Valiz folder fall/winter 2015-16

valiz

Kunst Theorie Kritiek Design Typografie Stadscultuur

12,5 years

fall/winter 2015–16

Art Theory Critique Design Typography Urban Culture

v

www.valiz.nl Het Sieraad, Studio K34-K36 Postjesweg 1, 1057 DT Amsterdam

Sarah van Binsbergen, Pia Pol, Adam Ulbert, Astrid Vorstermans

antennae series In 2009 we started the Antennae Series to pinpoint certain phenomena or new lines of thought in the arts and to explore them.

This critical series is meant to provide a point of reference for further discussion and research.

By now two tendencies have emerged in the series: on the one hand, reflection on everyday artistic practice—how do artists work, where does their motivation come from, how do they reflect on their own work, what are the important conditions, how do they interact with other disciplines, and how do they position themselves in a changing world?

On the other hand, a strongly defined ‘Arts in Society’ course has been developed, which maps the interaction between changes in society and cultural practices.

Inspired by critical, political theory, this tendency studies the possibilities of repositioning the arts and culture in society.

Publications in the Antennae series contain essays, theoretical explanations, socio-cultural explorations, activist calls, practice-oriented research in the arts, and artist’s contributions.

This autumn the Antennae series will top the 20-volume mark!

The bold design by Metahaven runs through the whole series and underlines its content.

Thanks in part to this strong visual identity, the series has attracted considerable attention internationally. It has been written about and exhibited, received awards (including Best Dutch Book Designs 2009), and keeps popping up in a variety of situations.

‘Amsterdam-based studio Metahaven has given the series a unique visual identity. The cover of each volume features amorphous shapes in contrasting colors blurred together. It looks like a piece of a larger pattern, although its exact identity is unknown. But it does create a sense of being very close to something. A small black bar consistently appears on the cover as well as on the inside pages, functioning as a "logo". On the spine, it becomes a part of a "library label", the impression being reinforced by spot gloss.

This device seems to suggest that the books—and, by extension, the ideas within—are to be circulated among and used by the public, rather than simply kept private and protected.’

Typojanchi 2013, Seoul International Typography Biennale ‘[...] [Aspects of the design] may also refer to such concepts as feelers, antennae and lines of thought, notions employed by the publishers in their starting points for the series. [...] It is, of course, the circulation of ideas, views and theories that is the goal of the whole series.’

Report Best Dutch Book Designs, 2009

Metahaven is a studio for design, research and art, founded by Vinca Kruk and Daniel van der Velden.

Metahaven’s work—both commissioned and selfdirected—reflects political and social issues in collaboratively produced graphic design objects. www.metahaven.net

new!

art

theory

culture

Previously announced/New:

New:

Spaces for Criticism Shifts in Contemporary Art Discourses Thijs Lijster, Suzana Milevska, Pascal Gielen, Ruth Sonderegger (eds.)

Interrupting the City Artistic Constitutions of the Public Sphere Sander Bax, Pascal Gielen, Bram Ieven (eds.)

Is art criticism losing ground, because of the Internet and art blogs? Do people consider the authorative art critics (of newspapers, magazines) as their most important source to assess and filter what they want to see, read, etc.? Most recent discussions have revolved around the question ‘what is art criticism?’; this book wants to explore the question: ‘where is art criticism?’. It wants to explore new ways and new spaces where art critics might interact with publics, works of art, artists and scholars.

This book suggests criticism has shifted to different places and different stages: it concerns a ‘displacement’, not only with regard to media (from journalism to blogs, catalogues, etc.), but also a displacement in the geographical and institutional sense.

Contributors: Luc Boltanski, Sabeth Buchmann, Robin Celikates, Hans D. Christ, Ingrid Commandeur, Katy Deepwell, Iris Dressler, Sonja Eismann, John Ellingsworth, Pascal Gielen, Daniel Givens, Max Jorge Hinderer Cruz, Christian Höller, Ines Kleesattel, Vida Knezevic, Thijs Lijster, Ivana Marjanovic, Suzana Milevska, Dan Perjovschi, Jorinde Seijdel, Ruth Sonderegger, Terre Thaemlitz, Niels Van Tomme

9 789078 088752

ISBN 978-90-78088-75-2

Supported by the Mondriaan Fund, www.mondriaanfonds.nl Arts in Society, 272 pp, ENG, October, NUR 651, ISBN 978-9078088-75-2 , € 19,90

Interrupting the City explores the ways in which artistic practices and interventions constitute the public sphere. To interrupt the city (be it digitally or materially) means to arrest the flow or circulation that the city consists of. The tactics by which this interruption is achieved may vary, ranging from a media offensive to riots in the streets, but each and every time these activities affect the public sphere, also make the public sphere. Thus, the public domain is constituted by a combination of social, political and media forces, in a continuous flux,

continuously being interrupted.

This book attempts to chart the conditions under which one is able to develop a voice in the public sphere, and to ask in what way these conditions could be altered by means of artistic interventions. Its contributions delve into the relations between artistic practices and the public space, including the urban relations between art and politics.

Intervention Imagination Public domain Politics

New:

Mobile Autonomy Exercises in Artists’ Self-Organization Nico Dockx & Pascal Gielen (eds.)

Neoliberalism has taken autonomous professional values and labour firmly in its grasp. Work has become freelance, flexible, mobile, project-based, hybrid and temporary. This way of working is not new to artists.

They have seen themselves confronted with these precarious conditions since many years. Mobile Autonomy detects what modes of economy and different innovative working modalities artists and other artistic professionals have developed in order to create their work in today’s social, economic and political conditions.

‘We need to stay mobile to keep our autonomy alive, and we need to develop new autonomous practices to keep our mobility alive.’

ISBN 978-94-92095-10-7

9 789492 095107

Contributors: A Dog Republic, Nico Dockx, Jef Geys, Pascal Gielen, Erik Hagoort, Thomas Hirschhorn, Kirsten Leenaars, Isabell Lorey, Oda Projesi, Louise Osieka, Jason Pallas, Caroline Picard, Raqs Media Collective, Kuba Szreder, Jonas Tinius, Tricia Van Eck, Sara Weyns Co-published with Royal Academy of Fine Arts Antwerp, www.antwerpacademy.be in cooperation with Middelheimmuseum, www.middelheimmuseum.be & Lokaal 01, www.lokaal01.nl Arts in Society, 256 pp, ENG, August, NUR 651, ISBN 978-9492095-10-7 € 19,90

Collaborative work Mobilities Precarization

New:

Moving Together Theorizing and Making Contemporary Dance Rudi Laermans

Supported by the Mondriaan Fund, www.mondriaanfonds.nl Arts in Society, ca 240 pp, ENG, October, NUR 651, 758, ISBN 978-94-92095-02-2 € 19,90

‘Clearly written, meticulously researched and theoretically enriching, Rudi Laermans’ first-hand accounts of key performances by some of the most influential names that have defined contemporary choreography since the mid1980s make us see how crucial the Flemish dance scene has been for the development of contemporary experimental dance—and therefore, how it has also been a strong influence in those discourses that inform the reception and perception of dance today. Absolutely essential.’

André Lepecki, Associate Professor in Performance Studies, New York University

In-between Dance Cultures The Migratory Artistic Identity of Sidi Larbi Cherkaoui and Akram Khan Guy Cools

9 789492 095022

Previously announced/New:

ISBN 978-94-92095-02-2

Contributors: Sander Bax, Bojana Cvejic, Lieven De Cauter Pascal Gielen, Odile Heynders, Bram Ieven, Vanessa Joosen, Jennifer Miller, Tessa Overbeek, Gerald Raunig, Gregory Sholette, Erik Swyngedouw, Rennie Tang, Sarah Vanhee, Geertjan de Vugt, Sara Wookey

Antennae New: Dance!

Dance, theory of dance, dance practices, choreography, the body, movement, socio-cultural theory.

We are proud to announce two new dance titles.

Rudi Laermans’ longawaited magnum opus will be available in October! It proposes a conceptual, theoretical framework of contemporary dance, with many interviews.

Guy Cools’ book explores cultural identities and how these feed into the practice of two contemporary dancers/ choreographers.

Rudi Laermans is Professor of Social Theory at the KULeuven (BE). He writes regularly about dance and other performing arts.

Belgian-Moroccan Sidi Larbi Cherkaoui and British-Bengali Akram Khan are two of today’s most prolific choreographers.

Given their respective backgrounds and the practices they pursue, their artistic universes are largely built around their identity in-between dance cultures. Guy Cools who accompanied both, situates their work within the larger critical debate on the (post)modern and (post-) migrant identity.

Cools details some of their iconic choreographic pieces.

This book offers a complementary view on questions of cultural identity taking the contemporary dancer’s somatic awareness and knowledge of the body as its starting point.

Guy Cools is a dramaturge, dance critic, and curates dance events. In the 1990s he was the theatre and dance director of the Arts Center Vooruit in Ghent. He regularly gives lectures and publishes on dance and the body. He is co-editor of The Ethics of Art (with Pascal Gielen), Valiz 2014.

Arts in Society, ca 160 pp, ENG, October, NUR 675, ISBN 978-949209511-4, € 19,50

Arts in Society, 432 pp, ENG, October, NUR 675, ISBN 978-90-78088-52-3, € 19,90 ISBN 978-90-78088-52-3

9 789078 088523

ISBN 978-94-92095-11-4

9 789492 095114

What’s the Use? (working title) A Reader on Art, Use, Knowledge and History Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije (eds.) knowledge in historical practices, theories and movements; Chapter 2: ‘Art Practice: Considering Knowledge and Use’ explores how artistic knowledge is used and the artistic use of knowledge through looking at specific practices and via artistic contributions; and 3: ‘Exhibiting and Instituting’ discusses how questions of art’s use or uselessness implicate exhibition and institutional practice today.

Uses of Art

Visual Essay

Contributors: Nick Aikens, Jason Applebaum, Zdenka Badovinac, Manuel Borja-Villel, Tania Bruguera, John Byrne, Jesús Carrillo, Christina Clausen, Construct Lab, Tamara Díaz Bringas, Georges Didi-Huberman, Charles Esche, Annie Fletcher, Lara Garcia Diaz, Liam Gillick, Jeanne van Heeswijk, Alistair Hudson, Thomas Lange, Li Mu, Wendelien van Oldenborgh, Travor Paglen, Manuel Pelmus, Emily Pethick, Alexandra Pirici, Laurie Jo Reynolds, Adrian Rifkin, John Ruskin, Lucía Sanromán, Catarina Simão, Sara Stehr, Subtramas, Steven ten Thije, WHW (What, How & for Whom), Stephen Wright, George Yúdice

Wendelien van Oldenborgh

art

Is art only art insofar as it refuses to be useful? Or do art practices serve a broader purpose? We are in an age that has seen the re-drawing of boundaries between state and civil society, with boundless markets, unstable geopolitics and the all-pervasive effects of the Internet. Within this, how do we understand art’s possibility to know the world, to develop our ethics, to express our sense of historical belonging and to be, in different ways to different people, useful? What precedents from the past, practices today or protocols for the future might help to negotiate these questions?

A Reader on Art, Use, Knowledge and History takes as a starting point the premise that art is an integral part of the social, economic and political process and that it is best understood in its dialogue with the social sphere than as a ‘thing in itself’. Viewed through a common lens that exposes the complex interplay between art, use, knowledge and history, the reader attempts to map a diverse terrain of examples and ideas. The contributing writers and artists seek to demonstrate how in history and in contemporary practice the exchange between art, knowledge and use is set-up and played out.

The reader is both propositional and speculative—and deliberately inconclusive. It is structured in three parts, which reflect the main fields of inquiry of this book. Chapter 1: ‘Constellating History’ traces the exchange between art, use and

chapter 2:

experiments don’t need to succeed, they just need to exist 16’20’’

Prelude to chapter 2:

/tc 00:15:38:10 00:15:41 Covered in dust and nois it all happened

/tc 00:15:42:07 00:15:44 her fame was widespread.

/tc 00:15:45:02 00:15:47 Prestige, danger and hum

46

47

ISBN 978-94-92095-12-1

9 789492 095121

society

new!

Uses of Art

Visual Essay

We

Chapter 1 →

Lara Garcia

Utopian marriages

“There are in reality not only, as is so constantly assumed, two alternatives — town life and country life — but a third alternative, in which all the advantages of the most energetic and active town life, with all the beauty and delight of the country, may be secured in perfect combination […].”

—Ebenezer Howard

10

1 Original quote: ‘consumption is not a reward but a price of subordination’ Smith, Adam, Wealth of Nations, Book III, ch. 3-4; Steuart, An Inquiry into the Principles of Political Economy, 1754, vol. I, ch. 20. Found in: Merrington, John, Town and Country in the Transition to Capitalism.

Chapter 2 →

2 Raymond Williams The Country and the City (1973, p. 1), Oxford University Press

Nonetheless, it was precisely due to the explosion of city’s urbanization, which was produced by an unprecedented human conglomeration, when new quantitative and qualitative dimensions were acquainted to adapt the city to its new demands. In England, for example, the rapid development of London was overcome by the even more rapidly expansion of new Northern industrial cities such as Manchester, Birmingham, Leeds or Sheffield. As Raymond Williams points out in The Country and the City (1973) these new industrial cities started to be planned, between 1820 and 1850, in both the physical and the social terrain, as `working places´. Planning thus new forms of `social spaces´ within the expansion of a yet inaugurated understanding of `urbanisation´, authors such as William Wordsworth (1770-1850), Thomas Carlyle (1795-1885) or John Ruskin (1819-1900) attacked the industrial cities 11

Beauty and the Right to the Ugly

Uses of Art

Utopian Marriages

The opposition between the notions of town and country in the analyses of the `rise of capitalism´, and more importantly, in theories that concentrate on the relationship urbanism-capitalism, has accompanied Western philosophy and political economy since the earliest 18th century. The growing separation of consumption and production, the rise of the middle classes in England and the weakness of rural economy by urban consumption patterns, for example, was considered by the earliest Scottish political economist and moral philosopher Adam Smith (1723-1790) as one of the most important keys when evaluating the transition from landownership controlled by the static order of patriarchal authority to the capitalist reformulation of consumption as a price of subordination1.

Here, and even if the Renaissance rediscovered the city as a place for individual and collective liberty, idea that was maintained till the end of the 18th century, the explosion of industrialization in the 19th century, together with machinery’s pro-found redefinition of labour, downgraded the industrial urbanization for its potential to swallow and alienate human dignity, and magnified the “the natural way of life: of peace, innocence, and simple virtue.”2

Emily Pethick & Wendelien van Oldenborgh

Historical Constellations

Historical Constellations

Despite there seems a lack of attention paid to alternative Utopian and more ecological urban ideals, this research has aimed, however, to provide a different framework for the exploration of a project such as the Pla Macià, exalting a non-paternalistic reading of such a proposal.

In fact, as scholar Sauquet Llonch assures, the City of Rest and Vacations was considered favorably by politics of the time such as the Socialist Minister of Public works Indalecio Prieto Tuero (1883-1962), the actual president of Catalonia Francesc Macià or the president of Barcelona Jaume Aiguader i Miró (1882-1943), both from the Republican Left wing party, supporting the project for its ideological roots. It would be hence intriguing to assess the effects that the project would have had in the Barcelona of the present if the project would not have lost the support of the central government once the general Francisco Franco won, in 1939, the Civil War in Spain. The small sample size of this text, nevertheless, did not allow exploring such an enquiry, but another possible area of future research would be to investigate the contemporary effects that this plan would have had in both the social and the political realm as well as in the occupation of space in Barcelona’s coast. Nonetheless, it is likely that this studies will have to transit between the difficulty of the ideal utopia and the materialized dystopia, being confronted, as urban geographer David 1:20 /tc 00:15:48:06 00:15:51:07 /tc 00:15:55:18 00:15:58:08 argues, with how “[…]this materialized utopias of se, how did all ofHarvey this come Or was an experiment together? everyone social process have towhere negotiate with spaciality and the geography of place and in so doing they also lose 4:10 /tc 00:15:51:20 00:15:54:24 /tc 00:15:58:11 00:16:01:12 35 David Harvey, Spaces of their ideal character, producing results in many .

What did Mr. van Klingeren expected too muchthat tooare soon?

Hope (Edinburgh: University ever think? instances exactly the opposite of those intended.”35 Press, 2000)179-80.

SESC Pompéia, a non-governmental organisation that was developed out of a defunct factory

by Bo Bardi from 1977-86, still remains a popular and inclusive social space, housing Published inswimming, cooperation diverse activities – football, theatre, with Van Abbemuseum, Eindhoven, dance, art, health services, and sunbathing decks (some of which were already taking www.vanabbemuseum.nl & Hildesheim site informallywww.uni-hildesheim.de before it was ‘The Legacy of 1848 and 1989’ by theplace on theUniversity, Emily Pethick developed) – coexisting without hierarchy. As museum confederation L’Internationale, Supported by the Mondriaan Fund, an architect who worked with her described, drawing on three exhibitions (at the Van www.mondriaanfonds.nl it was “intended to foster conviviality as an Abbemuseum and Museo Reina Sofia) infallible formula for cultural production.”2 The potential such app, project to cut across 24 x 17 cm (h x w), and one conference (Hildesheim ca.of 420 paperback, class, gender, age, and to allow University) held between 2012-2014. divisions ofENG, November 2015 different people and activities to connect also lay www.internationaleonline.org Design: George & Harrison, at the heart of another architectural experiment, www.georgeandharrison.nl Het Karregat, a community centre in Eindhoven.

Beauty and the Right to the Ugly is the title of Designed by architect van978-94-92095-12-1, Klingeren NUR 651,Frank ISBN an exhibition that the Italian Brazilian architect in 1970, it housed social, cultural, health and € 27,50 Lina Bo Bardi presented at her seminal building educational facilities under one roof in an open SESC Pompéia in Sao Paulo, Brazil, organised in plan setting. Van Klingeren was concerned collaboration with INAMPS1 employees, which about the demise of the public domain as a In 2016 also available E-Book! took a stand against bourgeois taste and values. meeting space and was interested in whatas kinds Visual Essay 1

of in di an ph cl an re or Bo in a to w di no of fil co ar vo m Pr

52

53

Beauty and Right toKnowledge and Athe Reader on Art, Use, History is a strand of thinking within the the Ugly five year programme The Uses of Art

7:06 mane,

Check our website or www.internationaleonline.org

Beauty and the Right to the Ugly Wendelien van Oldenborgh (2007)

Wendelien van Oldenborgh 34

reflection

What’s the Use, chapter opening page

Essay Lara Garcia

What’s the Use, chapter opening page

Uses of Art

Previously announced/New:

Jurriaan Schrofer

Future Publics (The Rest Can and Should Be Done by the People) A Critical Reader in Contemporary Art Maria Hlavajova, Ranjit Hoskote (eds.)

theory

9 789078 088691

ISBN 978-90-78088-69-1

ISBN 978-90-78088-70-7

(NL)

herman de vries—to be all ways to be

9 789078 088707

(E)

9 789078 088998

E – ISBN 978-9078088-99-8 € 25,00

With BAK, basis voor actuele kunst, Utrecht, www.bakonline.org 324 pp, paperback, 16,5 x 11,5 cm (h x w) ENG, September 2015 Design: Kummer & Herrman nur 651, ISBN 978-90-78088-94-3, € 24,00

ISBN 978-90-78088-99-8

Walter Nikkels

Valiz

ISBN 978-90-78088-94-3

9 789078 088943

Also available:

We Roma A Critical Reader in Contemporary Art Daniel Baker, Maria Hlavajova (eds.)

ISBN 978-90-78088-78-3

9 789078 088783

Tropen

9 789078 088547

NL/D/E – ISBN 978-9078088-54-7 € 45

highlights

Future Publics brings together contributions by artists, theorists, and activists to reflect on radically new publics—forward-looking yet pre-figurative, situated yet nomadic—as they emerge from the experiences of social crisis and political uncertainty that characterize our present. These future publics are provisional assemblies that question existing mechanisms of collective organization and constructions of social value and cultural meaning, recognizing that the institutions of public life cannot continue with a ‘business-asusual’ attitude as late capital’s certitudes collapse and entrenched regimes are being challenged across the globe.

These publics shape new solidarities that cut across conventional lines of class, region, ethnicity, and ideological affiliation. In the field of art, they demonstrate a renewed, insurgent, and self-critical capacity for engagement, rejecting the passive observation of the ‘viewer,’ the commodifying gaze of the ‘consumer,’ and the stylized participation of the ‘spectator.’ Through these accounts, the contributors assemble a vocabulary relevant to artistic practices and civic conclaves mobilized outside the

ossified institutions: among propositions such as rebel citizenry, orgnets, cultural users, stateless states, and devolutionary platforms, they articulate and address ways of being and doing beyond those that have been established within the neoliberal paradigm of ‘the contemporary’.

ISBN 978-90-78088-54-7

Contributors: Nancy Adajania, Ariella Azoulay, Amelia Barikin & Nikos Papastergiadis, Bassam El Baroni, Manuel Beltrán, David Graeber & Michelle Kuo, Tom Holert, Brian Holmes, Geert Lovink, Elzbieta Matynia & Joanna Warsza, Simon Sheikh, Jonas Staal, Stephen Wright

NL – ISBN 978-9078088-69-1 E – ISBN 978-9078088-70-7 €39,90

ISBN 978-90-78088-78-3, € 24,00

Complete List

Antennae—NEW ___In-between Dance Cultures Guy Cools 2015, ISBN 978-94-92095-11-4, € 19,50 ___Interrupting the City Sander Bax, Pascal Gielen, Bram Ieven (eds.)

2015, ISBN 978-94-92095-02-2, € 19,90 ___Mobile Autonomy Nico Dockx, Pascal Gielen (eds.)

2015, ISBN 978-94-92095-10-7, € 19,90 ___Moving Together Rudi Laermans 2015, ISBN 978-90-78088-52-3, € 19,90 ___Spaces for Criticism Thijs Lijster, Suzana Milevska, Pascal Gielen, Ruth Sonderegger (eds.)

2015, ISBN 978-90-78088-75-2, € 19,90 ___Triple Bound Wouter Davidts 2016, ISBN 978-90-78088-49-3, € 19,90

Antennae—RELEASED ___Alternative Mainstream Gert Keunen 2015, ISBN 978-90-78088-95-0, € 19,90 ___Arts Education Beyond Art Barend van Heusden, Pascal Gielen (eds.)

2015, ISBN 978-90-78088-85-1, € 19,90

___Teaching Art in the Neoliberal Realm Pascal Gielen & Paul De Bruyne (eds.)

2012, ISBN 978-90-78088-57-8, € 19,90

Valiz—NEW

___Vernieuwing van de stadsvernieuwing (NL) 2013, ISBN 978-90-78088-83-7, € 24,50

___What’s the Use? Nick Aikens, Thomas Lange, Jorinde Seijdel, ___We Own The City Steven ten Thije (eds.)

Francesca Miazzo, Tris Kee (eds.)

2015, ISBN 978-94-92095-12-1, € 27,50 2014, ISBN 978-90-78088-91-2, € 27,50

Valiz—PLANS 2016

___Jean Leering (NL) Paul Kempers (vis-à-vis) 2016, ISBN 978-94-92095-07-7, € 35 ___The Perfect Spectator Janneke Wesseling (vis-à-vis) 2016, ISBN 978-90-80818-50-7, € 25 ___Slow Reader Carolyn Strauss, Ana Paula Pais (eds.)

2016, ISBN 978-94-92095-01-5, € 19,50 ___Ulay, What’s This Thing Called Polaroid?

2016, ISBN 978-94-92095-13-8, € 25 ___On Value Maaike Lauwaert, Francien van Westrenen (eds.)

2016, ISBN 978-94-92095-00-8, € 19,90 ___Marion von Osten, Once We Were Artists | BAK Maria Hlavajova, Tom Holert (eds.)

2016, ISBN 978-94-92095-14-5, € 19,90

trancity xvaliz—NEW

___Binational Urbanism Bernd Upmeyer ___Community Art 2015, ISBN 978-94-92095-06-0, € 22,50 Paul De Bruyne, Pascal Gielen (eds.)

2011 [2013], ISBN 978-90-78088-50-9, € 19,90 ___Dread Juha van `t Zelfde (ed.)

2013, ISBN 978-90-78088-81-3, € 19,50

___Stedelingen veranderen de stad (NL) Mariska van den Berg 2013, ISBN 978-90-78088-82-0, € 15

list

(OP) = out of print (SC) = scarce, almost out of print All titles are in English, except for: (NL) = in Dutch only

___Take Place (OP) Helen Westgeest (ed.)

2009, ISBN 978-90-78088-35-6, € 18,50

trancity xvaliz—RELEASED

___Atlas Nieuwe Steden (NL) 2012, ISBN 978-90-78088-62-2, € 29,50

Valiz—RELEASED | BACKLIST

___Amsterdam in Letters (OP) Maarten Helle 2008, ISBN 978-90-78088-25-7, € 29,50 ___Atlas AUP Gebieden Amsterdam (NL) Jouke van der Werf, Marina Roosebeek (eds.)

2013, ISBN 978-90-78088-42-4, € 35 ___Autonomie als waarde (NL) Pascal Gielen e.a. (eds.)

2013, ISBN 978-90-78088-66-0, € 15 ___Het Balkon (OP) (NL) 2008, ISBN 978-90-78088-19-6, €5 ___BAVO, Too Active to Act (NL) 2010, ISBN 978-90-78088-38-7, € 15 ___Peer Bedaux, Architect (OP) 2006, ISBN 978-90-78088-06-6, € 33 ___Blommers & Schumm, Anita and 124 other portraits (OP) 2006, ISBN 978-90-78088-08-0, € 35 ___Blue Tuesdays, De Ateliers 2004, ISBN 90-807318-2-X, € 17,50 ___Koen van den Broek, Crack (OP) Wouter Davidts e.a. (ed.)

2010, ISBN 978-90-78088-41-7, € 29,50 ___Van Brummelen & De Haan, Redrawing the Boundaries 2009, ISBN 978-90-78088-26-4, € 25

___The Ethics of Art Guy Cools, Pascal Gielen (eds.)

2014, ISBN 978-90-78088-87-5, € 19,90

___Binnen in de stad (NL) Matthijs de Boer 2012, ISBN 978-90-78088-64-6, € 24,50

___The Fall of the Studio Wouter Davidts, Kim Paice (eds.)

2009, ISBN 978-90-78088-29-5, € 18,50

___Compendium for the Civic Economy 2012, ISBN 978-90-78088-00-4, € 24,50

___Joost Conijn (OP) 2007, ISBN 978-90-78088-04-2, € 29,50

___Farming the City / CITIES 2013, ISBN 978-90-78088-63-9, € 27,50

___Common Skin—Myriam Mihindou Daphne Pappers (ed.)

2014, ISBN 978-90-78088-67-7, € 19,90

___Institutional Attitudes Pascal Gielen (ed.)

2013, ISBN 978-90-78088-68-4, € 19,50 ___Locating the Producers (SC) Paul O’Neill, Claire Doherty (eds.)

2011, ISBN 978-90-78088-51-6, € 19,90 ___The Murmuring of the Artistic Multitude (third revised edition) Pascal Gielen 2015, ISBN 978-94-92095-04-6, € 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

___No Culture, No Europe Pascal Gielen (ed.)

2015, ISBN 978-94-92095-03-9, € 19,90

___Reactivate!

Indira van ‘t Klooster 2013, ISBN 978-90-78088-80-6, € 27,50

___Participation Is Risky Liesbeth Huybrechts (ed.)

2014, ISBN 978-90-78088-77-6, € 19,50

___Reactivate! (NL) Indira van ‘t Klooster 2013, ISBN 978-90-78088-79-0, € 27,50

___See it Again, Say it Again (OP) Janneke Wesseling (ed.)

2011, ISBN 978-90-78088-53-0, € 19,50

___Het nieuwe stadmaken (NL) 2015, ISBN 978-94-92095-05-3, € 19,50

___Conditional Design Workbook (SC) 2013, ISBN 978-90-78088-58-5, € 24,50

___Luc Deleu—T.O.P. office: Orban Space Wouter Davidts, Stefaan Vervoort, Guy Châtel (eds.)

2012, ISBN 978-90-78088-60-8, € 27,50 ___The ABC of De Designpolitie 2008, ISBN 978-90-78088-21-9, € 10 ___Dit is Nederland / Dienstcatalogus (SC) (NL) Martijn Engelbregt 2006, ISBN 90-78088-02-8, € 4 ___Dutch Resource (SC) Werkplaats Typografie 2005, ISBN 978-90-80818-57-6, € 26 ___This is the Flow Rutger Wolfson (ed.)

2009, ISBN 978-90-78088-24-0, € 10

___Gijs Frieling, Vernacular Painting (OP) Gijs Frieling, Job Wouters 2009, ISBN 978-90-78088-37-0, € 35 ___Grand Domestic Revolution Handbook (SC) Casco | Binna Choi, Maiko Tanaka (eds.)

2014, ISBN 978-90-78088-92-9, € 29,90

___Right About Now (SC) Margriet Schavemakers, Mischa Rakier (eds.)

2007, ISBN 978-90-78088-17-2, € 19,50

___Rob Voerman, Aftermath (OP) 2010, ISBN 978-90-78088-40-0, € 29,50 ___De volmaakte beschouwer (e-book) (NL) Janneke Wesseling (vis-à-vis) 2015, ISBN 978-90-78088-97-4, € 10

___Joke Robaard—Folders, Suits, Pockets, Files, Stocks (SC) 2003, ISBN 978-90-80818-52-1, € 35

___Giny Vos, Singing in the Dark 2010, ISBN 978-90-78088-33-2, € 29,50

___Ni Haifeng, The Return of the Shreds Ni Haifeng, Kitty Zijlmans (eds.)

2008, ISBN 978-90-71655-22-7, € 17,50

___We Roma | BAK Daniel Baker, Maria Hlavajova (eds.)

2013, ISBN 978-90-78088-78-3, € 24

___Sara van der Heide, Penumbra 2005, ISBN 90-80818-58-5, € 20

___Maria Roosen, Maria’s 2005, ISBN 978-90-80818-56-9, € 25

___Highrise—Common Ground Jeroen Boomgaard (ed.)

2008, ISBN 978-90-78088-18-9, € 19,90

___Maria Roosen, My Friends Hanne Hagenaars 2006, ISBN 90-78088-07-9, € 8,50

___Langs het IJ (SC) (NL) Sabine Lebesque 2006, ISBN 978-90-78088-11-0, € 18,90

___Maria Roosen, Monster 2009, ISBN 978-90-78088-28-8, € 20

___During the Exhibition the Gallery Will Be Closed (SC) Camiel van Winkel 2012, ISBN 978-90-78088-56-1, € 25

___Julika Rudelius, Looking at the Other (SC) 2005, ISBN 90-78088-05-2, € 24,50

___Het museum als plek voor ideeën (NL) Rutger Wolfson 2007, ISBN 978-90-78088-13-4, € 9,90

___Willem Sandberg, Portrait of an Artist Ank Leeuw Marcar & Werkplaats Typografie 2013, ISBN 978-90-78088-73-8, € 19,50

___Nieuwe symbolen voor Nederland (NL) Rutger Wolfson (ed.)

2005, ISBN 978-90-80818-59-0, € 10

___Jakarta Megalopolis Arjan van Helmond, Stani Michiels 2007, ISBN 978-90-78088-01-1, € 19,50 ___Een nieuw huis voor Muis Mus (OP) (NL) Hanne Hagenaars with De Designpolitie 2008, ISBN 978-90-78088-20-2, € 5

___Nils Norman, Eetbaar Park/ Edible Park 2012, ISBN 978-90-78088-61-5, € 19,50 ___Now Jetzt / Time Travel / Magdeburg (SC) 2005, ISBN 978-90-78088-03-6, € 20 ___Amsterdamse Pleinen (OP) (NL) 2010, ISBN 978-90-78088-43-1, € 25 ___Positioning the Art Gallery Noor Mertens, e.a. (ed.)

2012, ISBN 978-90-78088-39-4, € 19,50 ___Poster No 525 René Put, Rianne Petter 2012, ISBN 978-90-78088-59-2, € 25

___Binnen was buiten, Sandbergvleugel (NL) Paul Kempers 2010, ISBN 978-90-78088-44-8, € 19,50 ___SchoolParasites / Not the Trailer (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 Sophie Berrebi is a writer, art historian and curator, born in Paris and living in Amsterdam. She works at the University of Amsterdam, teaching art history and theory, mainly in the areas of photography and contemporary art.

The Shape of Evidence examines the role and use of visual documents in contemporary art, looking at art works in which the document is valued not only as a source of information but also as a distinctive visual and critical form. It contends that for artists who use film, photography or written sources, adopting formats derived from specific professional, industrial, scientific or of commercial contexts, the document offers a way to develop a critical reflection around issues of representation, knowledge production, art and its history.

It addresses several issues that are key both in art and in general culture today: the role of the museum and the archive, the role of documents and the trust that is placed in them, the circulation of such images and the historical genealogies that can be drawn in relation to images. Its chapters are based on a close reading of a select number of works by Christopher Williams, Jean-Luc Moulène, Zoe Leonard, Sven Augustijnen, Fiona Tan and Wendelien van Oldenborgh. The book discusses objects and ideas drawn from a wide spectrum of areas including literature, history, scientific representation, surrealism, conceptual art and commercial photography.

The Shape of Evidence invites viewers to reflect upon the production and interpretation of seemingly straightforward images, and proposes that some artists can show us through their practice how to turn these deceptively simple images inside out.

___Jurriaan Schrofer (1926–1990) (NL) Frederike Huygen, Jaap van Triest, Karel Martens 2013, ISBN 978-90-78088-69-1, € 39,90 .

i

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The vi s-A-vis series provides a platform to stimulating and relevant subjects in the young visual arts, architecture and design. The authors relate to history and art history, to other authors, to recent topics and to the reader. Most of them 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.

Valiz, Amsterdam <www.valiz.nl>

___The Shape of Evidence Sophie Berrebi (vis-à-vis) 2015, ISBN 978-90-78088-98-1, € 25

___Alexander van Slobbe, and… and… and…

2010, ISBN 978-90-78088-31-8, € 45 9 789078 088981

The Shape of Evidence

Contemporary Art and the Document

vV v

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i

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___Berend Strik, Thixotropy 2009, ISBN 978-90-78088-27-1, € 29,50

___Whispers: Ulay on Ulay Maria Rus Bojan, Alessandro Cassin e.a.

2014, ISBN 978-90-78088-72-1, € 35 ___Game Urbanism Hans Venhuizen 2010, ISBN 978-90-78088-46-2, € 26 ___Game Urbanism (NL) Hans Venhuizen 2010, ISBN 978-90-78088-30-1, € 25

E – ISBN 978-9078088-98-1 € 25,00

Valiz

___Berend Strik, Stitches in Time (OP) 2008, ISBN 978-90-78088-23-3, € 17,50

___Grensganger tussen disciplines, Over Rancière (NL) Solange de Boer (ed.)

2007, ISBN 978-90-78088-15-8, € 12,50

Sophie Berrebi: The Shape of Evidence

vi s-A-vi s

___Berend Strik, Body Electric (OP) 2004, ISBN 978-90-8081853-8, € 30

___Thuis - At Home, Heren 5 (OP) 2005, ISBN 978-90-80818-55-2, € 6,90

___Repressief liberalisme (NL) Pascal Gielen 2013, ISBN 978-90-78088-84-4, € 19,50

Sophie Berrebi

ISBN 978-90-78088-98-1 Printed and bound in the EU

___Rancière, Het esthetische denken (NL) 2007, ISBN 978-90-78088-14-1, € 12,50

___Jacques Rancière SET (NL) Solange de Boer (ed.)

2007, ISBN 978-90-78088-16-5, € 20

E – ISBN 978-9078088-72-1 € 35,00

Sophie Berrebi The Shape of Evidence

___Walter Nikkels: Depicted|Abgebildet|Afgebeeld Wigger Bierma, Astrid Vorstermans (eds.)

2013, ISBN 978-90-78088-54-7, € 45

Whispers: Ulay on Ulay

9 789078 088721

___I Read Where I Am (OP) Mieke Gerritzen, Geert Lovink, Minke Kampman (eds.)

2011, ISBN 978-90-78088-55-4, € 17,50

___World Art Studies Kitty Zijlmans, Wilfried van Damme (eds.)

2008, ISBN 978-90-78088-22-6, € 29,50

___Willem Sandberg, Portret van een kunstenaar (SC) (NL) Ank Leeuw Marcar & Werkplaats Typografie 2004, ISBN 90-80818-54-2, € 15

9 789078 088981

___Around Amsterdam’s IJ Banks Sabine Lebesque 2011, ISBN 978-90-78088-48-6, € 19,50

ISBN 978-90-78088-72-1

___Het IJ rondom (NL) Sabine Lebesque 2011, ISBN 978-90-78088-47-9, € 18,50

ISBN 978-90-78088-98-1

___Along Amsterdam’s Waterfront (SC) Sabine Lebesque 2006, ISBN 978-90-78088-12-7, € 19,90

___herman de vries—to be all ways to be (SC) Jean-Hubert Martin, Cees de Boer, Colin Huizing 2015, ISBN 978-90-78088-99-8, € 25

Janneke Wesseling: De volmaakte beschouwer ISBN 978-90-78088-97-4

9 789078 088974

NL, E-boek ISBN 978-9078088-97-4 € 10,00

Ulay: What Is On Value This Thing Called Explorations into Polaroid? (working title) Art, Alternative Frits Gierstberg, Katrin Pietsch, Structures and Ulay, Marieke Wiegel, Transformations January 2016 With Nederlands Fotomuseum and Rabobank Nederland Design: Haller Brun nur 652, ISBN 978-94-92095-13-8, ENG

Polaroid has been and still is an important investigative medium for the artist Ulay. This publication links Ulay’s specific polaroid know-how and artistic pursuits, to general knowledge of the medium, including issues of durability, restoration, etc.

Exhibition at the Nederlands Fotomuseum at the beginning of 2016.

Already available:

Janneke Wesseling (author)

Maaike Lauwaert, Francien van Westrenen, and many authors, spring 2016

vis-à-vis series, Design: Sam de Groot, paperback, many ills., nur 651, ISBN 978-90-808185-0-7, ENG, € 25,00

With Stroom, Den Haag, www.stroom.nl Design: Elisabeth Klement & Laura Pappa, paperback, nur 646, 656, ISBN 978-94-92095-00-8, ENG, € 19,50

About the imaginative re-use of materials, and value creation by artists, designers and architects, with source texts, new texts and images.

Jean Leering

(working title)

Maria Rus Bojan, Alessandro Cassin and many contributors

vis-à-vis series, Design: Sam de Groot, paperback, many ills., nur 640, 654, ISBN 978-94-92095-07-7, NED, ca € 25,00

Slow Reader A Resource for Design Thinking and Practice Carolyn Strauss, Ana Paula Pais, and many authors, spring 2016 With slowLab, www.slowlab.net Design: Ana Paula Pais, nur 656, ISBN 978-94-92095-01-5, ENG, €19,50

Providing meaningful theoretical and practical substance to open up the importance of Slow knowledge to the contemporary design discourse; design as in thinking out new systems in diverse contexts and communities.

The Perfect Spectator

(working title)

Whispers: Ulay on Ulay ENG, 978-90-78088-72-1, € 35,00 Valiz Foundation

plans

Paul Kempers (author), 2016

An extensive, intellectual biography on the highly active museum director (Van Abbemuseum 1964-73, Tropenmuseum 1973-75), engaged educator, activist, writer and organizer.

What happens between a spectator and an art work?

How do we experience ‘meaning’ in an art work? How can the process of interpretation be understood and articulated?

To address these questions, the author explores the field of reception aesthetics, with its central premise that the contemplation of art is a matter of interaction between the art work and the observer.

Already available:

De volmaakte beschouwer Janneke Wesseling (author) vis-à-vis series, Design: Sam de Groot, E-Book, Dutch, 978-90-78088-97-4, € 10,00

winter 2015: Also bored by our current website, or irritated because you cannot find everything easily?

We will launch a totally new and exciting website! www.valiz.nl designed by Lotte Schröder and Rutger de Vries, technically built by Tom Hanemaaijer/Solvecom

events 25 March 2015–31 March 2016 Exhibition ‘Designs of the Year 2015’ with installation of Jurriaan Schrofer (1926–1990) Design Museum, London (UK)

October 2015 (date to follow) Conference and presentation Moving Together with Rudi Laermans The Danish National School of Theatre and Contemporary Dance

www.buchmesse.de

23–29 August 2015 Summer School Mobile Autonomy with Pascal Gielen, Nico Dockx and many others Book launch: 29 August Middelheim Museum, Antwerp (BE)

28–29 October 2015 Conference ‘Geoaesthetics, Politics and Labour’ Keynote Pascal Gielen, book launch Spanish translation of The Murmuring of the Artistic Multitude Barcelona University (ES) www.artglobalizationinterculturality.com

24 August 2015 Book launch Arts Education Beyond Art with Barend van Heusden, Barbara Visser and others De Balie, Amsterdam (NL) www.debalie.nl

10–13 September 2015 London Art Book Fair Whitechapel Gallery, London (UK) www.whitechapelgallery.org

11 September 2015 10 Years of Trancity

10 November 2015 Book launch In-between Dance Cultures with Guy Cools, combined with performance Fractus V by Sidi Larbi Cherkaoui & Eastman Concertgebouw Brugge (BE) www.concertgebouw.be

10–14 November 2015 Traders Autumn School On Participation Is Risky Luca School of Arts, Genk (BE) www.tr-aders.eu

www.trancity.nl

11–13 September 2015 WIELS Art Book Fair WIELS Contemporary Art Centre, Brussels (BE) www.wiels.org

September 2015 (date to follow) Presentation The Shape of Evidence with Sophie Berrebi, Wendelien van Oldenborgh and others Rijksakademie van beeldende kunsten, Amsterdam (NL) www.rijksakademie.nl

18–20 September 2015 New York Art Book Fair MoMA PS1, New York (US) www.nyartbookfair.com

13 December 2015 Beurs van Bijzondere Uitgevers Paradiso, Amsterdam (NL) www.beursbijzondereuitgevers.nl

14–18 October 2015 Frankfurter Buchmesse (DE)

www.designmuseum.org

www.middelheimmuseum.be

1 December 2015 12,5 Years of Valiz

13 November 2015 Conference ‘De Kunst van...

Waarde Maken’ organized by LKCA Keynote Pascal Gielen on No Culture, No Europe LKCA, Utrecht (NL) www.lkca.nl

18–20 November 2015 Symposium ‘Producing Art in the Neoliberal Realm’ Keynote Pascal Gielen, book launch Portuguese translation of The Murmuring of the Artistic Multitude Pontifícia Universidade Católica de São Paulo (BR) www.pucsp.br

also see www.valiz.nl > Agenda/Calendar

Book Trade Representation and Distribution NL/BE/LU – Coen Sligting, www.coensligtingbookimport.nl – Centraal Boekhuis, www.centraal.boekhuis.nl GB/IE Anagram Books, www.anagrambooks.com Adeline Mannarini Henry Thompson 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: Robyn Ralton, modernjournal@netspace.net.au – China and Hong Kong: Edwin Chu, www.cps-hk.com – France, Switzerland and Walloon Belgium: Sébastien Richard, www.macadam-diffusion.fr – Germany and Austria: Kerstin Heyen, www.13digits.info – Japan and Asia: Julie Onishi, voice@sings.jp – Russia, Africa: Tony Moggach, www.tonymoggach.com – Scandinavia: Anna Eriksson, anna.eriksson26@gmail.com – Southern Europe: Bookport Associates, bookport@bookport.it Individual orders www.valiz.nl, info@valiz.nl

Colophon Design folder: Lotte Schröder, Amsterdam, www.termsofcircumstance.org Typeface: Karla, Google webfont Paper: houtvrij schrijf 60 grams Printing: Ten Brink, Meppel © Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2015 All rights reserved.

All contents and prices can be subject to change!

12,5 jaar Valiz

Valiz 12,5 years

valiz

Beste E., Toen je onlangs vroeg wat er de laatste vijftien jaar in (kunst)boekenland veranderd is, antwoordde ik dat door de economische crisis en nieuwe vormen van informatie de boekeneconomie en het boekenvak niet meer hetzelfde zijn. Achteraf denk ik dat die reactie niet onjuist is, maar te ver van mijn bed. Hoe sluit Valiz’ werk van de afgelopen 12,5 jaar aan op die transformatie en hoe zien we onze toekomst?

Allerlei vanzelfsprekendheden zijn door de crises—financieel, geopolitiek, ideëel—op hun kop gezet. Was het twaalf jaar geleden genoeg om een prachtig overzicht van een goede hedendaagse kunstenaar te maken, nu is de vraag hoe die kunstenaar reageert op de wereld om hem heen en of een monografie nog iets kan bijdragen aan de kwesties die nu spelen. De veranderingen zijn nog ingrijpender: was het tien jaar geleden voldoende om een goede vakvrouw te zijn (voldoende te weten van redactie, papier, drukken, ontwerp, distributie en calculaties), nu kom je daar niet meer mee weg en is de allereerste vraag: waarom een boek?

Waarom niet een website, een kaartspel, een debatavond, een app? En de tweede vraag: in welke agenda past die inhoud? Hoe ziet onze eigen agenda eruit? Waar willen we ons voor inzetten? En voor wie?

Mettertijd is Valiz gerichter en wellicht ook politieker geworden. Dat ging niet anders: we struikelden samen met kunstenaars, ontwerpers en denkers over ingrijpende maatschappelijke veranderingen waartoe we ons moesten verhouden. Kunst en ontwerp zijn cruciale media om gevestigde ideeën los te schudden, om nuances aan te brengen. Keuzes daarin maken, inhoud genereren, verwerken en verspreiden kan niet zonder stellingname.

Samen met mijn collega’s (je kent Pia inmiddels goed, maar het zijn er meer, van Liesbet, Marinke, Thomas, Adam tot en met Sarah) —kritische, slimme mensen met humor, doorzettingsvermogen en grote nieuwsgierigheid—is Valiz geworden tot wat het nu is. Nog steeds een fluïde, kleine organisatie, met de kennis om prachtige en urgente boeken uit te geven, maar ook een kritisch platform met een eigen kleur, een plek voor debat, inhoud en verdieping.

Stapels gebonden papier, stellingnames, kleur, uitwisseling, mensen: genoeg om op verder te bouwen.

Met hartelijke groet,

Dear E., When you recently asked what has changed on the (art) book scene in the last fifteen years, I replied that the book economy and book trade have changed as a result of the economic recession and new forms of information. Looking back, I don’t think that was incorrect, but it was too far removed from where I am. How has what Valiz has been doing in the last 12.5 years match up to this transformation, and how do we view our future?

All kinds of things that we used to take for granted have been turned upside down by the crises in terms of finance, geopolitics and ideals. While twelve years ago it was enough to offer a decent survey of a good contemporary artist, the question now is how that artist responds to the world around him and whether that monograph makes a contribution to the questions of today. In fact, it goes further than that: while ten years ago it was enough to be good at your profession (an adequate knowledge of editing, paper, printing, design, distribution and calculations), that is no longer good enough and the very first question is: Why a book? Why not a website, a card game, a discussion evening, an app? And the second question is: Which agenda does that content match? Where is our own agenda? What do we want to work for?

And for whom?

Over the years Valiz has become more targeted and probably more political as well.

It was inevitable; we, artists, designers and thinkers had to face up to profound social changes and relate to them. Art and design are crucial media to shake up settled ideas and to introduce nuances. Making choices, generating content, processing and distributing it cannot be done without taking up a position.

Valiz has become what it is today along with my colleagues (you know Pia well by now, but there are others—Liesbet, Marinke, Thomas, Adam and Sarah), critical, bright sparks with a sense of humour, determination and heaps of curiosity. We are still a fluid small organization that knows how to publish good-looking, urgent books, but also a critical platform with its own colour, a space for debate, substance and delving below the surface. Heaps of paper in bindings, standpoints, colour, exchange of ideas, people: a solid basis for the work ahead.

With kind regards,

Astrid Vorstermans

Trancity 10 years

10 jaar Trancity

trancity

Dit najaar is het tien jaar geleden dat ik Trancity startte. In Trancity kwamen mijn ervaringen als uitgever van architectuurpublicaties en daarvoor als uitgever-programmamaker bij een politiek debatcentrum samen. Trancity zou niet alleen boeken maken, maar rondom die boeken ook programma’s ontwikkelen: van besloten studiedagen voor professionals tot openbare bijdragen aan het publieke debat. En Trancity zou architectuur en stedenbouw verbinden met sociaaleconomische thema’s.

De ‘bestaande stad’ werd de leidraad.

‘Bestaand’ omdat nieuwbouw niet langer leidend is maar transformatie. ‘Bestaand’ ook omdat het niet alleen gaat om de al gebouwde stad, maar ook om de alledaagse stad, zoals die wordt gevormd door de bewoners.

Tien jaar en een economische crisis brengen nieuwe ontwikkelingen die het concept van Trancity niet wezenlijk veranderen, maar wel steeds vernieuwen. Stedenbouw wordt werken aan de stad. Architectuur zoekt naar een nieuwe maatschappelijke legitimatie. Een nieuw publiek domein wordt gecreëerd door ontwerpers, sociale professionals, gebruikers en bewoners.

Een enorme reeks aan burgerinitiatieven laat zien dat overheden en traditionele maatschappelijke organisaties niet meer het alleenrecht hebben op inrichting en organisatie van de stad.

De samenhang van geplande en geleefde stad, van ruimtelijk ontwerp en maatschappelijk functioneren, is de afgelopen tien jaar alleen maar vanzelfsprekender geworden. En het publiek domein is (her)ontdekt. In decennia van bureaucratisering en marktwerking zijn we dat perspectief kwijtgeraakt. Dat wil zeggen dat de publieke zaak, de realisatie van maatschappelijke ambities van de samenleving dóór de samenleving, weer wordt gezien. De publieke zaak vraagt om nieuwe organisatievormen, om een vertaling in de publieke ruimte, om een plek in de stad. Daarom presenteren we de publicaties onder het motto ‘over de stad, stedelijke ontwikkeling en het publiek domein’.

Tien jaar lang hebben de boeken en programma’s van Trancity hun bijdrage geleverd. Maatschappelijke urgentie en persoonlijke motivatie zijn royaal aanwezig om daar mee door te gaan.

Dat doe ik (met veel plezier) in een steeds intensievere samenwerking met Valiz, met een steeds belangrijkere rol voor Pia Pol, redacteur bij Valiz.

It is ten years since I launched Trancity.

Trancity combined my experience as a publisher of books on architecture with that of publisher-programme producer for a centre of political debate. Trancity was intended not just to make books, but also to develop programmes around those books, from closed study days for professionals to open contributions to the public debate. It would also link architecture and urban design with socioeconomic themes.

The ‘existing city’ was the thread running through the programme. ‘Existing’ because it is no longer new buildings that count, but transformation. And ‘existing’ because it is not only a question of the city as it has already been constructed, but also of the everyday city as it is shaped by its occupants.

Ten years and an economic recession have brought with them new developments that do not essentially change the concept of Trancity, but keep on renewing it. Urban design has become working on the city. Architecture is trying to find a new social legitimation. A new public domain is being created by designers, social professionals, users and residents. An enormous number of citizen initiatives shows that government bodies and traditional social organizations no longer hold the monopoly to laying out and organising the city.

The coherence of the city as it is planned and experienced, of spatial design and social functioning, has only become all the more natural in the past ten years. And the public domain has been (re)discovered. We had lost that perspective during the decades of bureaucratization and market mechanisms.

In other words, the public cause—the achievement of the social ambitions of society by society—has come back into view. The public cause calls for new forms of organization, for a translation into the public space, for a place in the city. That is why we present the publications under the motto ‘on the city, urban change and the public domain’.

For ten years the books and programmes of Trancity have made their contribution. There is no lack of social urgency and personal motivation for that to continue. I do it (with great pleasure) in a more and more intensive cooperation with Valiz, with an increasingly important role for Pia Pol, editor with Valiz.

Simon Franke

Previously announced:

Het nieuwe stadmaken

Binational Urbanism On the Road to Paradise Bernd Upmeyer

9 789492 095053

224 pp., ca 18 x 14 cm (h x w), paperback, Eng, September 2015 Design: BOARD, NUR 755, ISBN 978-94-92095-06-0, € 22,50

Never before was the mobility of individuals higher than it is today. People work and live not only in different places, but often even in different countries.

Binational Urbanism examines the way of life of people who start a second life in a second city in a second nation-state, without saying goodbye to their first city. They live in constant transit between two homes, between two countries.

Binational urbanists come from all strata of society: from the highly educated and cosmopolitan creative classes to the working class. Through their continuous change of location, binational urbanists appear to be living in a state that is characterized by a constant longing, or a constant homesickness, for the other city.

De uitvinding van de leeszaal

9 789078 088967

ISBN 978-90-78088-96-7

NL—ISBN 978-9078088-96-7 € 22,50

We Own The City

9 789078 088912

ISBN 978-90-78088-91-2

E—ISBN 978-9078088-91-2 € 27,50

Stedelingen veranderen de stad

Bernd Upmeyer is a German-born and Rotterdam-based architect. He also is the editor and publisher of Monu Magazine on Urbanism and the founder of the architecture office BOARD. ISBN 978-94-92095-06-0

On the Road to Paradise

9 789078 088820

ISBN 978-90-78088-82-0

E—ISBN 978-9078088-63-9 € 27,50

The author interviewed people of Turkish origin currently living in Germany, who commute regularly between cities in Germany and Turkey. These people live, whether deliberately and consciously chosen or not, an innovative urban way of life. They are not rooted residents of their host country Germany, but are in fact extremely mobile and utilise the best of both cultures.

Binational Urbanism has the potential to become one of the most interesting forms of life in the twenty-first century.

Accordingly, this book creates a theory of Binational Urbanism that is developed from these interviews.

Binational Urbanism

NL—ISBN 978-9078088-82-0 € 15

Farming the City

new!

9 789492 095060

ISBN 978-90-78088-63-9

highlights

ISBN 978-94-92095-05-3

NL—ISBN 978-9492095-05-3 € 19,50

Bernd Upmeyer

trancityxvaliz

9 789078 088639

trancity valiz x

fall/winter 2015-16

10 years

City Urban Change Public Domain

Trancity en Valiz vinden elkaar in een gemeenschappelijke opvatting over de functie van publicaties. Onze boeken bieden kritische reflectie, zorgen voor interdisciplinaire inspiratie en leggen het verband tussen culturele disciplines en economische en sociaal-maatschappelijke kwesties.

Stad Stedelijke ontwikkeling Publiek domein

Trancity and Valiz share a common understanding regarding the function of publications. Our books offer critical reflection, interdisciplinary inspiration, and establish a connection between cultural disciplines and socio-economic questions.

www.trancity.nl Simon Franke Pia Pol Astrid Vorstermans