Future of the New I invited theorists, critics, artdoes not simply lie in slowing down. Rather, as he has elaborately ists, and professionals in the art field to reflect on the concept discussed in his recent work, we should look into the opposite and practice of artistic innovation, and its role in various concepof alienation, which he calls ‘resonance’, a relationship of mutual tions of the relationship between art and social critique. Some of recognition and transformation. The arts, in his view, have the the central questions are: what does innovation in general and potential to form an ‘oasis’ for resonance in our ever-accelerating artistic innovation in particular mean today, and can it still funcworld, and thus a model for the ‘good life’. tion as a source of social critique? Can and should we distinabout poetic capacity of invention in relationship to the artisforms, thus turning themselves into good guish and obedient cultur- concepts of innovation (e.g. on Carolyn Strauss, founding director of the Amsterbetween different thethe basis institution; how this dwelling in the not-yet and acting as-ifResearch can al agents. However, the infrastructure theyofare offering can ac-to history and tradition)? Howticimportant dam-based Slow Lab, could be said to write from such their relationship change the rhythm of artistic work and how an we organize ourselves She reports of her journey across three tually be used and developed further if there is a space for for artistic the oasis of resonance. is innovation practices? Are innovation and novelty through work, how we organize ourselves continents inside the in precarious persistence in the mist, for the fogginess ofnecessarily imagination, and the to acceleration, or can we think two months, which she admits does not sound quite connected of ways foggy environment of imagination. I don’t want slowopening up of new processes. Institutions should today enable a slow, to butpropose that nevertheless allowed her to reflect on newness from to unlink them? Can contemporary art still be a source of social ing down to or give similar advice, even if this is aperspective. much-desired persistent and demanding fight on the field and where valuescritique are pro-without having to forsake the imperative a Slow For Strauss, the ‘new’ is very much entangled cultural wish of many cultural operators and artists. Something else is duced and where imagination is not colonized yet. So, they should at stake here: the need to develop imaginative temporal forms of become something that is in opposition to the transparency and working that would have the power to resist logistical and spinning managerial evidenceT hofe success F u t u r e o(a f tcrucial he New H a r the d e r , flexibility B e t t e r , S t and ronger, Faster precarity of contemporary work. In this sense it is necessary to institutional criterion of evaluation nowadays). Such awareness work imaginatively and resist the closure of the institution as a about the contradictory process of support and violence 12 inherent 13 possibility and performing the process of institutionalization in a to the institution is especially important in a time of immense way that has yet to be constituted. distrust in institutions, in a time of populism that is deeply interThere should be a radical shift in a temporal dimension of twined with processes of de-institutionalization, resulting in the production, fighting the projective temporality, its temporal loop destruction of the forms of social support, care, and common inbetween the present and the future, which structures the future in frastructure. Such populist distrust happens simultaneously with the relation to the existing power dynamics. Imaginative processthe neoliberal processes of de-institutionalizing, even if they often es not only challenge the project temporality with a multitude of have different goals. Neoliberalism expands globally through exproposals and works, but also with how modes of work and thinktraction and destruction of the existing modes of production in ing are enabled, supported, and also sustained. This can only be the local surroundings, while populism tries to re-establish the possible if imagination is understood as a dedication to what has archaic forms of togetherness (based on nationhood, manhood, yet to come, which is paradoxically an openness into the present and religion). However, both processes share the same institutiontime. This is the openness as if the future is always already there, al violence, which transforms the vulnerability and precarity of present in how it is continuously invented, shared, and challenged existing as a condition of being with others to the powerful means by the ways of present living. In this sense the temporality of the of discipline and control, disabling any possible change of forms present is characterized by an amplitude of simultaneous acts, not of living, instituting and organizing, any possibility of the ampliby the enumeration and acceleration of projects. Such openness tude of temporal rhythms of life. into the present time includes something restorative and re-estabFrom this perspective, the artistic institutions should not lishing along with something unfinished and incomplete. In this be defended, when endangered from politics and governments, sense the process of institutionalization is not to take care of the as monuments to freedom and experiment, but actually invented past (and freeze it), but neither about pushing it into the future anew within the utterly changed political and cultural circum(and, with the continuous production of the new, leave behind stances. Exactly in the moment of danger we need radical proposruins), but much more about a difficult process of giving change als. This radical proposal is a power of the collective poetic and to the present—visible between the repetition of the past and iminventive action, a persistent working towards impossibility that agination of the future. Maybe this is exactly what several artistic opens up new forms of imagination and being together. attempts of institutionalizing, thinking differently, trying different modes of living together are doing today and why there is such A New Rhythm a need for bringing back fantasy and imagination when thinking The poetic capacity of invention has also much to do with a parabout the institution: this proposal, to try to bathe and take place ticular rhythm, and rhythm is, at least in theories of poetics, cruin this fragile foam, is a poetic proposal. Poetic in the sense that it cial for poetics and poetry, because it is related to the subjectivity tries to make visible the production itself, how something comes of the language. This would be maybe one way of how to think
ISBN 978-94-92095-58-9
In The Future of the New: Artistic Innovation in Times of Social Acceleration artists, theorists, and professionals working the art field reflect on the role of the arts in a world that is speeding up and changing through joint forces of globalization, digitization, commodification, and financialization. Can artistic innovation still function as a source of critique? How do artists, theorists, and art organizations deal with the changing role of and discourse on innovation? Should we look for alternative ways to innovate, or should we change our discourse and look for other (new!) ways to talk about the new? Combining timely analyses of contemporary art and inspiring visions for the future, The Future of the New attempts to set the agenda for the debate on the function, value and future of artistic innovation.
9 789492 095473
PARTNERS ARIA, Antwerp Research Institute for the Arts, University of Antwerp; Royal Academy of Fine Arts Antwerp/Artesis Plantijn; Culture Commons Quest Office, Antwerp; Research Foundation Flanders
ISBN 978-94-92095-47-3
223
ISBN 978-94-92095-47-3
Commonism maps those new ideological thoughts. How do they work and, especially, what is their aesthetics? How do they shape the reality of our living together? Is there another, more just future imaginable through the commons? What strategies and what aesthetics do commoners adopt? This book explores this new political belief system, alternating between theoretical analysis, wild artistic speculation, inspiring art examples, almost empirical observations and critical reflection.
Nico Dockx & Pascal Gielen (eds.)
ISBN 978-94-92095-58-9
After half a century of neoliberalism, a new radical, practice-based ideology is making its way from the margins: commonism, with an o in the middle. It is based on the values of sharing, common (intellectual) ownership and new social cooperations. Commoners assert that social relationships can replace money (contract) relationships. They advocate solidarity and they trust in peer-to-peer relationships to develop new ways of production.
Antennae-Arts in Society Series NEW
Practicing Art Internationally Friendship, Solidarity, Ethics Binna Choi, Lisa Rosendahl, and Grant Watson with Andrea Phillips (eds.)
The Otolith Group, A Century Before Us, 2014. Courtesy and copyright the artists
CONTRIBUTORS Sara Ahmed, Rustom Bharucha, Binna Choi, Alice Creischer and Andreas Siekmann with Matthijs de Bruijne, Kodwo Eshun and Anjalika Sagar (The Otolith Group), Leela Gandhi, Johanna Gustavsson, Christian Nyampeta, Park Chan-kyong, Andrea Phillips, Lisa Rosendahl, and Grant Watson PARTNERS Casco Art Institute: Working for the Commons, Utrecht, www.casco.art; Iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, Stockholm, www.konstnarsnamnden.se; Institute of International Visual Art (Iniva), London, www.iniva.org DESIGN David Bennewith, colophon.info INFO Pb, c. 192 pp, c. 27 x 21 cm (h x w), English, November 2018 ISBN 978-94-92095-61-9 € 25,00
9 789492 095619
The choice of ‘international’ in the project title (rather than the other terms that occur interchangeably in this book) flags the connection of this approach to a legacy of twentieth-century leftist internationalism woven through many of the contributions.
November 2018
ISBN 978-94-92095-61-9
Visual art is not limited to a discipline but rather thought of as a practice, able to generate encounters, ways of life, and historical narratives in a different register. This is reflected in Practicing Art Internationally through a set of concrete examples, including an account of an artist assembly from the 1990s running counter to an art fair, an alliance with migrant workers, a class-based critique within international feminism, transcultural ways of life from the LGBT community, analysis of work conditions in cultural institutions, early twentieth-century cosmopolitanism in India and its links to progressive movements worldwide, as a well as panAfricanism in the second half of the twentieth century under the intensive reworking of colonized territories as new nation-states.
Practicing Art Internationally
ISBN 978-94-92095-61-9
What is at stake in this book is an attempt to de-align the discussion of international art practice from the rhetoric of globalization and an exclusive focus on the contemporary. Instead, it seeks to trace a genealogy of translocal practices, with histories and methods that link to networks of friendship and solidarity, and of the visual arts as participating in a longer history of contact between individuals motivated by shared interests and struggles.
Art and Society NEW
Unlearning Excercises Art Organizations as Sites for Unlearning
Casco Team & Annette Krauss, ‘Site for Unlearning (Art Organisation)’, Cleaning Together, photo: Unlearning Busyness, diagram, installation view, Casco, Utrecht, 2014. Courtesy: Casco, Utecht; photo: Niels Moolenaar
CONTRIBUTORS Liz Allan, Yollotl Alvarado, Antariksa, Jacob Apostol, Binna Choi, Joy Melanie Escani, Andrés García, Brigitta Isabella, Faisol Iskandor, Ismiatun, Nancy Jouwe, Annette Krauss, Emily Pethick, Andrea Phillips, Kerstin Stakemeier, Sakiko Sugawa, Syafiatudina, Ferdiansyah Thajib, Marina Vishmidt, Yolande van der Heide, Erminah Zaenah, and the shifting team at Casco Art Institute: Working for the Commons
Casco Team & Annette Krauss, ‘Site for Unlearning (Art Organisation)’, Cleaning Together, 2014. Courtesy: Casco, Utrecht
PARTNER Casco Art Institute: Working for the Commons, Utrecht www.casco.art DESIGN Rosie Eveleigh, rlle.co.uk INFO Pb, 22 x 16.5 cm (h x w), English, November 2018 ISBN 978-94-92095-53-4 € 19,90
9 789492 095534
Unlearning Excercises: Art Organizations as Sites for Unlearning shares a set of ‘unlearning exercises’ as propositions to be useful for and adapted within other specific (institutional) contexts in and beyond the arts. These exercises range from daily practices like ‘Cleaning Together,’ to unresolvable issues of collective authorship and fair wage. They also offer insights into the lively and longterm collective unlearning process. The exercises are accompanied by personal accounts, essays, political criticism, and collective conversations that form a multifaceted critique of institutionalized habits while studying and practicing processes of unlearning.
November 2018
ISBN 978-94-92095-53-4
9 789492 095619
During the unlearning exercises the conditions and modalities of a particular group of art workers were expressed. The business of running an art institution is irrevocably tied up with the anxiety and stress of constantly ‘being busy’ making things visible in competitive and hierarchical conditions. This busyness causes the habitual undervaluing of what often remains invisible—so-called reproductive works such as cleaning, fixing, and caring. Unlearning processes make way for social transformations that lead towards the culture of equality and difference which we call the culture of the commons.
Binna Choi, Annette Krauss, Yolande van der Heide (eds.)
Unlearning Excercises
ISBN 978-94-92095-53-4
Learning is the accumulation of knowledge, skills, and behavior and is often progress-oriented and institutionally driven. In contrast, unlearning is directed towards embodied forms of knowledge and the (un)conscious operation of ways of thinking and doing. Unlearning denotes an active critical investigation of normative structures and practices in order to become aware and get rid of taken-for-granted ‘truths’ of theory and practice. This book shares the process of unlearning, taking art and art institutions as sites for unlearning and Casco Art Institute: Working for the Commons as an experimental case.
Art and Society NEW
Series The series ‘Making Public’ investigates ‘the public’, the civil domain where space, knowledge, values and commodities are shared. What does this notion of ‘public’ mean? How does this domain change under the influence of social, political and technological tendencies? Where are the boundaries of ‘the public’ and how are they determined? What forms of responsibility and solidarity does ‘the public’ invoke? And how do artists and culture critics shape the debate on these issues? DESIGN Template, Marlon Harder & Lasse van den Bosch Christensen, template-studio.nl SIZE 22 x 17 cm (h x w) LANGUAGE English FORMAT Paperback PRICE € 19,90
A 978-94-92095-23-7 B 978-94-92095-28-2 C 978-94-92095-29-9 L 978-94-92095-26-8
Making Public Series RELEASED
Archive Species Bodies, Habits, Practices
Art, Photography, Fashion, Research NEW Archive Species
Joke Robaard & Camiel van Winkel
October 2018
110
CAMIEL VAN WINKEL is a writer on contemporary art and cinema, teacher, and occasional curator. His latest book is: During the Exhibition the Gallery Will Be Closed. Contemporary Art and the Paradoxes of Conceptualism (Valiz, 2012). 200
Our dream rewired. Telephone switchboards, radio valves, television tubes integrated. Their logical culmination: the computer. The device of our times, a magic mirror that reveals what is to come. Our powers of prediction grow with every new circuit crammed in. Leap into tomorrow— one trillion calculations a second. And it grows more powerful, becomes smaller. Smart, mobile, personal. Today—in our pockets. Tomorrow—woven into our bodies. —Dreams Rewired, narration You read this article, as I write it, very probably with a ‘smart’ device within reach—a general-purpose machine that bestows a natural extension of ourselves into networks of communication and information, which are perhaps soon to be networks of cognition. This enhancement is not just limited to our becoming users of the internet, nor to us becoming users at all. For these information networks also track our travelling, web-browsing and purchasing habits, for example, as gleaned from the metadata that we unconsciously, but continuously, write; thus the power of third parties (such as corporations) is also enhanced. The data sequestered in these networks (sometimes called ‘Big Data’)
Still from Dreams Rewired (Luksch/Reinhart/ Tode, 2015): Hände: Das Leben und die Liebe eines zärtlichen Geschlechts (Miklós Bándy, Stella Simon 1927-28)
102
LOST AND LIVING (IN) ARCHIVES
111
constitutes a user-generated archive. Conversely, as I will show, the archive absorbs the communication networks connected to it—just as it absorbs the standalone devices needed to read its contents. This assimilation of the network, I argue, emphasizes the function of the archive in controlling knowledge, over its traditional role of being ‘neutral ’ storage. The film essay Dreams Rewired (2015), directed by Manu Luksch, Martin Reinhart and Thomas Tode, is an assemblage of more than 200 films from the 1880s to the 1930s, many rare, some previously unscreened; they range from the earliest dramatic works to music hall slapstick, newsreels, marketing materials, recordings of scientific experiments, and artistic explorations of film as medium. One major trajectory through Dreams Rewired traces contemporary (network-induced) appetites and anxieties back to the birth of the electric age, illustrating how the psychological and social convulsions of today’s hyper-mediated world were prefigured in the electric media boom of the late nineteenth century. Not only is Dreams Rewired itself an archive, of depictions of the hopes and fears for a connected electric future, the central process in its making was the consultation of over fifty public and private media archives around the world. Even the idea of making the film per se stems from the accidental discovery in an archive cellar of shellac discs, which upon inspection turned out to hold the (presumed lost) soundtrack to Eisenstein’s Battleship Potemkin by Edmund Meisel. ‘Track, record, freeze the trace—then tune, control, accelerate.’ —Dreams Rewired, narration
Battleship Potemkin, and the disc that started it all Nadeltonschallplatte/ sound-on-disc (number 3 of a set of 5 discs) of Bronenossez Potjomkin (Sergei Eisenstein,1925) with soundtrack by Edmund Meisel, recorded in 1930, and rediscovered in 2002; restored and published as ‘Wiener Fassung’, 2014. Technisches Museum Wien.
In Dreams Rewired, the archive is not only a bridge to the past, but also a bridge to the future—to the future as foretold through early science fiction film, and also to a future scientifically predicted by the high-speed serial photography and time-and-motion studies of Étienne-Jules Marey.
103
FROM THE CELLAR TO THE CLOUD
201
Big Star, Rails, 5/1999 •Master, L’Uomo Vogue, 1978 •Chloé, Dutch, 1999 •Avenue, c. 1974, photo: Boudewijn Neuteboom
DESIGN Elisabeth Klement, elisabethklement.com INFO c. 1200 images, pb, 496 pp, 27.8 x 21.6 cm (h x w), English, October 2018 ISBN 978-94-92095-43-5 € 39,50
9 789492 095435
SUPPORT Creative Industries Fund NL; Mondriaan Fund; Prins Bernhard Cultuurfonds; Gerrit Rietveld Academie; LAPS, Research Institute for Art and Public Space ISBN 978-94-92095-43-5
The essays in this book—on topics such the assembled self, the construction and deconstruction of garments, and the metaphorical potential of textile and fabric— should be read in close connection to the prolific visual material. Fashion photography adopts behavioural patterns from everyday life, and prints or stamps them, in the form of graphic patterns and textile arrangements, onto the bodies of men and women and the clothes that they wear. This is what Archive Species wants to demonstrate. It is an inquiry into shifting forms of human behaviour and self-presentation, the entropy of materials, and the habits of dress. Fashion photographs are read as fossils of graphic production: although embedded in the past, they point forward to conditions of contemporaneity.
JOKE ROBAARD is an artist/researcher and teacher. The very first book that Valiz published was: Joke Robaard, Folders, Suits, Pockets, Files, Stocks (Valiz, 2003).
photo: Richard Grassi •Christie’s, The Financial Times, 5/2012 •Charles of the Ritz, Vogue, 10/1980 •Vogue, 1974, photo: Arthur Elgort •Real Fur, British Vogue, c. 1981 •Zu+Elements, iO Donna, 2008 •Lancôme, British Vogue, c. 1981 •YSL, Elle, 1993 •Dormeuil, British Vogue, c. 1981, photo: Victor Skrebneski
ISBN 978-94-92095-43-5
Archive Species is an inquiry into the representation of clothed bodies in print media since the 1970s. Artist Joke Robaard and writer Camiel van Winkel have been re-assembling and re-reading the vast archive of fashion and newspaper images that Robaard has collected since 1979. Together they selected images from the archive and arranged them into dynamic series or cycles, generating new narratives and unexpected pathways of signification. Using an artistic strategy of appropriation and alienation, the authors identify crucial connections between body, object, and behaviour, in an elaborate attempt to expose the hidden cultural and political layers of fashion photography.
Vogue Italia, 1997, photo: Ellen von Unwerth •Vogue Italia, 10/1977, photo: Barry Lategan •Dépêche Mode, 1982, photographer unknown •Cignal, Man, 1990 •Anastasia, Elle, c. 1986 •Charles of the Ritz, Marie Claire, c. 1982 •Givenchy, Vogue Italia, 1981 •Man, 1997, photo: Luc Praet •Dépêche Mode, 1982, photographer unknown •Wolford, British Vogue, 1981 •Samsonite, Vogue Italia, 3/2001 •British Vogue, 1967, photo: Oliviero Toscani •Classic, Elegance, 3/1972 •Ultrafiery, Elle, 1986 •Vogue, c. 1987, photo: Sheila Metzner •Ruffo, Vogue Italia, 1978 •Marie Claire, c. 1984, photo: Marc Hispard •British Vogue, 4/1976, photographer unknown •The Financial Times, c. 2014, Bernard Arnault,
Series
vis-Ă -vis RELEASED
The vis-Ă -vis series provides a platform to stimulating and relevant subjects in recent and emerging visual arts, architecture and design. The authors relate to history and art history, to other authors, to recent topics and to the reader. Most are academic researchers. What binds them is a visual way of thinking, an undaunted treatment of the subject matter and a skilful, creative style of writing. Series design by Sam de Groot, www.samdegroot.nl.
Conceptual Art in a Curatorial Perspective Between Dematerialization and Documentation Nathalie Zonnenberg
vis-à-vis NEW Conceptual Art in a Curatorial Perspective November 2018
Jan Dibbets, Project for art & project bulletin 15, 1969
NATHALIE ZONNENBERG is an art historian and curator. She holds a PhD in Art History from Vrije Universiteit, Amsterdam (NL). Zonnenberg regularly writes on contemporary art, and she lectures at the post-graduate Curatorial Studies programme at KASK/the Royal Academy of Fine Arts in Ghent (BE).
Jan Dibbets, Project for art & project bulletin 15, 1969
INFO Pb, 272 pp, 23.5 x 16.5 cm (h x w), English, November 2018 ISBN 978-90-78088-76-9 € 25,00
9 789078 088769
DESIGN Sam de Groot, samdegroot.nl
ISBN 978-90-78088-76-9
SUPPORT Mondriaan Fund; Prins Bernhard Cultuurfonds ISBN 978-90-78088-76-9
Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not objectbased, creates challenges in exhibiting or re-exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonization. The aim of the book is not to offer clear-cut practical solutions, but to raise awareness of the issue within the traditional curatorial field. It is relevant for students of art and culture (particularly in museum and curatorial studies), art and museum professionals, and everyone interested in the art of the 1960s and 1970s.
ISBN 978-94-92095-17-6, € 35
ISBN 978-94-92095-51-0, € 19,90
Brand-New Highlights
ISBN 978-94-92095-40-4, € 19,90 ISBN 978-94-92095-41-1, € 22,50
ISBN 978-94-92095-42-8, € 27,50 ISBN 978-94-92095-49-7, € 27,50
Flourishing Foodscapes Designing City-Region Food Systems
Urban, Rural, Social and Food Issues PREVIOUSLY ANNOUNCED
Han Wiskerke, Saline Verhoeven (authors/eds.)
The term ‘foodscapes’—a combination of food and landscape—refers to the social and spatial organization of networks and systems of food provisioning. In other words, the physical places and social practices of food production, food processing, distribution, sales, preparation, and consumption. Creating future-proof food systems is about addressing their social, economic, and ecological vulnerabilities and sustainabilities. It also relates to how the spatial qualities of the rural and urban landscapes and their use need to adapt and change.
PARTNERS Academy of Architecture, Amsterdam
DESIGN Hans Gremmen, hansgremmen.nl INFO Pb, 296 pp, 24 x 17 cm (h x w), English, September 2018 ISBN 978-94-92095-38-1 € 25,50
9 789492 095381
SUPPORT Creative Industries Fund NL ISBN 978-94-92095-38-1
Thinking about food-related problems and challenges is becoming increasingly important. These issues influence our planet and way of life, but also our everyday existence. Flourishing Foodscapes transcends the field of bottom-up initiatives and private projects. If we really want to design more sustainable food systems, we will have to think more structurally about changing food provisioning at various levels of scale. Flourishing Foodscapes links research, case studies, and spatial design and takes a step towards a more comprehensive approach to food issues, building on inspiring practices, projects, and designs from all over the world.
CONTRIBUTORS Jacques Abelman, Laura Bracalenti, Claire Callander, Joy Carey, Chloé Charreton, Maxim Cloarec, Nevin Cohen, Lola Domínguez García, Marielle Dubbeling, Anna Maria Fink, Antoine Fourrier, Pepijn Godefroy, Paul de Graaf, Floris Grondman, Karen de Groot, David Habets, Daniel Keech, Niké van Keulen, Kim Kool, Tim Kort, Jerryt Krombeen, Minke Mulder, Ruut van Paridon, Matthew Reed, Cecilia Rocha, Lara Sibbing, Paul Swagemakers, Marieke Timmermans, Louise E.M. Vet, Mark van Vilsteren, Marc C.A. Wegerif
ISBN 978-94-92095-38-1
Food not only has to do with nutrition but influences a multitude of domains; from health to (eating) culture and from employment to climate change. It has a major impact on the city (especially on consumption and distribution, and, to a lesser extent, on production) and on rural areas (mainly production), but also on the relations between city and countryside, close by as well as far apart.
Complete List / Fondslijst (OP) = out of print / (OP) = uitverkocht (SC) = scarce, almost out of print / (SC) = laatste exemplaren in zicht All titles are in English, except for: (NL) = in Dutch only / Alleen de titels met (NL) zijn in het Nederlands, de rest is in het Engels. NEW / NIEUW ___ Archive Species: Bodies, Habits, Practices Joke Robaard & Camiel van Winkel 2018, ISBN 978-94-92095-43-5, € 39,90 ___ Commonism: A New Aesthetics of the Real Antennae-Arts in Society Nico Dockx, Pascal Gielen (eds.) 2018, ISBN 978-94-92095-47-3, € 22,50 ___ Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation Nathalie Zonnenberg (vis-à-vis series) 2018, ISBN 978-90-78088-76-9, € 25,00 ___The Future of the New: Artistic Innovation in Times of Social Acceleration Antennae-Arts in Society Thijs Lijster (ed.) 2018, ISBN 978-94-92095-58-8, € 19,90 ___ Practicing Art Internationally: Friendship, Solidarity, Ethics Casco Utrecht 2018, ISBN 978-94-92095-61-9, € 25,00 ___ Unlearning Exercises: Art Organizations as Sites for Unlearning Casco Utrecht 2018, ISBN 978-94-92095-53-4, € 19,90 ANTENNAE SERIES ___ Aesthetic Justice: Intersecting Artistic and Moral Perspectives Pascal Gielen & Niels Van Tomme (eds.) 2015, ISBN 978-90-78088-86-8, € 19,90
___ Dread: The Dizziness of Freedom Juha van `t Zelfde (ed.) 2013, ISBN 978-90-78088-81-3, € 19,50 ___The Ethics of Art: Ecological Turns in the Performing Arts Guy Cools, Pascal Gielen (eds.) 2014, ISBN 978-90-78088-87-5, € 19,90 ___The Fall of the Studio: Artists at Work (OP) Wouter Davidts, Kim Paice (eds.) 2009, ISBN 978-90-78088-29-5, € 18,50 ___The Future of the New: Artistic Innovation in Times of Social Acceleration Thijs Lijster (ed.) 2018, ISBN 978-94-92095-58-8, € 19,90 ___ Imaginative Bodies: Dialogues in Performance Practices Guy Cools (author), Bowler (ed.) 2017, ISBN 978-94-92095-20-6, € 19,90 ___ In-between Dance Cultures: On the Migratory Artistic Identity of Sidi Larbi Cherkaoui and Akram Khan Guy Cools 2015, ISBN 978-94-92095-11-4, € 19,50 ___ Institutional Attitudes: Instituting Art in a Flat World Pascal Gielen (ed.) 2013, ISBN 978-90-78088-68-4, € 19,50 ___ Interrupting the City: Artistic Constitutions of the Public Sphere Sander Bax, Pascal Gielen, Bram Ieven (eds.) 2015, ISBN 978-94-92095-02-2, € 19,90 ___ Locating the Producers: Durational Approaches to Public Art (OP) Paul O’Neill, Claire Doherty (eds.) 2011, ISBN 978-90-78088-51-6, € 19,90 ___ Mobile Autonomy: Exercises in Artists’ Self-Organization Nico Dockx, Pascal Gielen (eds.) 2015, ISBN 978-94-92095-10-7, € 19,90 ___ Moving Together: Theorizing and Making Contemporary Dance Rudi Laermans 2015, ISBN 978-90-78088-52-3, € 19,90
___ Spaces for Criticism: Shifts in Contemporary Art Discourses Lijster, Milevska, Gielen, Sonderegger (eds.) 2015, ISBN 978-90-78088-75-2, € 19,90 ___Take Place: Photography, Multimedia Art and the Concept of Place (OP) Helen Westgeest (ed.) 2009, ISBN 978-90-78088-35-6, € 18,50 ___Teaching Art in the Neoliberal Realm (OP) Pascal Gielen & Paul De Bruyne (eds.) 2012, ISBN 978-90-78088-57-8, € 19,90 VIS-À-VIS SERIES ___ Failed Images: Photography and its Counter-Practices Ernst van Alphen 2018, ISBN 978-94-92095-45-9, € 25,00 ___ Jean Leering, ‘Het gaat om heel eenvoudige dingen’ (NL) Paul Kempers 2018, ISBN 978-94-92095-07-7, € 27,50 ___The Lure of the Biographical: On the (Self-)Presentation of Artists Sandra Kisters 2017, ISBN 978-94-92095-25-1, € 27,50 ___ Brian O’Doherty/Patrick Ireland: Word, Image and Institutional Critique Christa-Maria Lerm Hayes (ed.) 2017, ISBN 978-94-92095-24-4, € 25,00 ___ Pavilion Propositions: Nine Points on an Architectural Phenomenon Macarthur, Holden, Paine, Davidts 2018, ISBN 978-94-92095-25-1, € 17,50 ___The Perfect Spectator: The Experience of the Artwork and Reception Aesthetics Janneke Wesseling 2016, ISBN 978-90-80818-50-7, € 25 ___The Shape of Evidence: Contemporary Art and the Document Sophie Berrebi 2015, ISBN 978-90-78088-98-1, € 25 ___ Of Sponge, Stone and ... Janneke Wesseling (inaugural lecture) 2016, ISBN 978-90-80818-21-3, € 10
___ Alternative Mainstream: Making Choices in Pop Music Gert Keunen 2015, ISBN 978-90-78088-95-0, € 19,90
___The Murmuring of the Artistic Multitude: (3th revised edition) Global Art, Politics and Post-Fordism Pascal Gielen 2015, ISBN 978-94-92095-04-6, € 19,90
___The Trade of the Teacher: Visual Thinking with Mieke Bal Jeroen Lutters 2018, ISBN 978-94-92095-56-5, € 17,50
___The Art of Civil Action: Political Space and Cultural Dissent Philipp Dietachmair, Pascal Gieloen (eds.) 2017, ISBN 978-94-92095-39-8, € 19,90
___ No Culture, No Europe: On the Foundation of Politics Pascal Gielen (ed.) 2015, ISBN 978-94-92095-03-9, € 19,90
___The Transhistorical Museum: Mapping the Field Wittocx, Demeester, Bühler e.a. (eds.) 2018, ISBN 978-94-92095-52-7, € 19,90
___ Arts Education Beyond Art: Teaching Art in Times of Change Barend van Heusden, Pascal Gielen (eds.) 2015, ISBN 978-90-78088-85-1, € 19,90
___ Participation Is Risky: Approaches in Joint Creative Processes Liesbeth Huybrechts (ed.) 2014, ISBN 978-90-78088-77-6, € 19,50
___Triple Bound: Essays on Art, Architecture, and Museums Wouter Davidts 2017, ISBN 978-90-78088-49-3, € 25
___ Commonism: A New Aesthetics of the Real Nico Dockx, Pascal Gielen (eds.) 2018, ISBN 978-94-92095-47-3, € 22,50
___The Practice of Dramaturgy: Working on Actions in Performance Georgelou, Protopapa, Theodoridou (eds.) 2017, ISBN 978-94-92095-18-3, € 19,90
___ De volmaakte beschouwer (e-book) (NL) Janneke Wesseling (vis-à-vis) 2015, ISBN 978-90-78088-97-4, € 10
___ Community Art (2nd revised edition): The Politics of Trespassing Paul De Bruyne, Pascal Gielen (eds.) 2011 (2014), ISBN 978-90-78088-50-9, € 19,90
MAKING PUBLIC SERIES ___ See it Again, Say it Again: The Artist as Researcher (OP) Janneke Wesseling (ed.) 2011, ISBN 978-90-78088-53-0, € 19,50
___ Authenticity?: Observations and Artistic Strategies in the Post-Digital Age Barbara Cueto, Bas Hendrikx (eds.) 2017, ISBN 978-94-92095-23-7, € 19,90
___ Being Public: How Art Creates the Public Jeroen Boomgaard, Rogier Brom (eds.) 2017, ISBN 978-94-92095-28-2, € 19,90
___ Common Skin—Myriam Mihindou Daphne Pappers (ed.) 2014, ISBN 978-90-78088-67-7, € 19,90
___ Compassion: A Paradox in Art and Society Jeroen Boomgaard, Rini Hurkmans, Judith Westerveld (eds.) 2017, ISBN 978-94-92095-29-9, € 19,90
___ Compassion: A Paradox in Art and Society Making Public Series Jeroen Boomgaard, Rini Hurkamns, Judith Westerveld (eds.) 2017, ISBN 978-94-92095-29-9, € 19,90
___ Lost and Living (in) Archives: Collectively Shaping New Memories Annet Dekker (ed.) 2017, ISBN 978-94-92095-26-8, € 19,90 VALIZ BACKLIST ___ Along Amsterdam´s Waterfront (SC) Sabine Lebesque 2006, ISBN 978-90-78088-12-7, € 19,90 ___ Amsterdam in Letters (NL/Eng) (OP) Maarten Helle 2008, ISBN 978-90-78088-25-7, € 29,50 ___ Amsterdamse Pleinen (OP) (NL) 2010, ISBN 978-90-78088-43-1, € 25 ___ Around Amsterdam’s IJ Banks Sabine Lebesque 2011, ISBN 978-90-78088-48-6, € 19,50 ___ Atlas AUP Gebieden Amsterdam (NL) Jouke van der Werf, Marina Roosebeek (eds.) 2013, ISBN 978-90-78088-42-4, € 35
___The Constituent Museum: Constellations of Knowledge, Politics and Mediation. A Generator of Social Change L’Internationale Byrne, Morgan, Paynter, Sánchez de Serdio, Zeleznik (eds.) 2018, ISBN 978-94-92095-42-8, € 27,50
___ Highrise—Common Ground (SC) Jeroen Boomgaard (ed.) 2008, ISBN 978-90-78088-18-9, € 19,90 ___ Adelita Husni-Bey, White Paper: On Land, Law and the Imaginary Alampi, Choi, Husni-Bey, Maier-Rothe, Martinez (eds.) 2017, ISBN 978-94-92095-27-5, € 15,00 ___ I Read Where I Am (OP) Mieke Gerritzen, Geert Lovink, Minke Kampman (eds.) 2011, ISBN 978-90-78088-55-4, € 17,50
___ Luc Deleu—T.O.P. office: Orban Space Wouter Davidts, Stefaan Vervoort, Guy Châtel (eds.) 2012, ISBN 978-90-78088-60-8, € 27,50
___ Jakarta Megalopolis Arjan van Helmond, Stani Michiels 2007, ISBN 978-90-78088-01-1, € 19,50
___ Designpolitie –The ABC of De Designpolitie (SC) 2008, ISBN 978-90-78088-21-9, € 10 ___ Dit is Nederland / Dienstcatalogus (SC) (NL) Martijn Engelbregt 2006, ISBN 90-78088-02-8, € 4 ___ During the Exhibition the Gallery Will Be Closed (OP) Camiel van Winkel 2012, ISBN 978-90-78088-56-1, € 25
___ Autonomie als waarde (NL) Pascal Gielen e.a. (eds.) 2013, ISBN 978-90-78088-66-0, € 15
___ Dutch Resource (OP) Werkplaats Typografie 2005, ISBN 978-90-80818-57-6, € 26
___ Het Balkon (OP) (NL) 2008, ISBN 978-90-78088-19-6, € 5
___ Facing Value: Radical Perspectives from the Arts Maaike Lauwaert, Francien van Westrenen (eds.) 2017, ISBN 978-94-92095-00-8, € 27,50
___ Peer Bedaux, Architect (OP) 2006, ISBN 978-90-78088-06-6, € 33
___ Sara van der Heide, Penumbra (SC) 2005, ISBN 90-80818-58-5, € 20
___ Courageous Citizens: How Culture Contributes to Social Change Lafleur, Maas, Mors / ECF (eds.) 2018, ISBN 978-94-92095-51-0, € 19,90
___ Authenticity?: Observations and Artistic Strategies in the Post-Digital Age Making Public Series Barbara Cueto, Bas Hendrikx(eds.) 2017, ISBN 978-94-92095-23-7, € 19,90
___ BAVO, Too Active to Act (NL) 2010, ISBN 978-90-78088-38-7, € 15
___ Hard Werken: One for All, Graphic Art & Design Ian Horton, Bettina Furnée (e.a.) 2018, ISBN 978-94-92095-17-6, € 35,00
___ Langs het IJ (SC) (NL) Sabine Lebesque 2006, ISBN 978-90-78088-11-0, € 18,90 ___The Long 1980s: Constellations of Art, Politics and Identities, A Collection of Microhistories L’Internationale 2018, ISBN 978-94-92095-49-7, € 27,50 ___ Lost and Living (in) Archives: Collectively Shaping New Memories Making Public Series Annet Dekker (ed.) 2017, ISBN 978-94-92095-26-8, € 19,90 ___ Een nieuw huis voor Muis Mus (OP) (NL) Hanne Hagenaars with De Designpolitie 2008, ISBN 978-90-78088-20-2, € 5 ___ Nieuwe symbolen voor Nederland (NL) Rutger Wolfson (ed.) 2005, ISBN 978-90-80818-59-0, € 10
___ Flow, This is the Flow Rutger Wolfson (ed.) 2009, ISBN 978-90-78088-24-0, € 10
___ Being Public: How Art Creates the Public Making Public Series Jeroen Boomgaard, Rogier Brom (eds.) 2017, ISBN 978-94-92095-28-2, € 19,90
___Walter Nikkels: Depicted|Abgebildet|Afgebeeld 2013, ISBN 978-90-78088-54-7, € 45
___ Gijs Frieling, Vernacular Painting (OP) Gijs Frieling, Job Wouters 2009, ISBN 978-90-78088-37-0, € 35
___ Nils Norman, Eetbaar Park/Edible Park (SC) 2012, ISBN 978-90-78088-61-5, € 19,50
___ Blommers & Schumm, Anita and 124 other portraits (OP) 2006, ISBN 978-90-78088-08-0, € 35
___ Future Publics | BAK Maria Hlavajova, Ranjit Hoskote (eds.) 2015, ISBN 978-94-78088-94-3, € 24
___ Blue Tuesdays, De Ateliers (OP) 2004, ISBN 90-807318-2-X, € 17,50
___ Game Urbanism (SC) Hans Venhuizen 2010, ISBN 978-90-78088-46-2, € 26
___ Koen van den Broek, Crack (OP) Davidts e.a. (ed.) 2010, ISBN 978-90-78088-41-7, € 29,50 ___Van Brummelen & De Haan, Redrawing the Boundaries (SC) 2009, ISBN 978-90-78088-26-4, € 25 ___ Conditional Design Workbook (OP) 2013, ISBN 978-90-78088-58-5, € 24,50 ___ Joost Conijn (OP) 2007, ISBN 978-90-78088-04-2, € 29,50
___ Game Urbanism (SC) (NL) Hans Venhuizen 2010, ISBN 978-90-78088-30-1, € 25 (NL) ___ Grand Domestic Revolution Handbook (OP) Casco | Binna Choi, Maiko Tanaka (eds.) 2014, ISBN 978-90-78088-92-9, € 29,90 ___ Ni Haifeng, The Return of the Shreds Ni Haifeng, Kitty Zijlmans (eds.) 2008, ISBN 978-90-71655-22-7, € 17,50
___ Now Jetzt / Time Travel / Magdeburg (SC) 2005, ISBN 978-90-78088-03-6, € 20 ___ Marion von Osten, Once We Were Artists | BAK Maria Hlavajova, Tom Holert (eds.) 2016, ISBN 978-94-92095-14-5, € 19,90 ___The Painted Bird, Dreams and Nightmares of Europe Gijs Frieling, Valentijn Byvanck/Marres (eds.) 2017, ISBN 978-94-92095-36-7, € 25,00 ___ Plan and Play, Play and Plan: Defining Your Art Practice Janwillem, Schrofer 2018, ISBN 978-94-92095-40-4, € 19,90 ___ Positioning the Art Gallery Noor Mertens, e.a. (ed.) 2012, ISBN 978-90-78088-39-4, € 19,50
___ Poster No 525 (SC) René Put, Rianne Petter 2012, ISBN 978-90-78088-59-2, € 25 ___ Rancière, Het esthetische denken (NL) 2007, ISBN 978-90-78088-14-1, € 12,50 ___ Rancière, Grensganger tussen disciplines, Over Rancière (NL) Solange de Boer (ed.) 2007, ISBN 978-90-78088-15-8, € 12,50 ___ Jacques Rancière SET 2 delen (NL) Solange de Boer (ed.) 2007, ISBN 978-90-78088-16-5, € 20 ___ Repressief liberalisme (NL) Pascal Gielen 2013, ISBN 978-90-78088-84-4, € 19,50 ___The Responsible Object (In Reprint) Marjanne van Helvert (ed.) 2016, ISBN 978-94-92095-19-0, € 19,90 ___ Right About Now (SC) Margriet Schavemaker, Mischa Rakier (eds.) 2007, ISBN 978-90-78088-17-2, € 19,50 ___ Joke Robaard—Folders, Suits, Pockets, Files, Stocks (SC) 2003, ISBN 978-90-80818-52-1, € 35 ___We Roma | BAK Daniel Baker, Maria Hlavajova (eds.) 2013, ISBN 978-90-78088-78-3, € 24 ___ Maria Roosen, Maria’s (OP) 2005, ISBN 978-90-80818-56-9, € 25 ___ Maria Roosen, My Friends Hanne Hagenaars 2006, ISBN 90-78088-07-9, € 8,50 ___ Maria Roosen, Monster (OP) 2009, ISBN 978-90-78088-28-8, € 20 ___ Rafaël Rozendaal, Everything, Always, Everywhere 2009, ISBN 978-94-92095-30-5, € 25 ___ Julika Rudelius, Looking at the Other (SC) 2005, ISBN 90-78088-05-2, € 24,50 ___Willem Sandberg, Portrait of an Artist Ank Leeuw Marcar & Werkplaats Typografie 2013, ISBN 978-90-78088-73-8, € 19,50
___ Alexander van Slobbe, and… and…and (OP) 2010, ISBN 978-90-78088-31-8, € 45 ___ Slow Reader Ana Paula Pais, Carolyn Strauss (eds.) 2016, ISBN 978-94-92095-01-5, € 19,90 ___ Berend Strik, Body Electric (OP) 2004, ISBN 978-90-8081853-8, € 30 ___ Berend Strik, Stitches in Time (OP) 2008, ISBN 978-90-78088-23-3, € 17,50 ___ Berend Strik, Thixotropy 2009, ISBN 978-90-78088-27-1, € 29,50 ___Thuis - At Home, Heren 5 (OP) 2005, ISBN 978-90-80818-55-2, € 6,90 ___ Marjan Teeuwen, Destroyed House 2017, ISBN 978-94-92095-27-4, € 29,50 ___ Ulay, What’s This Thing Called Polaroid? 2016, ISBN 978-94-92095-13-8, € 25 ___ Ulay, Whispers: Ulay on Ulay Maria Rus Bojan, Alessandro Cassin e.a. 2014, ISBN 978-90-78088-72-1, € 35 ___ Rob Voerman, Aftermath (OP) 2010, ISBN 978-90-78088-40-0, € 29,50 ___ Giny Vos, Singing in the Dark (SC) 2010, ISBN 978-90-78088-33-2, € 29,50 ___ herman de vries—to be all ways te be (OP) Jean-Hubert Martin, Cees de Boer, Colin Huizing 2015, ISBN 978-90-78088-99-8, € 25 ___What’s the Use? Aikens, Lange, Seijdel, Ten Thije (eds.) 2015, ISBN 978-94-92095-12-1, € 27,50 ___ Het museum als plek voor ideeën (NL) Rutger Wolfson 2007, ISBN 978-90-78088-13-4, € 9,90 ___ Het IJ rondom (NL) Sabine Lebesque 2011, ISBN 978-90-78088-47-9, € 18,50 ___World Art Studies (SC) Kitty Zijlmans, Wilfried van Damme (eds.) 2008, ISBN 978-90-78088-22-6, € 29,50 TRANCITYXVALIZ
___Willem Sandberg, Portret van een kunstenaar (OP) (NL) Ank Leeuw Marcar & Werkplaats Typografie 2004, ISBN 90-80818-54-2, € 15 ___ Sandbergvleugel, Binnen was buiten (NL) Paul Kempers 2010, ISBN 978-90-78088-44-8, € 19,50 ___ SchoolParasites / Not the Trailer (OP) (NL) Wilma Kempinga (ed.) 2004, ISBN 978-90-80818-51-4, € 15,75 ___ Jurriaan Schrofer (1926–1990) Frederike Huygen, Jaap van Triest, Karel Martens 2013, ISBN 978-90-78088-70-7, € 39,90 ___ Jurriaan Schrofer (1926–1990) (NL) Frederike Huygen, Jaap van Triest, Karel Martens 2013, ISBN 978-90-78088-69-1, € 39,90 (NL)
___ Atlas Nieuwe Steden (NL) 2012, ISBN 978-90-78088-62-2, € 29,50 ___ Binational Urbanism Bernd Upmeyer 2015, ISBN 978-94-92095-06-0, € 22,50 ___ Binnen in de stad (NL) Matthijs de Boer 2012, ISBN 978-90-78088-64-6, € 24,50 ___ Compendium for the Civic Economy 2012, ISBN 978-90-78088-00-4, € 24,50 ___ Farming the City / CITIES 2013, ISBN 978-90-78088-63-9, € 27,50 ___ Make Your City: De stad als casco (NL/Eng)/ The City as a ShellNDSM-werf/NDSM Shipyard Amsterdam Eva de Klerk 2017, ISBN 978-94-92095-41-4, € 22,50
___ Nieuw-West: Parkstad of Stadswijk (NL) Nio, Reijndorp, Veldhuis, Blom 2016, ISBN 978-94-92095-22-0, € 26,50 ___ Het nieuwe stadmaken: (NL) Van gedreven pionieren naar gelijk speelveld Franke, Niemans, Soeterbroek 2015, ISBN 978-94-92095-05-3, € 19,90 ___ De uitvinding van de leeszaal (NL) Maurice Specht, Joke van der Zwaard 2015, ISBN 978-90-78088-96-7, € 22,50 ___ Pioniers in de stad (NL) Lokale Lente 2014, ISBN 978-90-78088-90-5, € 19,50 ___ Publiek vastgoed (NL) Marc van Leent 2012, ISBN 978-90-78088-65-3, € 22,50 ___ Reactivate! Indira van ‘t Klooster 2013, ISBN 978-90-78088-80-6, € 27,50 ___ Reactivate! (NL) Indira van ‘t Klooster 2013, ISBN 978-90-78088-79-0, € 27,50 ___ Het nieuwe stadmaken (NL) 2015, ISBN 978-94-92095-05-3, € 19,50 ___ Stedelingen veranderen de stad (NL) Mariska van den Berg 2013, ISBN 978-90-78088-82-0, € 15 ___ Stedelijke vraagstukken, veerkrachtige oplossingen: (NL) Ontwerpend onderzoek voor de toekomst van de regio’s Future Urban Regions (eds.) 2017, ISBN 978-94-92095-32-9, € 27,50 ___ Urban Challenges, Resilient Solutions: Design Thinking for the Future of Urban Regions Future Urban Regions (eds.) 2017, ISBN 978-94-92095-33-6, € 27,50 ___ De uitvinding van de leeszaal (NL) (SC) Collectieve tactieken en culturele uitwisselingen Specht, Van der Zwaard 2016, ISBN 978-90-8088-96-7, € 22,50 ___Vernieuwing van de stadsvernieuwing (NL) 2013, ISBN 978-90-78088-83-7, € 24,50 ___ De waarde van het alledaagse: (NL) Van beleidsdrang naar bewonersperspectief in de stadswijk NHTV Internationaal Hoger Onderwijs, Bureau 77 (eds.) 2016, ISBN 978-94-92095-32-9, € 19,50 ___The Wasted City: Approaches to Circular City Making Francesca Miazzo / CITIES (eds.) 2014, ISBN 978-94-92095-31-2, € 22,50 ___We Own The City Francesca Miazzo, Tris Kee / CITIES (eds.) 2014, ISBN 978-90-78088-91-2, € 27,50
Events 6–9 SEPTEMBER 2018 London Art Book Fair 2018 Whitechapel Gallery, London (UK) whitechapelgallery.org
10–14 OCTOBER 2018 Frankfurt Book Fair 2018 Messe Frankfurt, Frankfurt (DE) buchmesse.de
8–9 SEPTEMBER 2018 WIELS Art Book Fair 2018 WIELS, Contemporary Art Centre, Brussels (BE), wiels.org
18–19 OCTOBER Research Seminar ‘Time and Space to Create (and to Be Human)’ With Pascal Gielen, Hanka Otte, Bojana Kunst, Jozef Wouters, Patricia Jozef, Damiaan De Schrijver, Matthias de Koning, Peter Van den Eede e.a. Royal Academy of Fine Arts, Antwerp, uantwerpen.be/en/ research-groups/aria/activities/ research-seminars/time-and-spaceto-create/
9 SEPTEMBER 2018 Book launch ‘Het gaat om heel eenvoudige dingen’: Jean Leering en de kunst Van Abbemuseum, Eindhoven (NL) vanabbemuseum.nl 16 SEPTEMBER 2018 Nieuwe Boekenbeurs, UNESCO– Utrecht City of Literature Outdoor ‘Boekenlint’ Utrecht (NL) culturelezondagen.nl 20–23 SEPTEMBER 2018 New York Art Book Fair 2018, booth N39 MoMA PS1, New York (US) nyartbookfair.com 26 SEPTEMBER 2018 Book launch Commonism: A New Aesthetics of the Real With Nico Dockx, Pascal Gielen, Santiago Cirugeda, Antonio Negri, Guiliana Ciancio, Lara Garcia Diaz The Swamp Pavilion, la Biennale di Venezia (IT), swamp.it SEPTEMBER 2018 (date tbc) Book launch The Future of the New Summer school La Biennale di Venezia The Swamp Pavilion, la Biennale di Venezia (IT), swamp.it 27 SEPTEMBER 2018, 17:00–20:00 Book launch Flourishing Foodscapes: Design for City-Region Food Systems Academy of Architecture, Amsterdam (NL), bouwkunst.ahk.nl 28 SEPTEMBER 2018, 14:15–17:30 Best Dutch Book Designs 2018 Stedelijk Museum Amsterdam (NL) bestverzorgdeboeken.nl 28 SEPTEMBER 2018, 20:00–22:30 Book launch Failed Images: Photography and its CounterPractices Ernst van Alphen @ Stedelijk Book Club, Stedelijk Museum Amsterdam (NL), stedelijk.nl
OCTOBER/NOVEMBER Special event The Trade of the Teacher: Visual Thinking with Mieke Bal With Mieke Bal and Jeroen Lutters (date and location tbc) OCTOBER/NOVEMBER 2018 Programme The Future of the New With Thijs Lijster and others (date and location tbc)
DISTRIBUTION AND REPRESENTATION NL/BE/LU Jasiek Mischke (jasiek@valiz.nl) and BookMarks Centraal Boekhuis, www.centraal.boekhuis.nl GB/IE Anagram Books, www.anagrambooks.com Adeline Mannarini USA/CA/LATIN AMERICA D.A.P., www.artbook.com EUROPE/ASIA/AUSTRALIA Idea Books, www.ideabooks.nl REPRESENTATIVES OR DISTRIBUTION PARTNERS IDEA BOOKS • Australia and New Zealand: Perimeter Distribution, Justine Ellis & Dan Rule, www.perimeterbooks.com • China and Hong Kong: Edwin Chu, www.cps-hk.com • France, Switzerland and Walloon Belgium: Sébastien Richard, www.macadam-diffusion.fr • Germany and Austria: consult Idea Books • Japan and Asia: Julie Onishi, voice@sings.jp • Scandinavia: Anna Eriksson, anna.eriksson26@gmail.com • Southern Europe: Bookport Associates, bookport@bookport.it INDIVIDUAL ORDERS www.valiz.nl, info@valiz.nl
NOVEMBER/DECEMBER 2018 Book launch Archive Species— Bodies, Habits, Practices With Joke Robaard and Camiel van Winkel (date and location tbc) NOVEMBER 2018 Offprint Paris, Art Publishing Fair 2018 Beaux-Arts de Paris, Paris (FR) offprint.org 2–4 NOVEMBER 2018 FLAT Art Book Fair 2018 La Centrale, Nuvola Lavazza, Turin (IT), flatartbookfair.com 23–25 NOVEMBER 2018 Printing Plant, Amsterdam Art Book Fair 2018 Looiersgracht 60, Amsterdam (NL) looiersgracht60.org 9 DECEMBER 2018, 13:00–17:00 Beurs voor bijzondere uitgevers 2018 Paradiso, Amsterdam (NL) beursbijzondereuitgevers.nl
ISBN 978-94-92095-00-8, € 27,50
Design folder: Zuzana Kostelanská, Amsterdam, zuz.kostelanska@gmail.com Typeface: Univers Paper: hvo offset 70 gr/m2 Printing: Bariet Ten Brink, Meppel © Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2018 All rights reserved. All contents and prices can be subject to change!
Valiz is an independent international publisher on contemporary art, theory, critique, design and urban affairs. Our books offer critical reflection, interdisciplinary inspiration, and often establish a connection between artistic disciplines and socio-economic, political questions. Apart from publishing Valiz organizes lectures, debates and other cultural projects in which certain topics in contemporary art and culture are explored.
Valiz is een onafhankelijke, internationale uitgeverij op het gebied van kunst, theorie, kritiek, ontwerp en stadscultuur. Onze boeken bieden kritische reflectie en interdisciplinaire inspiratie, waarbij de link tussen artistieke disciplines en sociaaleconomische, politieke thema’s vaak centraal staat. Naast het uitgeven van boeken organiseert Valiz lezingen, debatten en andere culturele projecten waarin ontwikkelingen in de hedendaagse kunst en cultuur worden verkend.
15 YEARS Valiz was founded on the 1st of June 2003. We are still going to celebrate its 15 years of existence. We’ll keep you informed!
15 JAAR Valiz is opgericht op 1 juni 2003. We gaan het 15-jarig bestaan nog vieren; we houden u op de hoogte!
VALIZ TEAM
facebook.com/valizbooks instagram.com/valiz_books_projects
SARAH VAN BINSBERGEN co-director, editor, public programmes/ communication (and journalist/writer) WILLEMIJN BUNSKOEK general assistant (and student) NIC DE JONG general assistant (and artist, PhD researcher) JASIEK MISCHKE BookMark, fieldwork, representation (and artist) PIA POL director and co-publisher (and concept developer urban affairs) ASTRID VORSTERMANS director and publisher (and initiator, lecturer)
TRANCITYXVALIZ SIMON FRANKE publisher, developer, editor PIA POL publisher, editor, production www.trancity.nl
VALIZ Het Sieraad, Studio K34-K36 Postjesweg 1 NL–1057 DT Amsterdam www.valiz.nl