Singular Books Spring/Summer 2025

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Nero Editions

OEI Editör Polígrafa Quaderns Raw Material The Film Desk Woodville Press

SPRING/SUMMER 2025 TITLES Singular*Books

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BACKLIST

ARTIST’S BOOKS

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GIOVANNI

ANSELMO BEYOND THE HORIZON

Edited by Gloria Moure

Text

by Gabriele Guercio

Key protagonist of the Italian art of the last decades, Giovanni Anselmo (Borgofranco d’Ivrea, 1934 – Turin, 2023) was one of the artist included by Germano Celant in the first arte povera show, on 1967.

The most formative experience in his life came during a dawn visit to Stromboli, one of the Aeolian Islands off the coast of Sicily, in August 1965. Standing near the summit of the volcano, above the rising sun, he saw that he had no shadow. He realised then that it had been cast not on to the ground but invisibly into the ash-laden air. “My own person,” he later said, “via the invisible shadow, came into contact with the light, the infinite.”

The materiality of his work will always be accompanied by concepts that affirm it ––gravity, magnetism––and, at the same time, question it––infinity, biological growth and decay.

Edited by Gloria Moure and with an introductory essay by Gabriele Guercio, this book collects his main artworks, paying special attention to the variants on which he worked for years, nine key interviews conducted over more than three decades, and his personal comments on each work.

POLÍGRAFA

Euro 45

ISBN 9788434314092 (spanish)

256 pp., 130 ill.

19 x 26 cm / hardback

CONTEMPORARY ART

I, the world, things, life—we are situations of energy. The point is not to crystallize such situations, but to keep them open and alive as a function of our life. Because a mode of action must correspond to every mode of thought or being, my works are true substantiations of the power of an action, of the energy, of a situation or an event, etc.; and not experiences of these things at the level of annotation or sign or still-life alone. — Giovanni Anselmo

POEMS I WILL NEVER RELEASE: CHIARA FUMAI 2007-2017

Edited by Francesco Urbano Ragazzi, Milovan Farronato, Andrea Bellini

Contributions by Irene Aristizábal, Andrea Bellini, Federico Campagna, Milovan Farronato, among others

This book is dedicated to the complex artistic trajectory of Chiara Fumai, who played a significant role in the development of performance and feminist aesthetics in the twenty-first century and who died prematurely in 2017, at the age of only thirty-nine.

Almost 500 pages long, the volume is divided into three main chapters. The first of these brings together essays by prominent writers, curators and artists who examine Chiara Fumai’s work from various perspectives, highlighting its intersections with anarchism, feminism, ideological forms and discourses of power and oppression, the animal rights movement, theater, surrealism and esotericism. The second chapter presents an imposing iconographic apparatus that documents Chiara Fumai’s entire artistic production, from 2007 to 2017, while the third offers an exhaustively detailed chronology and bibliography.

NERO EDITIONS

Euro 58,50

ISBN 9788880561200 (english)

484 pp.

21 x 28 cm / hardback

MONOGRAPH, PERFORMING ARTS

MISSION AND COMMISSION

DOCUMENTA AND THE ART

MARKET 1955-1968

Mela Dávila Freire

Mission and Commission: documenta and the Art Market 1955 - 1968 explores the confluences and conflicts of such interests, approaching a well-known story from a novel, lesser-known angle.

Today, documenta’s independence from the art market is a given – at least, on the formal level, but this has not always been the case. There was a time when documenta was at the centre of a web of vested interests as diverse as the need for funding, the desire to democratize art, and the lucrative pretensions of an emergent art market. Among the main characters of this side of documenta’s history are established celebrities such as Arnold Bode, the “founding father” of the project, but also figures such as, among others, Hein Stünke, owner of the Galerie Der Spiegel and co-organiser of the Kassel exhibition for almost a decade; renowned gallery owner Rudolf Zwirner; visual poet Eugen Gomringer; and the Danish collector and founder of the Louisiana Museum of Modern Art in Humlebaek, Knud Jensen.

POLÍGRAFA

Euro 19,50

ISBN 9788434314818 (english)

160 pp.

13,5 x 21 cm / paperback

THEORY / HISTORY / CRITICISM, CONTEMPORANY ART

GIORGIO MORANDI WORKS,

Edited by Francisco Rei

Essay by Karen Wilkin

Interviews with Peppino Mangravite, Edouard Roditi

Giorgio Morandi’s lifelong pursuit of his poetic vision in still-life and landscape paintings as well as engravings and etchings has given him a deeply revered position in the history of modern art.

This volume presents the work of this private and enigmatic twentieth century Bolognese artist. Influenced by the work of Giotto, as well as Cézanne, the metaphysical painters, and the cubists, Morandi’s work defies any label. His still-lifes and landscapes are serene groupings of muted objects, yet Morandi provokes a tension between them which speaks of spacial relationships, negative space, and nuances of light and color. His paintings seem to exist in a world outside of time, luminous and full of mysterious life.

ISBN 9788434314986 (english) ISBN 9788434314979 (español)

21,5

Changes in the form of furniture ought not to correspond simply to a desire for originality, but rather to a desire to perfect what already exists and is most advanced, always in accordance with the technical possibilities. It is not a matter of giving our epoch a new chair, but of providing the best chair.

FILM AS A SUBVERSIVE ART

Amos Vogel

Foreword by Scott MacDonald

A classic returns with this new revised edition of the great Amos Vogel’s seminal book, Film as a Subversive Art, which was first published in 1974. The original edition has been out of print since 1987. According to Vogel, founder of Cinema 16, North America’s legendary film society, the book details the “accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored.”

So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.

THE FILM DESK

Euro 45,50

ISBN 9780999468388 (english)

336 pp.

15,20 x 20,30 cm / hardback

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

Film as a Subversive Art takes an outstanding place… in the already extensive literature on film. It’s pictorial enlightenment and its text make it an invaluable work.

—Luis Buñuel Amos Vogel is the moral conscience of the world of cinema.

—Werner Herzog The man was a giant.

—Martin Scorsese

CONVERSATIONS WITH KIAROSTAMI BY

DURAS/GODARD DIALOGUES

GODFREY CHESHIRE

Edited by Abbas Kiarostami, Jim Colvill

Foreword by Ahmad Kiarostami.

Introduction by Godfrey Cheshire

Conversations with Kiarostami collects for the first time a far ranging series of interviews with the celebrated director Abbas Kiarostami by film critic, and Iranian cinema expert, Godfrey Cheshire. Conducted in the 1990s, these indepth conversations offer a film-byfilm account of Kiarostami’s views of his artistic development from his first short “Bread and Alley” in 1970 to the 1999 feature The Wind Will Carry Us, covering his lesser known, and seldom written about, shorts from earlier in his career, along with the masterworks that made him world famous, such as the Koker Trilogy (Where Is the Friend’s House?, And Life Goes On, Through the Olive Trees), Close-Up and Taste of Cherry. The book includes a Foreword by Ahmad Kiarostami, the director’s son, as well as an introduction from Cheshire that contextualizes the interviews and discusses his relationship with the director.

WOODVILLE PRESS

Euro 22,60

ISBN 9780999468357 (english)

188 pp.

12,70 x 19,50 cm / paperback

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

Marguerite Duras, Jean-Luc Godard

Introduction, afterword and footnotes by Cyril Béghin

THE WORLD OF JIA ZHANGKE

Jean-Michel Frodon

Afterword by Walter Salles

SHOTS IN THE DARK WRITINGS

ON FILM BY JONATHAN BAUMBACH

Preface by Philip Lopate

OEI #80-81

THE ZERO ALTERNATIVE

Edited by Jonas (J) Magnusson, Cecilia Grönberg

Associate editors: Hugo Canoilas, Tobi Maier

Duras/GodardDialogues is the first

English language collection of three conversations between Marguerite Duras and Jean-Luc Godard from the years 1979, 1980 and 1987.

“The two demonstrate a profound shared passion, a way of literally being one with a medium and speaking about it with a dazzling lyricism interspersed with dryly ironic remarks, fueled by a conviction that inspires them to traverse history. Their point of intersection is obvious. Duras, a writer, is also a filmmaker, and Godard, a filmmaker, has maintained a distinctive relationship with literature, writing and speech.”—Cyril Béghin.

In the last 20 years, Chinese cinema has experienced a dazzling development, in phase with the growth of the country. No one embodies this evolution better than director Jia Zhang-ke whose cinema is distinguished by the modernity of his writing, fueled by the reinvention of the relationship between fiction and documentary, by the inventive use of new technologies, by the creativity of the relationship between the intimate and the collective on the scale of a country of one and a half billion inhabitants. This book contains a long interview with the director about the places where he grew up, where he worked and where he shot, a historical text establishing Jia’s place in Chinese cinema and in cinema today, a critical note devoted to each of his films, both features and shorts, enriched with several points of view including interviews with his main collaborators, and text by Jia unpublished outside China.

“With this welcome collection, Jonathan Baumbach, known for his wry, take-no-prisoners experimental fiction, is revealed in retrospect to have been a brilliant film critic. In an era bristling with formidable commentators on the movies, Baumbach, we see now, was one of the sharpest. Writing for quarterlies such as Film Culture and Partisan Review, he could absent himself from the hype-manufacturing competition of daily/weekly reviewers, and weigh in with thoughtful, elegant prose, astute judgment and a dose of skepticism after the initial hoopla had died down… His film criticism brings us into the healing presence of a fully evolved, lively intelligence. We are grateful to have this scintillating and engaging and long-overdue collection.”—Philip Lopate.

The most recent issue of OEI magazine takes its starting point in Ernesto de Sousa’s explosive activities as filmmaker, photographer, curator, critic, writer, folk art researcher, multimedia artist etc. in the Portuguese 1960s onwards. Being active in almost everything that belongs to the domain of the arts in the broadest sense of the word, Ernesto de Sousa (1921-1988) adopted the term “aesthetic operator” to be used instead of the word “artist” – “for the simple reason that ‘artist’ designates a kind of sociological position and not a philosophical attitude towards the world” (José Miranda Justo).

THE FILM DESK

Euro 35

ISBN 9780999468364 (english)

148 pp.

15,20 x 20,30 cm / hardback

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

THE FILM DESK

Euro 35

ISBN 9780999468371 (english)

267 pp.

15,20 x 20,30 cm / hardback

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

CAT THREAD BOOKS

Euro 19,50

ISBN 9780999468340 (english)

192 pp.

11,43 x 20,30 cm / paperback

CINEMA/PHOTOGRAPHY, THEORY / HISTORY / CRITICISM

OEI MAGAZINE

Euro 52

ISBN 9789188829016 (english)

640 pp.

19,5 x 30 cm / paperback

ESSAY / LITERATURE, MAGAZINE

VOLUME IX: 2005-2011

Foreword by Toni Tàpies

The ninth and final volume of the catalogue raisonné of Antoni Tàpies includes the works created from 2005 to 2011.

This period marks the end of an extensive artistic career that began in 1940, and was characterised by a constant desire to experiment with materials and forms, undiminished by the passage of time. The works of these final years feature some of Tàpies’ main subjects, such as the self-portrait, the body, death and desire, but with gestures that are now less inhibited, freer. The brushstroke has achieved greater expressivity, immediacy and communicative power, while maintaining the instinct that drove him early on in his career to seek new forms with which to capture reality and represent it in all its rawness, without filters or veils.

Like that of other great artists of this century, the oeuvre of Antoni Tàpies (1923-2012) has been the object over recent years of an exhaustive study that has established the definitive catalogue of his complete works. This series is composed of nine volumes, coordinated by Anna Agustí and featuring an extensive addenda with new artworks chronologicaly corresponding to previous volumes and recently discovered.

Euro 280

ISBN 9788412277197

(english / español / català / français)

468 pp., 940 ill.

30 x 31,50 cm / clothbound in slipcase

THE COMPLETE WORKS

Coordinated by Anna Agustí

Design by Edicions de l’Eixample

VOLUME VIII: 1998-2004

Foreword by Nuria Enguita Mayo POLÍGRAFA

Euro 280

ISBN 9788488786838

(english / español / català / français)

528 pp., 940 ill.

30 x 31,50 cm / clothbound

VOLUME VII: 1991-1997

Foreword by Jean Frémon POLÍGRAFA

Euro 280

ISBN 9788488786647

(english / español / català / français)

600 pp., 884 ill.

30 x 31,50 cm / clothbound

VOLUME IV: 1976-1981

Foreword by Jacques Dupin

POLÍGRAFA

Euro 180

ISBN 9788434308015 (english)

ISBN 9788434307827 (español)

484 pp., 1.144 ill.

30 x 31,50 cm / clothbound

CONTEMPORARY ART, COMPLETE WORKS

VOLUME VI: 1986-1990

Foreword by Barbara Catoir POLÍGRAFA

Euro 280

ISBN 9788488786517

(english / español / català / français)

576 pp., 1.014 ill.

30 x 31,50 cm / clothbound

VOLUME III: 1969-1975

Foreword by Manuel Borja-Villel POLÍGRAFA

Euro 180

ISBN 9788434306790 (english)

ISBN 9788434307094 (español)

576 pp., 1.283 ill.

30 x 31,50 cm / clothbound

VOLUME V: 1982-1985

Foreword by Serge Guilbaut POLÍGRAFA

Euro 280

ISBN 9788488786418

SOLDOUT

(english / español / català / français)

544 pp., 1.072 ill.

30 x 31,50 cm / clothbound

VOLUME II: 1961-1968

Foreword by Andreas Franzke POLÍGRAFA

Euro 180

ISBN 9788434306158 (english)

ISBN 9788434306103 (español)

512 pp., 1.027 ill.

30 x 31,50 cm / clothbound

VOLUME I: 1943-1960

Foreword by Georges Raillard

POLÍGRAFA

Euro 180

ISBN 9788434305533 (english)

ISBN 9788434305567 (español)

544 pp., 915 ill.

30 x 31,50 cm / clothbound

CHARLOTTE

PERRIAND OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Josep Lluís Sert Design by Mot

Charlotte Perriand was born in Paris in 1903. In 1927, when she was only 24 years old, she showed a “Bar under the roof” made out of steel and aluminum at the Salon d’Automne, prompting Le Corbusier to hire her as a furniture designer.

Some of the prototypes she produced for the Salon d’Automne held two years later — Equipement intérieur de l’habitation— a project signed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, provoked a chain reaction that has not yet come to an end.

In 1940, Perriand was invited to Japan to be the official advisor on industrial design for the Ministry of Trade and Industry. She recommended that the Japanese turn their efforts to creating products for export to the West. Unfortunately, her stay was cut short by the outbreak of World War II. Unable to travel back home due to the naval blockades, she stayed in Vietnam for four years until the war ended. There she learned about weaving, woodwork, rattan, and other natural products.

After this experience, she turned to the radical idea of using more rustic materials such as bamboo and cane to create more affordable, mass-produced furniture.

POLÍGRAFA

Euro 19,90

ISBN 9788434314948 (english)

ISBN 9788434311794 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

• BACK IN STOCK

MODERN ARCHITECTURE, DESIGN

Changes in the form of furniture ought not to correspond simply to a desire for originality, but rather to a desire to perfect what already exists and is most advanced, always in accordance with the technical possibilities. It is not a matter of giving our epoch a new chair, but of providing the best chair. —Charlote Perriand

CHARLES AND RAY EAMES

OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Mathias Remmele Design by Mot

Best know for their contributions to architecture, furniture design, industrial design, film and photography. Charles and Ray Eames remain among the most renowned American designers of the twentieth century.

In 1946, Evans Products began producing the Eames molded plywood furniture. Their iconic molded plywood chair was called the chair of the century by the architectural critic Esther McCoy.

In 1949, Charles and Ray designed and built their own home in Pacific palisades, their design and imaginative use of materials making this house a mecca for architects and designers internationally.

After the war, the Eameses continued to create new furniture designs, such as the Fiberglass Chairs 1959, the famous Lounge Chair and Ottoman 1956, the Time Life stool 1960, the 3473 sofa 1964 and the seating for Dulles and O’Hare airports.

POLÍGRAFA

Euro 19,90

ISBN 9788434314955 (english)

ISBN 9788434311565 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

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EILEEN GRAY OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze, Nuria Jorge

Introduction by Carmen Espegel Design by Mot

Neglected for most of her career, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early twentieth century and the most influential woman in those fields. Her work inspired both modernism and Art Deco.

Eileen Gray was to “stand alone” throughout her career, first as a lacquer artist, then a furniture designer, and finally as an architect. At a time when other leading designers were almost all male and mostly members of one movement or another —whether a loose grouping like De Stijl in the Netherlands— she remained staunchly independent.

Her design style was as distinctive as her way of working, and Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers, such as Le Corbusier, Charlotte Perriand and Mies van der Rohe.

POLÍGRAFA

Euro 19,90

ISBN 9788434314962 (english)

ISBN 9788434312661 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

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MIES VAN DER ROHE OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Jean-Louis Cohen Design by Mot

German architect Ludwig Mies van der Rohe is, without doubt, one of the pioneering masters of modern architecture. The modern city, with its towers of glass and steel, can be at least in part attributed to the influence of architect Mies van der Rohe. Equally significant, if smaller in scale, is Mies’ daring design of furniture, pieces that exhibit an unerring sense of proportion as well as minimalist forms and exquisitely refined details. After an apprenticeship with furniture designer Bruno Paul in Berlin, he joined the office of architect Peter Behrens.

In the mid-1920’s, he began to design furniture, pieces that he conceived and created for particular interiors. His furniture is known for fine craft smanship, a mix of traditional luxurious fabrics combined with modern chrome frames, and a distinct separation of the supporting structure and the supported surfaces.

POLÍGRAFA

Euro 19,90

ISBN 9788434311824 (english)

ISBN 9788434311817 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

• BACK IN STOCK

JEAN PROUVÉ

OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Mathias Remmele Design by Mot

Jean Prouvé opened his own smithy in Nancy 1923, and shortly thereafter produced his first furniture made from thin sheet steel. Right away, Prouvé’s sparse, geometric aesthetic appealed to avant-garde architects such Robert Mallet-Stevens and Le Corbusier. Le Corbusier actually commissioned ironwork from Prouvé, and in 1929, invited him to join the new Union des Artistes Modernes, a group of artists and designers championing the Modern Movement.

His reputation may have further suffered from his own appetite for collaboration, which could make his exact role in architectural projects difficult to identify. Happily, this state of affairs changed in the 1990s when Prouvé emerged again, as his sensibility chimed again with the activities of contemporary like Jasper Morrison and Konstantin Grcic.

POLÍGRAFA

Euro 19,90

ISBN 9788434311558 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

ALVAR AALTO OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze

Introduction by Markku Lahti Design by Mot

Alvar Aalto (1898-1976) is the most prestigious Finnish architect of the last century, and the father of Nordic Modernism. He once said: “God created paper for the purpose of drawing architecture on it. Everything else is at least for me an abuse of paper.”

Aalto’s Modernism entailed the use of natural materials, warm colors, and undulating lines, and he is considered an important early exponent of Organic Design as a result. Of his design work outside of architecture, Aalto’s vases, lamps, glassware and laminated bent-plywood furniture (pioneered and produced through the design company he co-founded, Artek are equally esteemed. Iconic pieces include the Savoy Vase, the Paimio Chair and the Beehive Lamp. This monograph on Aalto’s highly collectible furniture designs expands our understanding of the diverse abilities of this influential architect/designer.

POLÍGRAFA

Euro 19,90

ISBN 9788434311541 (español)

128 pp., 180 ill. 16,50 x 21 cm / hardback

MODERN ARCHITECTURE, DESIGN

EERO SAARINEN OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze, Nuria Jorge

Introduction by Antonio Román Design by Mot

Born in Finland, Eero Saarinen (1910-1961) emigrated at the age of thirteen to the United States of America in 1923. He grew up in Bloomfi eld Hills, Michigan, where he took courses in sculpture and furniture design, established a close relationship with fellow students Charles and Ray Eames, and also became good friends with Florence Knoll.

Criticized in his own time for having no identifiable style, Saarinen developed a remarkable range of work, which depended on colour, form and materials. Saarinen showed a marked dependence on innovative structures and sculptural forms, but not at the cost of pragmatic considerations. He moved back and forth freely between the International Style and Expressionism, utilizing a vocabulary of curves and cantilevered forms, some of which have remained in production and became twentieth-century furniture icons.

POLÍGRAFA

Euro 19,90

ISBN 9788434312524 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

ARNE JACOBSEN OBJECTS AND FURNITURE DESIGN

Sandra Dachs, Patricia de Muga, Laura García Hintze, Nuria Jorge

Introduction by Félix Solaguren-Beascoa Design by Mot

Arne Jacobsen is one of the few architects really well-known for both his radical furniture designs and architecture career; SAS Royal Hotel and the National Bank are two of his most important buildings as an architect, while such items of furniture as The Egg chair, Series 7 chair,The Ant and The Swan chair have long since become icons of Danish furniture design.

One of the new features of Arne Jacobsen’s furniture design were his organic lines and sculptural elements, all of which are abundantly visible in such pieces of furniture as The Swan chair and The Egg chair. Not one straight line disturbs the soft curves of these creations and this departure from straight, geometrical lines is one of the cornerstones of Arne Jacobsen’s furniture. In this sense, while the significance of Arne Jacobsen’s buildings was limited, his furniture and other design work have become national and international heritage.

POLÍGRAFA

Euro 19,90

ISBN 9788434311831 (español)

128 pp., 180 ill.

16,50 x 21 cm / hardback

BACKLIST

CARUSO ST JOHN ALMOST EVERYTHING

Edited by Philip Ursprung

THE FEELING OF THINGS WRITINGS ON ARCHITECTURE

Adam Caruso

Essays and text by Jonathan Glancey, William Mann, John Brocklehurst, Michael Hardt, Antonio Negri

Design by Spin

Caruso St John are convinced that today’s architects should be able to choose from the endless array of cultural possibilities. So is this book. Its aim is not merely to document the buildings and projects that Caruso St John have undertaken in Britain and Continental Europe since the early 1990s. Rather, philosophy, Caruso St. John are skeptical that abstraction and simplification are sufficient to make an architecture. This book is based on the idea that one single theory, one narrative alone cannot grasp the complexity of contemporary architecture. Their projects always try to attend to the people who will use them and this book is intended to be a tool to see the built environment more clearly. It looks carefully at the details of everyday life; it deals with the fragility of built spaces and their transformation under the pressure of economic change; and it raises questions about our place in history.

Design by makingbooks

WIEL ARETS

Edited by Xavier Costa

Photographs by Hélène Binet

Design by Simon Davies

STUDIO ARTHUR CASAS

WORKS 2008 - 2015

Philip Jodidio, Philip Stevens et alt

NATURAL BEAUTY

Laurent Esmilaire and Tristan Chadney

Photographs by Tatiana Macedo

Design by Letra

POLÍGRAFA

Euro 60

ISBN 9788434311695 (español)

392 pp., 230 ill.

17 x 23 cm / hardback with jacket

Principal of the London based architecture office Caruso St John, together with Peter St John, Adam Caruso has develop an intense activity as writer, focusing his thoughts on the architectural practice and the updated of some figures of the so called other tradition of the Modern Movement.

Through ‘Sigurd Lewerentz and a material basis for form’ 1997, ‘The Tyranny of the New’ 1998, ‘The Feeling of Things’ 1999, ‘The emotional City’ 2000, or ‘Towards an Ontology of Construction’ 2002, we can discover another way to see the radical approach to the modern and contemporary architecture.

This publication is conceived as a major source to understand Wiel Arets’ architecture through the presentation of his principal writings, a selection of built work, projects, and other materials connected to his research and teaching. These materials are complemented with some of the most significant critical writings from the past ten years, plus a new text resulting from an exchange of writings between Arets and Xavier Costa. Special care is dedicated to the quality of photography and reproductions of architectural documents, as well as to the graphic treatment of the publication.

Sao Paulo-born Arthur Casas (1961) is an exception, an architect equally at ease in the areas of residential architecture, commercial spaces, real estate development and design.

“I experienced the best period of Brazilian architecture, when anything was possible,” he explains, “including designing a whole city— reorganizing the way of life in urban areas. I brought from my childhood this freedom, and a commitment to modernist principles.”

With offices in Sao Paulo and New York, Casas does owe some of his variety to his native Brazil, but has shown his capacity to create surprise in his designs. At almost 400 pages, this hardback monograph is a tribute to one of the most significant living Latin American architects.

On the one hand, NaturalBeauty takes the form of a series of statements on architecture, construction, rationality and photography. On the other, it proceeds as a photographic essay of Tatiana Macedo, that gathers side by side constructive forms, taking advantage of the structure of a book.

This is the third volumen of a five book series for the fith edition of Lisbon Architecture Triennale. A unique and limited collection edited by the curatorial team of The Poetics of Reason: a sparkling intellectual reflection from a three-year investigation on architectural rationality. With stunning visual references, the five books explore the various subjective and non-scientific dimensions of architecture with contributions from architects, philosophers, artists and acclaimed authors.

POLÍGRAFA

Euro 19,50

ISBN 9788434311862 (english)

ISBN 9788434311855 (español)

96 pp., 12 ill.

15 x 21 cm / hardback

POLÍGRAFA

Euro 39

ISBN 9788434309159 (english)

ISBN 9788434309142 (español)

328 pp., 210 ill.

23,50 x 29 cm / clothbound

POLÍGRAFA

Euro 60

ISBN 9788434313538 (english)

368 pp., 330 ill.

23 x 28,50 cm / hardback

POLÍGRAFA

Euro 29,90

ISBN 9788434313903 (english)

88 pp.

14 x 21,50 cm / paperback

ARCHITECTURE, THEORY / HISTORY / CRITICISM

BERNARD TSCHUMI

ARCHITECTS: ACROPOLIS MUSEUM

ATHENS

Edited and interview by Francisco Rei

Introduction by Dimitrios Pandermalis

Photo-Essay by Peter Mauss Design by Mot

Located in Athens’s historic area of Makryianni, the New Acropolis Museum stands less than 1,000 feet southeast of the Parthenon, at the entrance of a network of pedestrian walkways that link the key archaeological sites and monuments of the Acropolis.

This location was carefully selected to enable a dialogue between the Museum’s exhibition spaces and the Acropolis buildings. Tschumi won the commission in 2001 as the result of a design competition.

“The design was chosen for its simple, clear and beautiful solution that is in accord with the beauty and classical simplicity of the Museum’s unique exhibits and that ensures a museological and architectural experience that is relevant today and for the foreseeable future” stated Professor Dimitrios Pandermalis, President of the Organization for the Construction of the New Acropolis Museum and author of presentation of this volume.

POLÍGRAFA

Euro 19,50

ISBN 9788434312340 (english)

ISBN 9788434312357 ( Ελληνικά )

96 pp., 64 ill.

14 x 21 cm / paperback with flaps

JOSEP LLUÍS SERT: FUNDACIÓ JOAN MIRÓ BARCELONA

Edited and interview by Francisco Rei

Introduction by Bruno Zevi

Photo-Essay by Joan Morejón

Design by Mot

The Joan Miró Foundation was the first public institution set up in Barcelona to focus entirely on contemporary art. Joan Miró and Josep Lluís Sert –its designer–, a founder member of GATCPAC,had first met in 1932 and became close friends working both for the Spanish (Republican) Pavilion at the Paris World Fair in 1937.

After the first big retrospective of the work of Joan Miró in Barcelona (1968), the artist had decided to set up a building to make his work accessible to the public on a permanent basis. Sert was commissioned,and created an open-plan structure where the interior space communicated with the exterior,producing a perfect balance between architecture and landscape.

DILLER, SCOFIDIO + RENFRO: INSTITUTE OF CONTEMPORARY ART (ICA) BOSTON

Edited and interview by Francisco Rei

Introduction by Jill Medvedow

Photo-Essay by Iwan Baan

Design by Mot

The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home.

“The ICA’s decision to hire Diller + Scofidio reflected our belief in the firm’s vision that architecture can shape as well as reflect contemporary experience,” stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community.

SANAA: NEW MUSEUM NEW YORK

Edited and interview by Francisco Rei

Introduction by Lisa Phillips

Photo-Essay by Iwan Baan

Design by Mot

DANIEL LIBESKIND: JEWISH MUSEUM BERLIN BERLIN

Edited and interview by Francisco Rei Introduction by Cilly Kugelmann

Photo-Essay by Jan Bitter

Design by Mot

The New Museum, designed by Tokyo-based architects Kazuyo Sejima and Ryue Nishizawa / SANAA (2010 Pritzker Prize), is the first art museum ever constructed from the ground up in downtown Manhattan. Sejima and Nishizawa, who received the commission in 2002, have described the building as their response to the history and powerful personalities of both the New Museum and its storied site. “We were a bit shocked, but we were also impressed that a contemporary art museum wanted to be there”, they have said. As visitors approach the Bowery, they encounter the building as a dramatic stack of seven rectangular boxes. This distinctive form derives directly from the architects’ defining solution to fundamental challenges of the site: A dense and ambitious program, including the need for open, flexible gallery spaces of different heights and atmospheres.

Designed in the second half of the 90s, the Jewish Museum in Berlin opened in September 2011. The modern architectural elements of the Libeskind building comprise the zinc façade, the Garden of Exile, which attempts “to completely disorient the visitor and represents a shipwreck of history”, the three Axes of the German-Jewish experience, and the Voids, which refer to “that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes”.

In the words of the architect: “The official name of the project is ‘Jewish Museum’ but I have named it ‘Between the Lines’ because for me it is about two lines of thinking, organization, and relationship. One is a straight line, but broken into many fragments, the other is a tortuous line, but continuing indefinitely.” In some way, Libeskind imagines the continuation of both lines throughout the city of Berlin and beyond.

POLÍGRAFA

Euro 19,50

ISBN 9788434312364 (english)

ISBN 9788434312371 (español)

96 pp., 64 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312807 (english)

80 pp., 62 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312449 (english)

80 pp., 64 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312920 (english)

ISBN 9788434312937 (deutsch)

80 pp., 64 ill.

14 x 21 cm / paperback with flaps

CONTEMPORARY ARCHITECTURE

RICHARD MEIER: MUSEU

D’ART CONTEMPORANI DE BARCELONA (MACBA)

BARCELONA

Edited and interview by Francisco Rei

Introduction by Isabel Bachs

Photo-Essay by Aleix Bagué Design by Mot

Located in the rundown district of the Raval, the Museum of Contemporary Art of Barcelona creates a dialogue between the quarter’s historic urban fabric and contemporary art. The labyrinthine nature of the preexisting streets in the district is reflected in the building’s organization, most notably in the main entrance.

A pedestrian passageway runs parallel from the museum’s back garden to a newly created square in front of the museum, known as Plaça dels Àngels, and links to a pedestrian network running throughout the old city. And the gentle curve of this thoroughfare underscores the centrifugal movement of the cylindrical lobby and describes a fifth facade, connecting the geometries of the museum to an urban context characterized by skewed intersections and the domes of ancient churches.

ÁLVARO SIZA: MUSEU DE ARTE CONTEMPORÂNEA DE SERRALVES PORTO

Edited and interview by Francisco Rei

Introduction by João Fernandes

Photo-Essay by Duccio Malagamba Design by Mot

Portuguese architect Álvaro Siza (born 1933) is one of the most influential architects of the past half-century. His most famous work is perhaps the Serralves Museum in his hometown of Porto, his second museum building, following the Galician Center for Contemporary Art, erected in 1997.

Low built and horizontal in axis, its white stucco walls are perforated with occasional openings that yield unexpected views of a surrounding garden. As with most of Siza’s buildings, the furniture and fittings were also designed by the architect, including lighting fixtures, handrails, doorknobs and all signage. Building materials include hardwood floors and painted walls in plaster with marble skirting in the exhibition halls and marble floors in the foyers.

COSMETIC TECHNIQUES QUADERNS #272

Ferran Grau and Nuria Casais

Essays by Guillermo López, Enric Llorach, Matilde Cassani, Nuria Casais y Ferran Grau, André Bideau, Pep Avilés, among others

Design by Bendita Gloria

Quaderns 272 sets out to analyse different cosmetic techniques by means of a critical approach organized on three levels, corresponding to three scales of the project. First, it looks at the current state of the face of the European city, constructed, reconstructed and transformed. Second, it debates the definition of the architectural object, analysing surface and depht, and, consequently, the idea of artifice from an external view of architecture as well as from a visión of the architecture of the public interior. Finally, like a digital zoom, cosmetic techniques are analysed by means of the study of the architectural fragment while simultaneously attendig to the identity of the whole. Architecture is defined by artífice, often in layers, thicker or thinner, revealing the cosmetic nature of the construction and the possibilities of a language.

ABOUT BUILDINGS AND FOOD QUADERNS #271

Xavier Monteys

Essays by Stephen Bates, Gianluca Burgio, Carlos Dias Coelho, Nuria Ortigosa, David Steegmann, among others. Interview with Carolyn Steel Design by Bendita Gloria

AboutBuildings&Food —taken the title from 1978 Talking Heads’ record— take care of the domestic space and the public space from the perspective of food. From this perspective, the relationship between both realities is clarified, since the food traces countless links between these two scenarios: from the supply to the waste, and even when the food separates them, or when we eat on the street we do not do it at home, also allows to observe new relationships between both spaces. At the same time, it seems opportune to also pick up on what affects the house at present, with the increasing presence of the prepared food that is delivered at home. In this case the reflection focuses on the dining space and its position in the house, which augurs that this space becomes a central space in the house and opens new perspectives that overcome functionalism.

EUROPA EUROPA QUADERNS #270

Moisés Puente

Essays by Philip Ursprung, Moritz Küng. Album by Bas Princen. Photographs by Maxime Delvaux, Filip Dujardin, Adrià Goula, José Hevia, Julien Hourcade, among others Design by Bendita Gloria

Everything seems to indicate that we are facing a new cultural paradigm. In a short time we have gone from architectural culture that was almost exclusively penned and technical to an eminently visual one. In a world abounding with images, images have ceased to be mere representations of things and have become charged with meaning. In this new paradigm, images are much more powerful and influential tha words, and architecture seems to have stopped being read as text and is now put forward as image. The visual or iconic image has become a new law that articulates new ways of doing architecture. Perhaps we might wonder if all these new paradigms do nothing but fall back on something already well known, something often rehearsed which has been leading us for some time, again and again, up the same dead-end alley: the ever seductive power of ‘the new’.

POLÍGRAFA

Euro 19,50

ISBN 9788434312555 (english)

ISBN 9788434312562 (español)

80 pp., 62 ill.

14 x 21 cm / paperback with flaps

POLÍGRAFA

Euro 19,50

ISBN 9788434312838 (english)

ISBN 9788434312845 (português)

80 pp., 64 ill.

14 x 21 cm / paperback with flaps

QUADERNS

Euro 25

ISBN 9788434314016 (english)

ISBN 9788434314023 (català)

140 pp.

19 x 26 cm / paperback

QUADERNS

Euro 25

ISBN 9788434313774 (english)

ISBN 9788434313781 (català)

160 pp.

19 x 26 cm / paperback

QUADERNS

Euro 25

ISBN 9788434313736 (english)

ISBN 9788434313743 (català)

148 pp.

19 x 26 cm / paperback

ARCHITECTURE, MAGAZINE ARCHITECTURE, MAGAZINE ARCHITECTURE, MAGAZINE

JOSEP LLUÍS MATEO ON BUILDING, MATTER AND FORM

Introduction by Philip Ursprung

Photo-Essay by Adrià Goula

JOSEP LLUÍS MATEO WORKS, PROJECTS, WRITINGS

Interview with Philip Ursprung Essay by José Luís Pardo Design by Cosmic

UN PASEO POR LA BARCELONA MODERNISTA

Lluís Permanyer

In words of the architect: “Building is a long journey through the present continuous. The past exists as an echo, as a phantasmal form that is no longer discussed, and sometimes even its origin is forgotten. Building means taking root in the mud, squelching through it on a journey without distant horizons.”

Here, the buildings are presented, captured by Adrià Goula, as visual forms, as compositions of planes and surfaces that form volumes and also as a dialectic of the light and shade that define spaces.

This book collects precise information on the main recent projects by Mateo, from the Offices in Boulogne-Billancourt (France) and the PGGM Headquarters in Zeist (Netherlands), to the Banc Sabadell Headquarters Renovation and the Catalonian Film Theatre in Barcelona.

Chair at the ETH Zürich, Josep Lluís Mateo is an international acclaimed Spanish architect with current projects worldwide.

POLÍGRAFA

Euro 45

ISBN 9788434313118 (español)

184 pp., 128 ill.

24 x 16,50 cm /clothbound with glued imaged

CONTEMPORARY ARCHITECTURE

This book is a faithful reflection of the modus operandi and spirit that pervade the professional life of Josep Lluís Mateo, unquestionably one of the Spanish architects’ offices that has had the greatest impact on the international scene.

Josep Lluís Mateo has a studio in Barcelona and teaches at the ETH in Zurich, where he is Professor of Architecture and Design. His projects in Paris, The Hague and Amsterdam have been joined by others newly begun in Haarlem, Basel, Mexico FD and Castelo Branco, all of which are analyzed in depth in this book, which also includes new photographic reportages by Christian Richters, a photographic essay by the artist Sergio Belinchón on Mateo’s International Convention Centre in Barcelona— one of his most authoritative projects of recent years—an extensive study by José Luis Pardo and an interview by Philip Ursprung.

POLÍGRAFA

Euro 39

ISBN 9788434309845 (español)

304 pp., 338 ill.

23,50 x 29 cm / hardback

CONTEMPORARY ARCHITECTURE

GAUDÍ

OF BARCELONA

Lluís Permanyer

Photographs by Melba Levick

COAC ARCHIVES. ARCHITECTURAL DRAWINGS

Edited by Fernando Marzá, Josep Ferrando

Art nouveau architecture was not only the product of the convictions of innumerable architects, it also received the unconditional support of property owners. A series of favorable social conditions, but above all this meeting of passions, led to the emergence of Barcelona’s Eixample, a unique urban project.

In the pages of this book we discover an array of astonishing works by following an itinerary designed to be both instructive and pleasurable. A stimulating promenade, with none of the characteristics of a simple catalog, on which the reader will be able to discover, admire and savor the best of Modernisme

POLÍGRAFA

Euro 36

ISBN 9788434308787 (español)

ISBN 9788434308770 (català)

160 pp., 216 ill.

15 x 29,50 cm / clothbound

Photographs by Melba Levick MODERN

“Color in architecture must be intense, logical, and fertile,” wrote Catalan architect and designer Antoni Gaudí in his diary in the late 1870s. Known for his sensuous, curving, almost surreal Art Nouveau buildings, Gaudí (1852-1926) is today one of the best-known architects in the world.

Gaudí’s organic structures —undulating tiled roofs, pinnacles and towers that rise like plants or tentacles, chimneys that take on phantasmal shapes and colors— are all illustrated here, accompanied by plans and drawings that provide a clear picture of Gaudí’s structural innovations.

For those already familiar with the architect’s work, the magnificent photographs taken by Melba Levick, full of details, will prove a revelation; for those just discovering Gaudí, this book is the next best thing to experiencing the buildings themselves.

Composed of more than two million documents –– more than half of which are drawings –– the COAC Historical Archive has one of the main collections devoted to what we could call “architectural essays”, which is why in many cases the drawing has an attempt but also an interpretation of the already built architecture.

The selection of the 152 drawings that are reproduced here has been carried out according to the very different scales of architectural practice –– from interior design to urban planning–– and to the extensive historical period that it covers, from 1834 to the present.

A selection that is accompanied by comments of many different disciplines and perspectives: from architecture and photography, to literature and art.

An essential book for libraries and also for drawing and architecture’s lovers.

POLÍGRAFA

Euro 36

ISBN 9788434315013 (english)

ISBN 9788434315020 (español)

208 pp., 142 ill. 24,50 x 29 cm / hardback

POLÍGRAFA

Euro 45

ISBN 9788434313989 (català, castellano, english)

328 pp. / 176 ill.

29 x 25 cm / hardback

ARCHITECTURE

ON ART HISTORY IN AFRICA

Edited by Koyo Kouoh, UgochukwuSmooth C. Nzewi, Eva Barois De Caevel, Mika Hayashi Ebbesen

Contributions by Eva Barois De Caevel, Yaëlle Biro, Hamady Bocoum, Susan Elizabeth Gagliardi, Elizabeth W. Giorgis, among others

This publication gathers communications and discussions from the symposium, as well as essays and dialogues that happened afterwards. It offers a precise overview of the art history being written today in Africa, of its critique, but also of the art history to come.

African art history continues to be dominated by Western scholars who set the tone for the field. Their cultural frames of reference, which they cast as universal, exert influence on the interpretation of African art, social conditions, and cultural milieu. The knowledge produced in most institutions and academic or independent publishers outside of Africa communicates the extant system in place within those localities. In other words, the audience for such forms of knowledge production is not (necessarily) in Africa. A contradiction is born of this state of affairs; most contemporary Africans do not necessarily recognize themselves in what they are reading, yet they tend to hold this material as truth.

MOTTO BOOKS / RAW MATERIAL

Euro 29,90

ISBN 9782940672097 (english / français)

338 pp.

17 x 24 cm / paperback

• BACK IN STOCK

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

BREATHING OUT OF SCHOOL

Edited by Koyo Kouoh (Ed.)

Contributions by Amina Lawal Agoro, Dulcie Abrahams Altass, Yemisi Aribisala, Eva Barois De Caevel, Mamadou Diallo, Carine Doumit, Ayesha Hameed, Ava Hess, Sandrine Honliasso, among others

RAW Académie was developed in Dakar to create a space of experimental teaching and collaboration, of deconstruction and exposure, of knowledge and nourishment. Koyo Kouoh, founder of RAW Material Company, wished for curatorial inquiry and critical writing to join artistic thinking at this site of international encounters. The commitment to create a community that did not previously exist has led to an ever expanding RAW Académie family of Pan-African and global orientation. This thriving and stimulating meeting ground of pedagogy and art has cultivated the emergence of many provocations, reflections and new possibilities, some of which are shared in Breathing Out of School—a volume of diverse texts that slowly constructs an invitation to ruminate upon what it means to share the table of curiosity and creativity with others, as well as think about what feeds our own earnest dreams.

MOTTO BOOKS / RAW MATERIAL

Euro 29,90

ISBN 9782940672042 (english / français)

338 pp.

17 x 24 cm / paperback

CHILLIDA OPEN-AIR SCULPTURES

Edited

by

Giovanni Carandente

Writings by Eduardo Chillida

Photographs by David Finn

Remarks on works by Dena Merriam

Design by makingbooks

CONTEMPORARY ART, THEORY / HISTORY / CRITICISM

EARTHWORKS

Edited by Pedro Donoso

Essays by Jens Andermann, Pedro Donoso, Valentina Montero, Bárbara

Saavedra, Juan Carlos Skewes, Catalina Valdés

Design by José Délano

Through the works of 36 artists and collectives, Earthworks takes up the exploration begun in the exhibition of the same name that raised a series of territorial experiences conveniently recorded and transferred to the National Museum of Fine Arts (Santiago). In this volume, explorations and drifts to remote and nearby locations are diversified. Like the journey of a naturalist in the digital age, the recovery of these marks and images allow us to guess a series of signs spread over deserts, mountains, forests and rivers, perhaps like a writing that conjures up, for a single moment, the abuses of our own predation.

The open-air sculptures of Eduardo Chillida, present in numerous cities in the world, figure among the most intense and telling creations of contemporary monumental-scale sculpture.

In most cases, these works involve architectural, urban or landscape aspects, and the problem that the artist must face is the organization of the works in the space, whether in relation to the external environment in which the work is placed —as in Wind Combs, in struggle with the aggressive Cantabrian Sea; in the idyllic peace of the Gure Aitaren Etxea (House of our Fathers), in Guernica; or in the EulogytotheHorizon, in Gijón—, or to interior space, closed and sometimes hermetic, which for the artist has a value that is both stimulating and creative.

This volume also includes a wide selection of the Basque artist’s writings that bring us closer to his desire to “define the hollow three-dimensional through the full three-dimensional, establishing at the same time a kind of dialogue between them... The dialogue between the forms, whatever they may be, are much more important than the forms themselves.”

POLÍGRAFA

Euro 35

ISBN 9788434314078 (english / español)

296 pp.

25 x 23,50 cm / paperback

CONTEMPORARY ART

POLÍGRAFA

Euro 52

ISBN 9788434313842 (español)

304 pp., 326 ill. 24 x 29,5 cm / hardback

CONTEMPORARY ART

PAUL MCCARTHY

WS - CSSC (WHITE SNOW AND COACH STAGE STAGE COACH)

Edited by Paul McCarthy

Essays by Paul McCarthy, Eduardo Lago, Donatien Grau

Paul McCarthy (Salt Lake City, 1945) is one of the most provocative and influential living voices in contemporary art. This long-size book —between a monograph and an artist book— was conceived by the artist itself, and collects McCarthy’s paintings that represent the latest iteration of two major ongoing projects within his multidisciplinary practice: White Snow and CoachStageStageCoach.

In both series, archetypal American narratives are pitched against human drives and desires, and examined with McCarthy’s characteristic wit and subversion. White Snow , usually a paragon of feminine virtue, is depicted as a garishly made-up, despoiled protagonist. CoachStageStageCoach is McCarthy’s second long-term project, based on the film of the same name, a 1939 American Western by John Ford.

POLÍGRAFA

Euro 90

ISBN 9788434313705 (english / español / català)

360 pp.

27,50 x 40 cm / hardback with embossed text

JOAN FONTCUBERTA: DELETRIX

Edited by Manuel Guerrero Brullet

Text by Carme Arenas, Manuel Guerrero Brullet, Chenjerai Hove, Herta Müller, Emmanuel Pierrat, John Ralston Saul, Salman Rushdie

During the last six years, the photographer Joan Fontcuberta (Barcelona, 1955) has visited libraries and archives throughout Europe and North America and gathered together images of censured text from different epochs and authors –Desiderius Erasmus, Fernando de Rojas, Francisco de Quevedo, among others.

Based on this series of images, Joan Fontcuberta presents Deletrix, an artistic project (an exhibition and an artist book) on censorship with the direct involvement of PEN Catalán. Deletrix includes a series of images by the photographer together with texts in which writers of international renown reflect on censorship. This project, driven by PEN Catalán aspires to become a literary and artistic benchmark volume on censorship.

JAUME PLENSA

Carsten Ahrens

Design by makingbooks

FERNANDO PRATS

GRAN SUR

Text by Paul Ardenne, Fernando Castro Flórez, Justo Pastor Mellado

POLÍGRAFA

Euro 25

ISBN 9788434313255 (english / català)

96 pp., 44 ill.

23 x 28 cm / clothbound with glued image

PHOTOGRAPHY, ARTIST’S BOOK

This book puts together a wide selection of his sculptures, writings and collaborative works. Besides an intense activity in the field of sculpture, which started at the beginning of the 80s, during the last two decades Jaume Plensa has showed a strong inclination towards theorization, which is reflected in the progressive conceptualization of his work.

Fernando Prats’ Gran Sur project was inspired by Ernest Shackleton’s newspaper advert soliciting recruits for his fateful Antarctic expedition: “Men wanted for hazardous journey, low wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful, honor and recognition in case of success”. Through a compendium of photographs and archival materials, Prats’ installation, recorded in this volume, draws out the implications of the blackly humorous advert to resonate with larger experiences of migration and dangerous travel.

In 2011 Fernando Prats (Santiago de Chile, 1967) represents Chile in the Venice Biennale.

POLÍGRAFA

Euro 49

ISBN 9788434309418 (english)

ISBN 9788434309401 (español)

304 pp., 182 ill. 22 x 29 cm / hardback

CONTEMPORARY ART

POLÍGRAFA

Euro 35

ISBN 9788434312906 (english)

ISBN 9788434312890 (español)

288 pp., 214 ill. 17 x 24 cm / hardback

CONTEMPORARY ART

AMEREIDA

THE

INVENTION OF A SEA

Edited by Victoria Jolly, Javier Correa

Design by Daniela Abad

GORDON MATTA-CLARK EXPERIENCE BECOMES THE OBJECT

Edited by Pedro Donoso

Essays by Caroline Goodden, Gerry Hovagimyan, Flor Bex, Gwendolyn Owens

Design by José Délano

Amereida is one of the most interesting phenomena of the artistic vanguards of Latin America. The journey started in Tierra del Fuego in 1965 by Latin American and European artists, poets, architects and intellectuals, became an artistic event of the first magnitude, performing poetic acts, plastic interventions and other actions, to open the possibility of a properly American inhabit. The construction of Ciudad Abierta and the exploration of new ways of living are now in the hands of the descendants of that heroic generation. The book brings together photographs, drawings, text and dialogues and is the first effort to publish a visual testimony of the journey. The recovery, in 2015, of the photographic archive of the philosopher François Fédier, allows us to access an unprecedented treasure on one of the foundational experiences of the recent history of Latin American art.

Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs.

His work and words, while sophisticated enough to make him an “artist’s artist,” and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. This book collects five essays and ten individual interviews to different friends and family members of Gordon Matta-Clark serve to outline a biographical profile and an analysis of the historical period in which the artist developed his short and successful career.

JUAN USLÉ THE BLIND ENTRANCE

Barry Schwabsky

Design by makingbooks

When we see certain paintings by Uslé, always in intense, bright and burning colours, we should be reminded of encounters with one of those states that take us out of our everyday way of perceiving, one of those events that teach us that everything we perceive can be captured in an entirely different way, given that even a small modification of the perceptual apparatus can cause it to vary. Some of Uslé’s paintings, the most complex, bring vision to mind through a kaleidoscope. It is useful to recall that these types of experiences, which we are unaccustomed to, are neither easy nor comfortable, and yet are just a step, though a crucial step, away from being painful. In their excess they put pressure on our aesthetic expectations. This work would be the pictorial equivalent of Rimbaud’s famous quote “dérèglement de tous les sens”.

MEDARDO ROSSO PIONEER OF MODERN SCULPTURE

Edited by Gloria Moure

Writings by Medardo Rosso

Text by Umberto Boccioni, Dirk Braeckman, Johan de Smet

Design by Ruud Ruttens

Rosso was not a sculptor in the traditional sense. Eschewing wood and stone, he worked with soft materials such as plaster and wax which lent themselves to the rendering of ephemeral effects and subtle forms. He produced multiple versions of his works, constantly varying the forms and materials.

In Rosso’s eyes, sculpture and the viewing of sculpture were inextricably linked, and photography became the ultimate movement from the spectator’s point of view. It enabled him to reach his ultimate goal: to render form insubstantial. In doing so, he recognized photography as an artistic discipline.

ALEX VAN GELDER & LOUIS BOURGEOIS ARMED FORCES

Photo-Essay by Alex van Gelder on Louise Bourgeois

POLÍGRAFA

Euro 35

ISBN 9788434313750 (english / español)

224 pp., 120 ill.

18,50 x 26 cm / hardback

POLÍGRAFA

Euro 35

ISBN 9788434313552 (english / español)

228 pp., 140 ill.

17 x 24 cm / hardback with silkscreen

POLÍGRAFA

Euro 55

ISBN 9788434313309 (english)

ISBN 9788434313392 (español)

288 pp., 170 ill.

21,50 x 28 cm / printed cloth binding

POLÍGRAFA

Euro 55

ISBN 9788434313767 (english)

380 pp., 382 ill.

16,50 x 24 cm / paperback with flaps

MODERN ART

Louise Bourgeois was an immensely influential sculptor and one of the iconic figures of twentieth and early twenty-first century art. In the last year of her life, she invited the artist Alex van Gelder to stay at her New York town house and take photographs of her. More than purely a portrait project, she considered the collaboration to be an extension of her work, allowing her person to be viewed as a segment of her art. This beautiful clothbound book presents twenty of Van Gelder’s portraits of Bourgeois’s hands, each on a double-page spread and accompanied by comments by the artist. Despite their stark simplicity, Van Gelder’s images are suffused with warmth. They reflect his closeness to Bourgeois and the trust she placed in him when working together on this final project, brought to fruition here in this intimate and precious book.

POLÍGRAFA

Euro 35

ISBN 9788434312531 (english)

48 pp., 22 ill.

22,50 x 29 cm / clothbound

PHOTOGRAPHY, ARTIST’S BOOK

MARCEL BROODTHAERS COLLECTED WRITINGS

Edited by Gloria Moure

Design by makingbooks

This fully illustrated collection of Broodthaers’ writings presents his early poetry in a comprehensive selection of statements and critical essays— some unpublished while others were originally published in newspapers and art magazines and are here collected for the very first time.

Marcel Broodthaers (Brussels, 1924-1976), a poet before becoming an artist in 1964, was a pioneer of intermedia and site-specific installation art but above all an in-depth theorist who ranged widely over the visual arts in his writings. Often overlooked, his artworks include genuine research into the nature of language, giving a conceptual continuity to all his practice. The essay that serve as the book’s introduction written by Gloria Moure (editor of this volume) examines the artist’s approach in relation to the linguistic turn in art practices of the 1960s, and its legacy in contemporary art.

MICHAEL SNOW-SEQUENCES

A HISTORY OF HIS ART

Edited by Goria Moure

Essay by Bruce Jenkins

Writings by Michael Snow

Design by makingbooks

Michael Snow is, without doubt, one of foremost living artist, and a central figure in North American art in the latter half of the Twentieth Century. Since the reception of the “Independent Film Award” (1968) from the journal Film Culture, his work was placing in the ranks of such major figures of avant-garde cinema as Stan Brakhage and Gregory Markopoulos as well as in the company of two other artists-turned-filmmakers: the photographer Robert Frank and the painter Andy Warhol.

The image of Michael Snow that emerges from this complete mongraph is of a contemporary Renaissance man. Mixing reflexive humor with a nuanced grasp of the many faces of contemporary art, Snow’s text acknowledges the difficulties an artist faces in approaching different disciplines when there is ‘a tendency towards purity in all these media as separate endeavours’.

GARY HILL. AN ART OF LIMINA WORKS AND WRITINGS

George Quasha, Charles Stein

Design by makingbooks

JANNIS KOUNELLIS

WORKS, WRITINGS 1958-2000

Gloria Moure

SIGMAR POLKE PAINTINGS, PHOTOGRAPHS AND FILMS

Gloria Moure

Design by makingbooks

Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill’s work in video is about, and is, a new form of writing.

In this book, George Quasha and Charles Stein, who met Gary Hill on mid-1970s analyze the whole career of the artist paying especial attention to the single-channel video work, where he explored the intertextuality of image, synthesized imagery and post-minimal political statements.

Jannis Kounellis has always cherished a fond memory of “those Greek mothers who, rather than bringing up their children to stay by their sides, prepared them to leave home.” But of course these adventures come to an end sooner or later with the long-awaited return to Ithaca. Often when Kounellis is asked about the idea of the voyage as an aesthetic reference throughout his work, he replies categorically —perhaps because he is well aware that this abstraction was the leitmotif used to exhaustion during the irreverent and dilettantish eighties as a justification for all kinds of frivolity— that “every journey is in some way an initiation: it is an idea of expansive, amorous, collective consciousness”, and then goes on to destroy the obviousness of the physical displacement.

This is the updated and revised version of the Polke book published in 2005 by Ediciones Polígrafa. This publication was designed and conceived in collaboration with the artist and includes part of his personal documentation. It is also the only publication that includes a critical review of his production of Films. Also there is a very interesting crosscutting issue in the book: the relation of the artist with the Goya painting, Lasviejas o Eltiempo. The new cover shows Polke photographing this painting in The Beaux Arts Museum in Lille (France). Starting from the profane material of everyday culture, Polke interprets images of reality rather than reality itself, satirizes tendencies in contemporary painting, questions the role of the artist as author, breaks down the trivial visual worlds of media photography, and always, but always, takes off on the most magnificent fights of imagination.

POLÍGRAFA

Euro 60

ISBN 9788434312876 (english)

512 pp., 317 ill.

21 x 25 cm / hardback

• BACK IN STOCK

POLÍGRAFA

Euro 60

ISBN 9788434313521 (english)

376 pp., 374 ill. 21 x 25,50 cm / hardback

POLÍGRAFA

Euro 60

ISBN 9788434310421 (english)

640 pp., 316 ill.

21 x 26 cm / hardback

POLÍGRAFA

Euro 53

ISBN 9788434309210 (español)

448 pp., 385 ill. 21,50 x 26 cm / clothbound

POLÍGRAFA

Euro 60

ISBN 9788434313378 (english)

ISBN 9788434309883 (español)

328 pp., 180 ill.

21,50 x 26 cm / hardback

CONTEMPORARY ART

ROBERT WILSON

Miguel Morey, Carmen Pardo

Design by Anna Subirós

DAN GRAHAM WORKS AND COLLECTED WRITINGS

Edited by Gloria Moure

Text by Alexander Alberro, Eric de Bruyn

Design by makingbooks

VITO ACCONCI WRITINGS, WORKS, PROYECTS

Gloria Moure

Design by makingbooks

CRISTINA IGLESIAS

Edited by Iwona Blazwick

Text by Richard Etlin, Michael Newman, Michael Tarantino

Interview with Gloria Moure

TONY OURSLER

Edited by Elizabeth Janus, Gloria Moure

Text by Raymond Bellour, Tony Conrad, Constance De Jong

Interviews with Dan Graham, Mike Kelly

Robert Wilson is undoubtedly one of the stage directors who have devoted greater effort to integrating elements stemming from a range of creative fields. Special importance is conceded to the use of light and movement in his oeuvre, not only as compositional elements but also as symbolical features.

In this publication Miguel Morey and Carmen Pardo approach the entirety of his oeuvre through an extensive essay structured around five suggestive selections: The Deaf Man’s Gaze, The Automaton’s Freedom, What Marlene Dietrich Knew, The Prisms of Silence and The Theatre in Infinite Space.

Since the mind-1960s, Dan Graham (Urbana, Illinois 1942) has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. He is a highly influential figure in the field of contemporary art, both as a practitioner of conceptual art and a well-versed art critic and theorist.

Graham’s work questions the relationship between people and architecture and the psychological effects it has on us. His work highlights the awkwardness that occurs when intimate moments or details are rudimentarily broadcast in an impersonal manner, as he continues to investigate the voyeuristic act of seeing oneself reflected, whilst at the same time watching others.

This monograph analyzes his main works and collects some of seminal writings by the artist.

The work of Vito Acconci has acquired especial prominence during the last decade. Poet, sculptor and performer, the videos and films that document his activities during the sixties and seventies have become points of reference for the new generations. This monograph by Gloria Moure examines his most important works —from his first performances to his most recent projects for public spaces— and includes a wide selection of his writings.

Cristina Iglesias (1956, San Sebastián) belongs to a generation of artists who have transformed the concept of sculpture since the 1980s. Working towards the melding of her artistic work with architecture, Cristina Iglesias has long been attracted to spaces within spaces. The sheer scale of her sculptures invites viewers to walk around and occasionally through her pieces. On a more microscopic level, Iglesias has remained fascinated by details, and by data that deliberately distracts or skews the perception of abstract forms. Rich surfaces, such as cast impressions of local and exotic flora, become progressively all-consuming as the viewer approaches them. This publication is the first monograph on the artist, and includes a consideration of work done in collaboration with architects Abalos & Herreros and Paul Robbrech.

During the course of the past fourty years, video art has blossomed well beyond the expectations of its early practitioners and theorists. Born as a critique of television and a medium at odds with traditional pictorial forms, at its inception video was filled with an utopian promise that lead artists to believe in a true democratization of art.

Today it has reached a pinnacle of technical sophistication and aesthetic importance that was only dreamed of in the 1960s when the accessibility of the Portapak camera seemed to allow limitless creative possibilities. Tony Oursler stands as a major figure within the evolution of the medium.

With a keen understanding of its technical intricacies, as well as its limitations as a time-based form, Oursler began to paint in moving images a broad picture of how visual technologies influence —even modify— our social and psychological selves.

POLÍGRAFA

Euro 53

ISBN 9788434309869 (español)

256 pp., 160 ill.

21,50 x 26 cm / hardback

CONTEMPORARY ART, PERFORMING ARTS

POLÍGRAFA

Euro 60

ISBN 9788434312012 (english)

360 pp., 215 ill.

21 x 26 cm / hardback with jacket

CONTEMPORARY ART

POLÍGRAFA

Euro 53

ISBN 9788434308947 (english)

ISBN 9788434308893 (español)

432 pp., 318 ill.

21,50 x 26 cm / hardback

PERFORMING ART

POLÍGRAFA

Euro 53

ISBN 9788434310070 (english)

ISBN 9788434309944 (español)

274 pp., 186 ill. 21 x 26 cm / clothbound

CONTEMPORARY ART

POLÍGRAFA

Euro 53

ISBN 9788434309203 (english)

ISBN 9788434309197 (español)

360 pp., 280 ill.

21,50 x 26 cm / clothbound

CONTEMPORARY ART

BEHIND THE FACTS

INTERFUNKTIONEN 1968-1975

Edited by Gloria Moure

Essays by Fredrich W. Heubach, Birgit Pelzer

Design by makingbooks

ON THE ROAD

Edited by Gloria Moure

Essay by José Luis Pardo

Design by makingbooks

THE ESPAI POBLENOU FOUNDATION

SITE SPECIFIC PROJECTS

1989-1995

Gloria Moure

Foreword by Kathy Halbreich

Introduction by Rudi Fuchs

MEMORIA Y AMNESIA SOBRE LA HISTORIA RECIENTE DEL ARTE EN CHILE 1976-2000

Luz María Williamson

LA BRUTALIDAD DE LOS HECHOS

ENTREVISTAS CON FRANCIS BACON

David Sylvester

The art magazine Interfunktionen, published in Cologne from 1968 to 1975, drew together much of Central European artistic activity of the sixties and seventies.

A prestigious review directly linked to the most prominent figures in the Düsseldorf Kunstacademie such as Joseph Beuys, Jorg Immendorf and Sigmar Polke, it also boasted the involvement of the most spirited and reflexive artists of the times: from Vito Acconci and Marcel Broodthaers to Bruce Nauman and Dieter Roth. Interfunktionen, as its name indicates, was an interdisciplinary publication, open to all artistic genres and with no restrictions as to media. This book has been produced in collaboration with Fritz Heubach, the first editor of the review, and depicts the experience of those years by means of original documents (some of them hitherto unpublished), artworks and artists’ writings.

Francis of Assisi, constitutes the starting point for the research into contemporary art included in this publication. A central figure of European culture, he challenged the world he lived in.

On the one hand, he represents a radical criticism of the dominant forces of his time and, on the other, an energetic response to the demands of the situation. His clashes with the hierarchy of his day render him an inevitable benchmark in many of the subsequent socio-cultural movements.

The book’s structure is intrinsically bound to the ideas that drove the attitude of St. Francis of Assisi, which remain enormously relevant even today: human dignity in the face of poverty, the increased value of sensitive knowledge as opposed to the supremacy of a purely instrumental reason, landscape as part of the human quality (appreciating reality as a link in which nothing can be external).

From October 1989 until September 1995, fourteen site specific projects found their home in the city of Barcelona.

Created by Christian Boltanski, John Cage, Jan Dibbets, Rodney Graham, Rebecca Horn, Jannis Kounellis, Richard Long, Mario Merz, Bruce Nauman, Sigmar Polke, Aureli Ruiz & José Maldonado, Ulrich Rückriem, and Lawrence Weiner, the works provided a significant overview of important installation work of the second half of the 20th century. This book documents the intense experience of the project, which was organized by the Espai Poblenou Foundation.

Memoriayamnesia.Sobrelahistoria reciente del arte en Chile 1976-2006 is a complete and in-depth study of Chilean art at the turn of the century and, mainly, of the period that began with the military coup of 1973. The book addresses how some of the main works, strategies and devices of Chilean art struggle against oblivion in the midst of the political and social oppression of the military dictatorship, and what was the development of that struggle in the artists of the democratic transition of the following years.

The tour starts from the cultural violence that followed the coup d’état, to close with a reflection on the possibilities of art at the present time. From the germinal exhibition Delachilenapintura,history (1976) by Eugenio Dittborn in Galería Época, to the generation of artists who were born in the decade featured by Escena de avanzada (Advanced Scene).

This book of extraordinarily revealing interviews with Francis Bacon by the distinguished art critic David Sylvester , conducted over a period of twenty-five years (1962-1987), has now been substantially expanded and updated respect the first Spanish edition, published by Ediciones Polígrafa on 1977.

Graham Greene wrote: “An exciting document which can rank with the journals of Delacroix and the letters of Gauguin. With a brilliant use of language, Bacon talks about his aims as a painter, his obsessive effort to record and re-create the human form, his practice of making variations on old maters paintings and on photographs, his dependence on chance, or his views about the way in which his work has been interpreted, are only some of the subjects investigated in depth during these encounters.”

POLÍGRAFA

Euro 49

ISBN 9788434310179 (english)

544 pp., 248 ill.

17 x 23 cm / clothbound

CONTEMPORARY ART

THEORY / HISTORY / CRITICISM

POLÍGRAFA

Euro 39

ISBN 9788434313323 (english)

ISBN 9788434313385 (español)

232 pp., 180 ill.

26 x 21 cm / hardback

POLÍGRAFA

Euro 39

ISBN 9788434309951 (english)

ISBN 9788434310087 (español)

216 pp., 128 ill.

17 x 23 cm / hardback

POLÍGRAFA

Euro 35

ISBN 9788434313682 (español)

336 pp., 173 ill. 16,50 x 23,50 cm / hardback

THEORY / HISTORY

POLÍGRAFA

Euro 24,50

ISBN 9788434312111 (español)

176 pp., 108 ill.

17 x 24 cm / hardback with jacket

ANTHONY MCCALL SOLID LIGHT, PERFORMANCE AND PUBLIC WORKS

Edited by Gloria Moure

Essay by Robert Hobbs

EL CUERPO INCALCUABLE WILLIAM FORSYTHE, GERALD SIEGMUND Y LOS DIFERENCIALES DE LA DANZA

Edited by Roberto Fratini, Magda Polo

COMPONER EL PLURAL ESCENA, CUERPO, PRÁCTICA

Edited by Victoria Pérez Royo, Diego Agulló

EJERCICIOS DE OCUPACIÓN

AFECTOS, VIDA Y TRABAJO

Edited by Ixiar Rozas, Quim Pujol

A CONTRACUENTO LA DANZA Y LAS DERIVAS DEL NARRAR

Roberto Fratini

Until the installation of his 1973 solid-light piece, LineDescribingaCone in Chrissie Iles’s Whitney exhibition IntoTheLight in 2001, Anthony McCall (England, 1946) remained one of those artists whose work circulated almost entirely in the form of two or three very well-known documentary photographs: his art was immediately recognizable, canonical even, but rarely experienced firsthand. This carefully designed and produced monograph on the Anglo-American artist seeks to lay bare the imaginary that underlies his work, from LandscapeforFire (1972) to the presentation of his latest piece ComingAbout (2016). Throughout the images and the artist words, the book vindicates McCall’s independence of spirit and aims to make the richness and complexity of his work perfectly apparent. In addition, the book collects, for first time, all the public projects the artist developed on the last decade.

POLÍGRAFA

Euro 35

ISBN 9788434313606

(english / español / català)

168 pp., 109 ill.

17 x 24 cm / printed hardback

Design by makingbooks CONTEMPORARY

Design by Roger Adam Colección Cuerpo de Letra (7)

With an artistic trajectory that moves to unfathomable depths between dance, visual arts, theoretical reflection and pedagogy, William Forsythe is not only one of the most significant choreographers of recent decades, but also the most genuine representative of a multi-faceted model of humanism, of a confluence between arts and knowledge, which is the true structural challenge of the 21st century.

The most instructive part of this map of modes of creation is that it refers, almost entirely, to an essential understanding and to a radical expansion of the notion of choreography: an unconditional love for dance as utopian writing and as a terminal act of presence in the world.

This book gathers for the first time three essays dedicated to William Forsythe by Gerald Siegmund, and an anthology of interviews, conversations, lectures and poetic allegations of Forsythe himself.

POLÍGRAFA

Euro 26

ISBN 9788434313729 (español)

312 pp.

14,50 x 21 cm / paperback

Design by Roger Adam Colección Cuerpo de Letra (6)

Componerelplural is the sixth title of “Cuerpo de Letra” collection, a series of studies focused on dance and contemporary thinking. This book contains essays, social and artistic experiments that invite us to train ourselves in the plural and think on ourselves as political bodies: from the intimate encounter to multitudinous proposals, from the protest to the party, from assemblies practices to a policy of inhabiting, that exploring issues such as dynamics, rhythms, statements, demonstrations, and other ways to become ourself.

But the book itself is also a kind of laboratory for diversity, in which each of the essays of political theory, theory of performing arts and reflections of the artists find their own space, shaping a plurality of perspectives on a crucial problem: how to think the current political transformations from the idea of a collective body.

Design by Roger Adam Colección Cuerpo de Letra (5)

POLÍGRAFA

Euro 26

ISBN 9788434313637 (español)

340 pp.

14,50 x 21 cm / paperback

Ejerciciosdeocupación is the fifth title of “Cuerpo de Letra” collection, a series of studies focused on dance and contemporary thinking. In addition to recovering two texts by authors who have been key in the development of discourse on affects during the last decades (Brian Massumi and Eve Kosofsky Sedgwick), the book collects a series of new texts specifically written for this volume from the theory and the artistic practice. These texts are intended to relaunch the debate about affections in the present moment. Recover consciousness on how our bodies are occupied and are able to deal with others, allows us to think about ways of making and living that do not reproduce the tautological assimilation between reality and capitalism. Since language is also affective, Ejerciciosdeocupación sometimes take a poetic tone. This is a set of rhythmic, anomalous and vibrational texts.

POLÍGRAFA

Euro 26

ISBN 9788434313545 (español)

302 pp.

14,50 x 21 cm / paperback

Design by Roger Adam Colección Cuerpo de Letra (4)

Faced with the critical discourse that appears to have reduced narration to an element removed from the spirit of dance, A Contracuento attempts to rehabilitate the story, presents the whys and the wherefores of an infinite history of intersections, convergences and complications between the malice’s of narration and the malice’s of dance. This heterogeneous book speaks about clouds, water lilies, shipwrecks, panoramas, fabrics, warps and wefts, without losing sight for an instant of the most varied expressions in dance today and the plurality of authors that shape their poetry like that of an “extreme” story. What it offers is not simply a revolutionary read on the brotherhood of body and story, but rather a general theory that attempts, dynamiting some common areas of criticism, to rehabilitate the choreographic vocation of modern dance.

POLÍGRAFA

Euro 26

ISBN 9788461565528 (español)

488 pp.

14,50 x 21 cm / paperback

METRÒNOM #2

Cristina Moreno, Anna Torrents (coord.)

Writing team: Francesc Abad, Carles Hac i Moor, Josep M. Joan i Rosa, Pere Noguera, Steva Terrades

Vicenc Altaió, Teresa Blanch, Angel Bados, Eugeni Bonet, C.V.A., Itziar Elejalde, Carles Hac i Mor, Pello Irazu, Juan Muñoz, Onliyu, J. De Oteiza, Eduardo Polonio, Benet Rossel, Annemieke van de Pas

In addition to the reflections of Oteiza and Juan Muñoz on the fabrication of the myth and on the sculptural metaphor, respectively, this second issue of Metrònom includes extensive essays on the work of Robert Filliou and the photographer Helmut Newton, both by Annemieke van de Pas; and a retrospective vision by Eugeni Bonet on the work of José Antonio Sistiaga and Iván Zulueta.

METRÒNOM

Euro 35

ISBN 9788434314344 (english / català)

39 pp.

29 x 41 cm / paperback

CONTEMPORARY ART

METRÒNOM #3

Cristina Moreno, Anna Torrents (coord.)

Writing team: Francesc Abad, Carles Hac i Moor, Josep M. Joan i Rosa, Pere Noguera, Steva Terrades

Eugeni Bonet, Norberto Chaves, Manuel Duran, Pedro Ggarhel, Jorge García Garay, Lydia Rosenzuit, Carles Hac Mor, Manchon, Antoni Mercader, Biel Mesquida, Gloria Moure, Joan Rabascall, Verónica Ruz, América Sánchez, Rosa serra, Steva Terrades, rafael Tous, Tres, Jordi Valverde

This publication brings together all the activities that took place at metrònom since the publication of last issue, Num. 2: starting from a series of films, “Anemic cinema” (films by various film makers of the moment) which also includes musical groups such as the Residents of Tuxeedomoon; an exhibition of “sacred” objects and “relics” by Jordi Valverde (entitled “VESTIGIARUM SACRARUM EXHIBITIO”), in combination with eight large works by Francesca Llopis: “BARCELONA TRASBALSADA, TRIPTICS”; the Argentinian architects resident in Barcelona, García Garay-Rosenzuit have exposed their “OBJECTES HEROICS”, furniture designed with great pompeian influence; Iñaki Castillo exhibited “L’HOME I LA MA DEL BORN”, a series of large photographs of the graffiti that appears in la Ribera neighbourhood.

METRÒNOM

Euro 35

ISBN 9788434314351 (english / català)

30 pp.

29 x 41,50 cm / paperback

CONTEMPORARY ART

METRÒNOM #4

Cristina Moreno, Anna Torrents (coord.) Francesc Abad, Carles Hac i Mor, Josep M. Joan Rosa, Pere Noguera, Steva Terrades, Llorenc Barber, Eugeni Bonet, Daniel Boone, Dan Cameron, Dominique Casteran, Eduard Delgado, Josep Maria Minguet, David Morgann, Annemieke Van de Ppas, Lluis Permanyer

METRÒNOM #5

Cristina Moreno, Anna Torrents (coord.)

Damià Alou, Javier Arnaldo, Eugènia Balcells, Danièle Boone, Joann Bufill, Eva Camps, Jordi colomer, Jacques Donguy, Gallardo, Carles Hac i Mor, Lluís Juncosa, Martí, Antoni Mercader, Montesol, Annalívia Negre, Márius Palmés, Francesc petit, Roger, Aureli Roig, Jordi Saladrigas, Anna Torrents, Ignasi Ubac i Mòlist

May had been given over to performances and to the theatre, coinciding with the Congrés Internacional del Teatre a Catalunya. Four shows took place during the month of May: Jordi Rocosa presented “K.K”, Albert Vidal with his act “KINESIS” inagurated the exhibition of the Catalan photographer Leopold Samsó entitled “ALBERT VIDAL VIST PER LEOPOLD SAMSO” and, subsequently had presented the installation “COSMOGONIA DE L’HOME URBBA”, Toni Cots represented “EL ROMANCERO DE EDIPO”, a show in Castillian directed by Eugenio Barba, and Michel Matou closed the month dedicated to the theatre with his show “ORFEO”. The last exhibition of the season was on the French group named Présence Panchounette, who presented and exhibition of objects “UN PEU DE TOUT/UNA MICA DE TOT” (A LITTLE OF EVERYTHING)

METRÒNOM

Euro 35

ISBN 9788434314368 (english / català)

30 pp.

29 x 41,50 cm / paperback

CONTEMPORARY ART

Antoni Mercader’s report / thoughts on Messages to the Public initiative in Times Square (NYC) opens this issue, dedicated to the field of performance in the 1980s, with an extensive analysis by Jacques Donguy and the action carried out in Metrànom by Peter van Riper, in parallel to the exhibition From the Center by Eugènia Balcells, which is presented by Carles Hac Mor.

METRÒNOM

Euro 35

ISBN 9788434314375 (english / català)

39 pp.

29 x 41 cm / paperback

CONTEMPORARY ART

METRÒNOM #6

Cristina Moreno (coord.)

Design by Steva Terrades

Text by Francesc Abad, Robert Atkins, Barraca, Diana Block, Daniéle Boone, Maria Lluïsa Borrás, Juan Bufilll, Eva Camps, Manel Clot, Michèle Cone, Joaquim Dols Rusiñol, Jaume Fàbrega, Carles Hac i Mor, among others

This issue pays tribute to the figure of Joseph Beuys and Michèle Cone dedicates an extensive essay to public art, both in natural and urban spaces. Antoni Mercader reflects on Live Video Computer - Art Performance and Enrique Vila-Matas on the Duchampian´s single machine (machine celibataire) concept and its precursors and epigones.

METRÒNOM 2ND: SACRIFICI

Edited by Antoni Serra

Text by Jordi Benito, Pep Camps, Lourdes Cirlot, Manuel Delgado, M.A. Encuentra, Jordi Gussinyer, Carles Hac Mor, Mont Marsà, Mann Meni, Biel Mesquida, Miquel Morey, J.E. Monterde, RINOS, J.L. Rodríguez, Carles Ruiz, Pere Salabert, Leopold Samsó, Steva Terrades, Jaume Xifra

These publications sought to fill important and paradoxical gaps in the analysis and documentation of those artists who most directly contributed to the renovation of the artistic fact; a renovation with a long trajectory in Catalonia.

Sacrifici (Sacrifice) introduces a series of topics apparently tangential to the artistic discourse; so that the artistic discourse, from its specificity, enters into contact, dialogue, even confrontation with other discourses, which may be not so distant, such as the philosophical, scientific, or anthropological, without any of them pretending to be an explanation, transcription or illustration of the others. The most immediate objective of this project of the Centre de Documentació d’Art Actual was to make possible the appearance of a place where these tangential discourses could meet and intertwine.

METRÒNOM 2ND #1

Edited by Antoni Serra

Text by Núria Andreu, Pere Anguera, xano Armenter, Didier Arnaudet, Francesc Arumí, Tomás Bel, Brigitte Bouillot, Genís Cano, Enric Cassases, Jacques Damase, Quim Davi, Silvie & Cherif Defraoui, Carles Fargas, Lucas Fraile, Carles Ferrer, Gloria Moure, P.N.A., Arnau Pons, among others

In this second stage, Metrònom strengthened the complicity that it had always maintained with comics and literary creation and devoted extensive reports to Barcelona Graffiti (PNA-Rinos-Trepax), to the performative installation of Albert Vidal and to the poetry of Enric Cassases and Rafael Vallbona. The central part is dedicated to David Mach’s overwhelming site-specific project Adding Fuel to the Fire.

METRÒNOM 2ND #2

Edited by Antoni Serra

Text by J.V. Aliaga, David Balcellls, Feipe Borrallo, Koen van Brabant, Jochen Coldewey, Sílvia Duran, Miguel Gallardo, Chantal Grande, Carles Hac i Mor, Juanito Mediavilla, Héctor Milla, Pere Noguera, Glòria Picazo, Ma. Elena Roqué, Dora Salazar, Carlos Santos, among others

The central pages are dedicated to referential projects by two artists closely linked to Metrònom: Pere Noguera and Richard Wentworth, and to Estampes apòcrifes, the first of multiple incursions into auteur photography. Likewise, there is a tour through experimental Japanese and German film-video.

FIL-SOFIA

EL CONCEPTE DEL FIL EN LA DONA-ARTISTA (THE CONCEPT OF THREAD IN THE WOMAN-ARTISTS)

Mirella Bentivoglio

Contributions by Francesca Cataldi, Maria Ferrero Gussago, Elisabeta Gut, Dona Henes, Maria Lai, Valeria Melandri, Gisella Meo, Aurèlia Muñoz, Renata Prunas, Lisa Rehsteiner, Angels Ribe, Greta Schöld, Franca Sonnino, Elena Tondi, Clotilde Vitrotto

Mirella Bentivoglio brings together, around the concept of thread (the grid, the fabric), the contribution of fifteen artists from southern Europe who in the 1970s were demanding the visibility of female artistic practice. From very diverse disciplines, which include performance, film, assemblage, sculpture or drawing, the thread in its multiple configurations becomes the leit motive of a reflection that still lasts.

METRÒNOM

Euro 35

ISBN 9788434314382 (english / català)

43 pp.

29 x 41 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314405 (english / català)

104 pp.

29 x 41 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314429

(english / español / català / français)

66 pp.

29 x 40,50 cm / paperback

CONTEMPORARY ART

METRÒNOM

Euro 35

ISBN 9788434314436 (english / català)

58 pp.

29 x 41 cm / paperback

CONTEMPORARY ART

METRÒNOM

Euro 15

ISBN 9788434314313 (english / català)

36 pp.

21 x 29,5 cm / paperback

CONTEMPORARY ART

PERE NOGUERA

Edited by Vicenç Altaió, Antoni Serra

Text by Juan Vicente Aliaga, Lena Balaguer, Hubert Besacier, Sybille de Boccard, Glòria Bosch, Jean de Breyne, Teresa Camps, Josep Canals, Juli Capella, José Carlos Castaño, Manel Clot, Jaume Figa, Annie Gentils, Daniel Giralt-Miracle, Elio Grazioli, among others

This monograph collects the most important works made by Noguera in the 70s and 80s, as well as the most successful contributions of art critics who have followed his consistent career.

In the trail of Alberto Burri and in parallel to artists with practices close to arte povera, Noguera began his career in the 1970s popularizing what we know as the “muddy”, which consists of covering objects and surfaces with liquid-clay. In that same decade, he was a pioneer by incorporating photocopies into his work and by disseminating the idea of the archive as a ready-made from found photographs and films. He has carried out work on the conceptual processes of photography and electrography while practicing the installation and the performance art.

NOGUERA

INSTALLATIONS AND PERFORMANCES 1980-83

Pilar Parcerisas

FRANCESC ABAD

EUROPA ARQUEOLOGIA DE RESCAT (EUROPE RESCUE ARCHEOLOGY)

Antoni Serra (coord.)

Text by Miguel Morey, Antoni Serra, Paul Virilio, Jorge Wagensberg

First published monograph of Pere Noguera (La Bisbal d’Empordà, Girona, 1941), one of the first artists who openly raised the ecological crisis at the turn of the century.

In the trail of Alberto Burri and in parallel to artists with practices close to arte povera, Noguera began his career in the 1970s popularizing what we know as the “”muddy””, which consists of covering objects and surfaces with liquid-clay. In that same decade, he was a pioneer by incorporating photocopies into his work and by disseminating the idea of the archive as a ready-made from found photographs and films. He has carried out work on the conceptual processes of photography and electrography while practicing the installation and the performance art.

The work of Francesc Abad assumes, as a fundamental will, an introspection into the roots of culture. His concern for the genesis of human behavior and for anthropology thus points to the field of the “archeology of knowledge”. This monograph takes as a reference the work Europa, arqueología de rescat, a project developed from archaeological finds, in an area near Terrassa, which belong to a still unknown period of prehistory, in which pansexual rituals ––as generators of a first worldview–– provide key information on access to new materials, the measurement of time and the genesis of writing.

JORDI BENITO LES PORTES DE LINARES (THE DOORS OF LINARES)

Antoni Serra (coord.)

Text by Manel Clot, Carles Hac Mor

CARLOS PAZOS NO HAY REPLAY (THERE’S NO REPLAY)

Antoni Serra (coord.)

Text by Jorge Luis Marzo

Since his first works, carried out in the early seventies, Jordi Benito’s work has progressively taken on more complexity, both with regard to the conception of each piece and with regard to strictly formal issues. Les portes de Linares stands out for the strength of its spatial conception, for the meticulous choice of materials, the metaphorical condition of the elements represented ––stones, animals, pianos–– and the unequivocal use of a permanently activated stage space.

Carlos Pazos is, without a doubt, one of the greatest Pop Art artist in Europe. His work, with self-referential nuances that consciously embroider narcissism, is full of dream images that appeal to the personal and collective subconscious. In No hay replay, not only the images of his magnificent installation at Metrònom are collected, but also the multiple paradoxes and linguistic turns that the artist has deployed throughout his career around a motto: there is no return behind.

METRÒNOM

Euro 35

ISBN 9788434314412 (english / català)

131 pp.

29 x 41 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314320

(english / original languages)

50 pp.

21 x 29,50 cm / paperback

METRÒNOM

Euro 35

ISBN 9788434314450

(english / español / català)

53 pp.

24 x 30 cm / paperback

CONTEMPORARY ART

METRÒNOM

Euro 35

ISBN 9788434314467

(english / español / català)

66 pp.

23,50 x 30 cm / paperback

CONTEMPORARY ART

METRÒNOM

Euro 35

ISBN 9788434314474

(english / español / català)

65 pp.

23,50 x 30 cm / paperback

CONTEMPORARY ART

METRÒNOM 1995-1996

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 35

ISBN 9788434314481

(english / español / català)

129 pp.

23 x 30 cm / paperback

CONTEMPORARY ART

METRÒNOM 1997-1998

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 35

ISBN 9788434314498 (english / español / català)

202 pp.

23 x 30 cm / paperback

METRÒNOM 1999-2000

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 35

ISBN 9788434314504

(english / español / català)

238 pp. (+ 3 CD’s)

17,50 x 21,50 cm / hardback

METRÒNOM 2000-2001

Marta Dahó, Jordi S. Nicolau (coord.)

METRÒNOM

Euro 35

ISBN 9788434314511

(english / español / català)

124 pp. (+ 1 CD + 1 DVD)

17,50 x 21,50 cm / hardback

METRÒNOM 2001-2002

Anna Guarro (coord.)

METRÒNOM

Euro 25

ISBN 9788434314528

(english / español / català)

60 pp. (+ 2 DVD)

14 x 25 cm / hardback

METRÒNOM 2002-2003

Cristina Díaz, Manuel Segade (coord.)

METRÒNOM

Euro 25

ISBN 9788434314535

(english / español / català)

60 pp. (+ 2 DVD)

14 x 25 cm / hardback

METRÒNOM 2004-2005

Cristina Díaz, Manuel Segade (coord.)

METRÒNOM

Euro 25

ISBN 9788434314559

(english / español / català)

52 pp. (+ 1 DVD)

14 x 25 cm / hardback

METRÒNOM 2003-2004

Anna Guarro (coord.)

METRÒNOM

Euro 25

ISBN 9788434314542

(english / español / català)

60 pp. (+ 2 DVD)

14 x 25 cm / hardback

METRÒNOM 2005-2006

Gerardo Peral, Ana Rodríguez, Manuel Segade (coord.)

METRÒNOM

Euro 25

ISBN 9788434314566

(english / español / català)

44 pp. (+ 1 DVD)

14 x 25 cm / hardback

METRÒNOM: PACK 4 VOLUMES (FROM 2002 TO 2006)

METRÒNOM

Euro 90

ISBN 9788434314573

(english / español / català)

232 pp. (+ 6 DVD)

14 x 25 cm / hardback + box

THE INVENTION OF THE PRESENT REPRESENTATIONS OF EVERYDAY LIFE IN CHINESE CONTEMPORARY PHOTOGRAPHY

Menene Gras Balaguer (coord.)

The representations of everyday life that are addressed in this publication reveal the great material and social changes in contemporary China since the 1990s, as a result of the expansion of the ideology of consumption and mass culture.

The photographs of Liu Zheng, Yan Huang, An Hong, Wang Qingson, Yang Fudong and Zhang Huan reflect the transformation experienced in Chinese society and in contemporary art, where experimentation and critical transgression are becoming more and more evident.

THE AUTORSHIP, AUTHENTICATION AND FALSIFICATION OF ARTWORKS

Lluís Peñuelas

Design by Bis

Determining the authorship and originality of artistic works is a key element essential for full enjoying the art and for the correct functioning of the market and many cultural centers. It is one of the tasks falling upon institutions and different categories of people from artists’ foundations to museums, public administrations, academics, gallery owners and art collectors.

This book, derived from an international seminar organized by the Gala-Salvador Dalí Foundation diffuses the knowledge, experience and opinions of some of the most prestigious experts on these subjects. Furthermore, it provides some new angles, proposals and linguistic elements that can help to understand the difficulties presented by the topic and to improve its legal regulation.

Lluís Peñuelas has been the General Secretary of the Gala-Salvador Dalí Foundation from 1990 to date.

METRÒNOM

Euro 50

ISBN 9788434314641 (english / español)

248 pp.

26,50 x 29 cm / hardback with jacket

CONTEMPORARY ART

POLÍGRAFA

Euro 24,50

ISBN 9788434313620 (english)

144 pp.

16,50 x 23,50 cm / paperback with flaps

THE GALLERY WORLD IN BARCELONA THE SYSTEM, THE ART, THE CITY

Jaume Vidal Oliveras

The Gallery World in Barcelona is a study in three parts. The first two serve as an introduction and offer a reflection on significant episodes that constitute the background and points of reference for our contemporary framework.

The first chapter, “Discovering Art 1877-1936”, reviews the origins and formation of the gallery institution in Catalonia, taking the Salón Parés (1877-1925) as its starting point.

The second chapter, “Defending Art 1939-1970”, analyses the period stretching from the post-war era to the end of the seventies, a cycle that would see the consolidation of both art platforms and a public for contemporary art.

And finally, the last and longest chapter, Spreading Art 1970-2012, is dedicated to recent times, a moment of particular vitality in which the art market of our city has just come together.

ALBERTO GIACOMETTI A RETROSPECTIVE

Véronique Wiesinger

ALBERTO GIACOMETTI WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by Ángel González

Interviews with Pierre Schneider, André Parinaud

The Swiss-born sculptor Alberto Giacometti (1901–1966) is best known for his bronzes depicting ghostly and attenuated figures, which made him a key figure of twentieth-century sculpture. In contrast with the scholars who focus their analysis on the crisis of the Second World War, Ms. Wiesinger believes “the real break is one of a philosophical, and not historical, nature: it is permanent and integral to the work. There is a deep unity in Giacometti’s approach to art, one that Michael Brenson underscored when he devoted his 1974 doctoral thesis to Giacometti’s pre-war works, which he first identified as the key to understanding the rest of the artist’s production.”

In these eight short illustrated essays, supported by biographical information, the book surveys the whole of Giacometti’s career, from his relationship with his father to the importance of time and space in his work.

As this book explains Giacometti spent his life, exorcising this existential and formal void through a return to the human figure.

The question that dominated his work was how to restore in art the sense of the presence of the being in space. Giacometti sought tirelessly to establish his contingent volume, which became increasingly slender and threadlike, and to seize its finiteness in a reality, however banal it might be. He began to develop heads and nudes modeled in the void, in that experience of nothingness that opposed his quest for the absolute, a metaphor of the human condition.

POLÍGRAFA

Euro 24,50

ISBN 9788434313279 (english / español)

348 pp., 209 ill.

16,50 x 23,50 cm / paperback

POLÍGRAFA

Euro 39

ISBN 9788434312975 (english)

ISBN 9788434312982 (español)

320 pp., 254 ill. 17 x 24 cm / paperback

POLÍGRAFA

Euro 35

ISBN 9788434309500 (english)

160 pp., 140 ill.

21,50 x 28 cm / hardback with jacket

ROBERT RAUSCHENBERG WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Sam Hunter

ANTONI TÀPIES

WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Youssef Ishaghpour

WILLEM DE KOONING WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by Sally Yard

MARCEL DUCHAMP WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei Essay by Gloria Moure

YVES KLEIN WORKS, WRITINGS

Edited by Francisco Rei Essay by Klaus Ottmann

Interviews with Richard Kostelanetz, Alain Sayag

Throughout his illustrious career, Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world.

Rauschenberg’s seminal works from his Combines (urban trash on painted surfaces) to his silk screens.

The author also discusses some of the artist’s more recent projects, including ROCI, Rauschenberg’s own exhibition organization that showcases diverse artists from all over the world. Through beautiful photography and authoritative text, here is a well-rounded overview of one of the world’s most pivotal artists.

Interview with Manuel Borja-Villel

Footmarks and handprints, sand, wood, earth, rope, words and letters: Tàpies, repertoire is infinite. Miró encouraged him to use forms and materials of every kind, all the more so in an environment devoid of meaning —Spain in the post-war years— in which official reality bore no relation to the situation as it really was.

Imperceptibly, true reality asserted its pre-eminence and the expressiveness of increasingly organic materials, endowing his painting with greater materiality than signification.

Interviews with Harold Rosenberg, James T. Valliere

A leasing figure in the emergence of abstract expressionist painting in New York, Willem de Kooning arrived in the United States in 1926 as a twenty two years old stowaway from Holland. During the Depression years, he was a dedicated visitor to the museums and galleries of Manhattan, and did a brief stint as a WPA painter, which was curtailed because he was not a citizen. With resolute determination, De Kooning ventured beyond the radical departures of cubism toward the visceral physicality of the abstractions that comprised his first one person exhibition, in 1948. Five years later, an exhibition of women painted in aggressive gestures stunned contemporaries not only for the vehemence of the artist’s attack but also for the evident reversal of direction. Yet across six decades, the alternation and intertwining of abstraction and figuration remained fundamental to De Kooning’s work.

Interviews with James J. Sweeney, Pierre Cabanne

A central figure in twentieth century art, the influence of Marcel Duchamp 1887-1968 was crucial to the development of Surrealism, Dada and Conceptual Art. Brother of the artist Raymond Duchamp Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908. In 1912, he painted the definitive version of Nude Descending a Staircase, it was exhibited at the “Salon de la Section de Or” and then, provoking heated debate, at the “Armory Show” in New York in 1913. By now, Duchamp had exchanged traditional painting and drawing for different forms of experimentation, such as mechanical drawing, studies and annotations that will be included in his greatest work, The Bride Stripped Bare by Her Bachelors, Even 1915-1923 also known as The Large Glass. In 1914, Duchamp exhibited his first ready-made objects.

Son of Fred Klein and Marie Raymond, both painters, Yves Klein took the European art scene by storm in a brief career that lasted just eight years, from 1954 to 1962.

“For color! Against the line and drawing!” is the motto he adopted as member of the Order of the Archers of Saint Sebastian, a true statement on the way he understood the art practice.

Working in Paris during the apogee of geometric abstraction and Art Informel, in an intellectual scene dominated by existentialism, Klein was a precursor of many movements of the postwar avant-garde, including minimal art, conceptual art, and performance art.

In 1957 he inaugurated his defining series of monochromes and, in the final years of his career, his body paintings recorded the body’s physical energy using his patented pigment known as International Klein Blue (IKB).

POLÍGRAFA

Euro 35

ISBN 9788434311220 (español)

160 pp., 150 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434311251 (español)

160 pp., 130 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434311381 (english)

ISBN 9788434311374 (español)

160 pp., 130 ill.

21,50 x 28 cm / hardback with jacket

MODERN ART

POLÍGRAFA

Euro 35

ISBN 9788434311985 (english)

ISBN 9788434311992 (español)

160 pp., 123 ill.

21,50 x 28 cm / hardback with jacket

MODERN ART

POLÍGRAFA

Euro 35

ISBN 9788434312098 (español)

160 pp., 110 ill.

21,50 x 28 cm / hardback with jacket

CONTEMPORANY ART

JACKSON POLLOCK WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Nancy Jachec

Interviews with William Wright, Selden Rodman

Jackson Pollock (1912–1956) was a major figure in the abstract expressionist movement and the most influential American painter of the twentieth century. Although he died at the age of 44, he left an unsurpassed body of work.

Throughout his life, Pollock wrote very little about his own art or that of others. Nevertheless, in the few writings we do have, and in a few unpublished, undated notes —all of which are gathered together in this volume— the themes are remarkably similar.

After acknowledging his initial debt to the Native American sand painters, who gave him the idea for putting the canvas on the floor and working it “in the round”, Pollock routinely referred to his interest in the unconscious as the source of modern art, as it enabled the direct expression of an “inner world,” of individual feeling and experience of the modern age.

DAVID SMITH WORKS, WRITINGS, INTERVIEWS

Edited by Francisco Rei

Essay by Sarah Hamill

Interview with Frank O’hara

BALTHUS WORKS, INTERVIEWS

Edited by Francisco Rei

Essay by Mieke Bal

ZAO WOU-KI WORKS, WRITINGS, INTERVIEWS

MEDARDO ROSSO

Edited by Gloria Moure

POLÍGRAFA

Euro 35

ISBN 9788434312593 (español)

160 pp., 120 ill.

21,50 x 28 cm / hardback with jacket

Profoundly influenced by the welded sculptures of Julio González and of Picasso, David Smith devoted himself entirely to metal sculptures, constructing compositions from steel and scrap material.

Almost single-handedly, Smith changed the nature of sculpture in America, giving it a passion, a seriousness and an identity it did not previously possess. With his vision, courage and his exquisite aesthetic gifts, he paved the way for Donald Judd, Richard Serra and many other American sculptors, who elaborated upon his formal and conceptual innovations and accepted his challenge to work and act in ways that would assure that sculpture and sculptors in America would be treated with respect. Before Smith, sculpture was a marginal activity; after him, it was an essential part of the American imagination.

Interview with Costanzo Costantini

POLÍGRAFA

Euro 35

ISBN 9788434312616 (español)

160 pp., 120 ill.

21,50 x 28 cm / hardback with jacket

Mieke Bal analysis is focused in the eerie sense of very real and very unreal that the paintings emanate. She considers this the heart of Balthus work. It invites viewers in and repels them at the same time. We get access to a world all his own, but are not told what is there to see. Thus, the works labor against assumptions of representation and appropriation. The means of this labor figuration is indispensable for the effect. Although figurativity is supposedly the royal road to realism, in Balthus’s case it is not at all. Reducing Balthus’s work to the paintings of nude adolescent girls is, moreover, ignoring his many works that are not in the least focused on this theme. Color, space, genres or history are some of the key concepts that the author put in the center of Balthus work.

Edited by Francisco Rei Essay by José Frèches

Interviews with Michel Ragon, Pierre Schneider

Installed in France since the forty’s of the last century, Zao Wou-Ki has joined, like no other artist, the knowledge of Chinese painting and calligraphy with the individualist and subjective experience of the western abstract art.

Impressed by Paul Klee’s paintings and impelled by Henry Michaux and Andre Malraux, two of the most active French intellectuals of the second post war, Zao Wou-Ki has kept deepening in his particular introspective journey for over five decades. All his work seems to restore an immense inner landscape, no exempt of dissonances and shadows. This book collects, for the first time, the clues of his creative approach through his writings and interviews and a significant selection of his works from his early works to date.

Text by Francisco Calvo Serraller, Luciano Caramel, Umberto Boccioni, Giovanni Anselmo, Tony Cragg, Luciano Fabro, Juan Muñoz, Thomas Schütte

With his figures, Italian sculptor Medardo Rosso succeeded in contributing decisively to the development of modern sculpture. The artist’s points of focus were the moment when the sculpture was perceived and the fusion of the figure with its surroundings. In Paris, where Rosso spent the greater part of his life, he found understanding friends in Edgar Degas and the collector Henri Rouart, while friendship with Rodin miscarried because of the rivalry between the two sculptors. Just at the turn of the century the Futurists would soon hold him up as a model.

This publication collects an important body of his sculptures and, for the first time, his complete series in photographic work.

POLÍGRAFA

Euro 35

ISBN 9788434311657 (english)

160 pp., 140 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 35

ISBN 9788434311633 (english)

ISBN 9788434311626 (español)

160 pp., 130 ill.

21,50 x 28 cm / hardback with jacket

MODERN ART

POLÍGRAFA

Euro 45,50

ISBN 9788434308251 (español)

326 pp., 232 ill.

21,50 x 26 cm / clothbound

MODERN ART

CUBISM AND WAR

THE CRYSTAL IN THE FLAME

Christopher Green

Essay by Neil Cox

Design by La Paragráfica

Co-published with Museu Picasso Barcelona

This book explores the work of artists who attempted to keep alive the possibilities opened up for the arts of painting and sculpture by what was called Cubism in Paris between 1911 and 1914.

This little community of artists refused to accept that recording the war or producing propaganda was their duty. They kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw even foreigners in France into “total war”.

The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat.

Pablo Picasso, then called the inventor of Cubism, remained a leading figure, alongside his fellow Spaniards Juan Gris and María Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, and the Lithuanian sculptor Jacques Lipchitz.

POLÍGRAFA

Euro 45

ISBN 9788434313651 (english)

ISBN 9788434313644 (español)

192 pp., 179 ill.

23,50 x 29 cm / clothbound

MODERN ART

THEORY / HISTORY / CRITICISM

FRANCIS BACON

Michel Leiris

Design by makingbooks

MIRÓ

Jacques Dupin

JOAN MIRÓ

Rosa María Malet

Updated edition

FUNDACIÓ JOAN MIRÓ GUIDEBOOK

Foreword by Rosa Maria Malet

Introduction by Teresa Montaner

Text on artworks by Jordi J. Clavero

Design by Edicions de l’Eixample

Francis Bacon’s works has a strength and vitality that has led to his position as one of the greatest twentieth century artist.

The violent intensity with which his paintings give expression to the existential angst of his fellow human beings is virtually without parallel in the history of the art. Bacon’s work (1909-1992) undoubtedly includes some of the most extraordinary and powerful paintings in modern art, reflecting the isolation and terror of the human condition, conveyed by the distortion of features and the nude body.

This volume comprises his series of portraits and self-portraits, the weirdly beautiful yet terrifying variations of Velázquez’s PopeInnocentX, the painfully moving Crucifixion, the enigmatic figure studies and twelve gatefolds of the triptychs. The 240 paintings were selected by the artist himself and he was closely involved with every aspect of their reproduction of this monograph.

POLÍGRAFA

Euro 39

ISBN 9788434311909 (english)

ISBN 9788434311893 (español)

236 pp., 240 ill. 22 x 28 cm / hardback

MODERN ART

A key figure in 20th-century art, Joan Miró has left us a definitive oeuvre which continues to reach an increasingly wide public. This book is a partial recompilation of the analyses contained in the author’s first far-reaching study on Joan Miró, which appeared in 1961, now considerably reworked and enriched. It takes into account not only the painter’s output during the last two decades of his life and studies by art historians and exhibition organizers published over the last thirty years, but also a great number of documents discovered after Miró’s death —projects, sketchpads, texts, correspondence— to which Jacques Dupin has had access thanks to his privileged relationship with the artist’s family. This is, then, a completely revised and updated edition of the 1993 edition published to mark the hundredth anniversary of Joan Miró’s birth.

Considered one of the great artists of the 20th century, Miró has bequeathed us a definitive body of work whose influence has continued to grow over the years. This book not only details his pictorial output but also looks at the artist’s incursion into areas as diverse as graphic work, ceramics, sculpture, tapestry and theatre.

The foundation’s collection of works by Joan Miró includes paintings, drawings, sculptures, ceramics, textiles and an extensive print archive. In addition, it also features an exceptional collection of the artist’s preliminary sketches, notes, scale models, sketchbooks and correspondence. This extensive, diverse collection, representative of all the periods in Miró’s career and all the techniques he used, stems from the artist’s gift to the new centre. This spirit of ongoing research and renewal is behind our current presentation of the collection in the foundation’s exhibition spaces and reflected in this guide. The works, now grouped by subject matter, are placed according to Joan Miró and Josep Lluís Sert’s original exhibition plan.

POLÍGRAFA

Euro 11,95

ISBN 9788416411276 (english)

POLÍGRAFA

Euro 75

ISBN 9788434310445 (español)

480 pp., 493 ill.

24,50 x 34 cm / hardback

POLÍGRAFA

Euro 24,50

ISBN 9788434310230 (english)

ISBN 9788434310223 (español)

128 pp., 141 ill. 21,50 x 30,50 cm / hardback

ISBN 9788416411269 (español)

ISBN 9788416411252 (català)

ISBN 9788416411283 (français)

ISBN 9788416411306 (italiano)

ISBN 9788416411290 (deutsch)

ISBN 9788416411313 (日本語)

ISBN 9788416411474 ( 中文 )

176 pp., 135 ill.

14 x 21 cm / paperback with flaps

JOAQUÍN SOROLLA

SOROLLA

José Mª Faerna

PICASSO

José Mª Faerna

PICASSO: THE MONOGRAPH 1881-1973

Marie-Laure Bernadac, Brigitte Léal, Christine Piot

Introduction by Jean Leymarie

A painter of vast pieces in his early days —in the main works intended for salons and national exhibitions— Joaquín Sorolla (Valencia, 1863-1923) very soon developed a style of open-air painting of his own which, though not connected stylistically with the Barbizon School, nevertheless pursued the same postulates, as a result of which he came to be known as a Spanish Impressionist painter. He began to devote himself entirely to this practice in 1900, painting landscapes, views of cities, studies of nature, seascapes and garden scenes in which he demonstrated his tremendous skill in capturing the effects of light. JoaquínSorolla is unquestionably an essential book and the most complete work of reference on this artist from Valencia. It includes an insightful and in-depth essay by Blanca Pons-Sorolla, some 300 reproductions of his most important pieces, and an illustrated chronology.

POLÍGRAFA

Euro 65

ISBN 9788434312258 (english)

ISBN 9788434310834 (español)

352 pp., 284 ill.

25 x 30,50 cm / hardback with jacket

MODERN ART

Celebrated as a painter of light and hailed as a “modern of the moderns” by famed collector Duncan Phillips, Joaquín Sorolla (1863-1923) was one of the most successful artists of his time.

Formed in his native Valencia, Madrid and Rome, Sorolla soon achieved the recognition of artists with related languages such as John Singer Sargent (1856-1925) or Anders Zorn (1860-1920), although international success would be achieved after his acclaimed exhibitions in London (1908), New York (1909) and Chicago (1911).

“Modern Masters” is a complete series of monographs on key artists for the study of art since the late nineteenth century.

Pablo Picasso (1881-1973) was one of the most innovative, experimental, prolific, influential and controversial painters of the 20th century. His legendary life and career spanned almost a century, of which we can say that he was the absolute protagonist. From the well-known blue and pink periods, to the rupture that the cubism supposed, Picasso realizes, in less than a decade, what other artists do not achieve throughout his career.

In addition to a brief introduction, an analysis of the stylistic characteristics of the artist is carried out throughout his career, which is completed with the individualized commentary of each of the more than 60 works that are reproduced.

“Modern Masters” is a complete series of monographs on key artists for the study of art since the late nineteenth century.

Pablo Picasso was one of the most innovative, experimental, prolific, influential and controversial painters of the twentieth century.

This updated and re-designed version of the big-size book published on the year 2000, this small-size Picasso:TheMonograph1881-1973 offers more than 1.200 new-scanned reproductions spanning the artist’s entire career.

The three authors are all experts: Léal and Bernadac —both former curators of the Musée Picasso in Paris— are, at this time and respectively, curators of the Centre Pompidou and the Louvre Museum, and Piot coauthored the catalogue raisonné of Picasso’s sculpture. They clearly explain visual sources, duly acknowledge leading art historians’ interpretations, and choose good quotes from contemporaries.

POLÍGRAFA

Euro 7,95

ISBN 9788434313835 (english)

ISBN 9788434313828 (español)

72 pp., 60 ill.

19 x 26 cm / paperback

POLÍGRAFA

Euro 7,95

ISBN 9788434313811 (english)

ISBN 9788434313804 (español)

72 pp., 60 ill.

19 x 26 cm / paperback

POLÍGRAFA

Euro 39

ISBN 9788434310919 (english)

ISBN 9788434310339 (español)

ISBN 9788434313033 (français)

552 pp., 1.235 ill. 19 x 21,60 cm / paperback

Blanca Pons-Sorolla

PICASSO THE COMPLETE WORKS

Josep Palau i Fabre

Pablo Picasso (1881-1973) is without doubt the most prolific and influential artist of the recently ended twentieth century. The various steps that critics and historians have managed to identify in his long career have been more helpful with regard to the classification of his works than in their analysis and interpretation.

Abandoning the traditional use of subject matter to achieve variety and meaning, Picasso gradually reduced his options to a handful of standardized motifs but used a vast array of different styles as the principal means of communicating ideas and feelings. In short, style is meaning in Picasso’s art; his notoriously mercurial nature found expression in stylistic variety and experimentation.

MINOTAURO AL GUERNICA

POLÍGRAFA

Euro 150

ISBN 9788434312739 (english)

ISBN 9788434312715 (español)

ISBN 9788434312722 (català)

512 pp., 1.252 ill.

30,50 x 31,50 cm / clothbound + slipcase

PICASSO 1917-1926: DE LOS BALLETS AL DRAMA

POLÍGRAFA

Euro 150

ISBN 9788434309074 (español)

ISBN 9788434309067 (català)

528 pp., 1.800 ill.

30,50 x 31,50 cm / clothbound

POLÍGRAFA

Euro 150

ISBN 9788434306226 (español)

ISBN 9788434306165 (català)

532 pp., 1.584 ill.

30,50 x 31,50 cm / clothbound

POLÍGRAFA

Euro 150

ISBN 9788434303195 (español)

560 pp., 1.850 ill.

30,50 x 31,50 cm / clothbound

JULIO GONZÁLEZ

THE COMPLETE WORKS: PAINTINGS, SCULPTURES AND DRAWINGS

Tomàs Llorens

The Spanish sculptor Julio González (1876-1942) pioneered welded iron constructions and gave the medium an unprecedented expressiveness and range. Born in Barcelona, he learned his craft from his father, a goldsmith and sculptor. He moved in 1900 to Paris, where his contact with the most innovative and powerful modern art led, as one would expect, to a vitalization of his own artistic conceptions. He arrived at a style of his own through his attempts to incorporate space and time into his work, and in so doing he changed the meaning of iron, endowing it with new constructive and expressive values. His work made a definitive impact on the development of contemporary sculpture. Though his output was small, his influence on such master sculptors as David Smith —a distant pupil— is testimony to the eloquence of his art.

VOLUME III (1920-1929)

POLÍGRAFA

Euro 280

ISBN 9788434312241 (english / español) 768 pp., 710 ill.

x 30 cm / cloth with french-fold jacket and individual board

VOLUME II (1912-1921)

POLÍGRAFA

Euro 280

ISBN 9788448242015 (english / español / català)

790 pp., 700 ill. 30 x 30 cm / cloth with french-fold jacket and individual board

VOLUME I (1900-1912)

POLÍGRAFA

Euro 280

ISBN 9788448246716 (english / español / català)

708 pp., 700 ill. 30 x 30 cm / cloth with french-fold jacket and individual board

RIBERA

Javier Portús

VELÁZQUEZ

Santiago Alcolea i Gil

ZURBARÁN

Santiago Alcolea i Gil

When asked who he considered an importance, Picasso only mentioned Goya (1746-1828). But, his extremely influence has arrived to a lot of modern and contemporary painters, such as Manet, the Expressionist movement on early twentieth-century and, most recently, Francis Bacon, and Sigmar Polke.

As painter of the Spanish Court, he created series of tapestry cartoons, wall-paintings, and individuals and group portraits, but, after his serious illness in late 1792, he starts an important body of noncommissioned works that introduces new elements which greatly enhance their expressive potential.

This book, wrote by José Gudiol, one of the most renowned specialist in Spanish paintings, is focuses on Goya’s profoundly disturbing imagery and demonstrates that his modernity derives from his lifelong investigation of what lies behind the world of appearances and convention.

POLÍGRAFA

Euro 24,50

ISBN 9788434311749 (english)

ISBN 9788434311732 (español)

128 pp., 133 ill.

21,50 x 28 cm / hardback with jacket

Doménicos Theotokópoulos, better known as El Greco (1541-1621), gained his training as an artist in Crete, Venice and Rome, the three centers of art that he passed through. Yet even though he learned from the great Italian artists of the 16th century, his arrogance was such that he went so far so to say that Michelangelo was a good man but he did not know how to paint, remarking that the Last Judgment could be painted over and that he could be commissioned to re-do it with honesty and decency and no less quality in the painting. His contemporaries found him a difficult personality. In 1577, he moved to Spain and made his home in Toledo. In this lavishly illustrated volume, Professor Santiago Alcolea Gil describes the most notable aspects of the life and work of this artist, one of the true masters in European pictorial art.

A leading figure in the baroque Spanish tradition —alongside El Greco, Velázquez and Zurbarán— José Ribera’s style was the most markedly tenebrist; he was also one of the first artists to be both a painter and printmaker. In his earlier style, sometimes drawing on Caravaggio and sometimes on Guido Reni’s various techniques, his study of Spanish and Venetian masters can be traced. Along with his massive and predominant shadows, one of his strongest points throughout his career was the use he made of color.

In the early 1630s his style moved away from strong contrasts of dark and light to the use of more diffused and golden lighting. Javier Portús, chief curator of the Spanish Baroque art department at the Museo del Prado, takes a fresh look at Ribera’s career, focusing his research on the early years, less studied by art historians till date.

Velázquez career can be considered as a lifelong investigation of the relationship between painting and nature, in which brushwork takes a leading role. As he developed it, he achieved an unprecedented physical and psychological naturalism with progressively more pronounced and more elegant brushstrokes, achieving miraculous illusion effects with an astounding, abbreviated technique based on the implication rather than the elaboration of detail.

The synthesis of the life and work Velázquez that the Professor Santiago Alcolea i Gil writes in this book offer the reader a wide overview of the work of one of the world’s most outstanding creative artists of all time.

Along with Velázquez and El Greco, Francisco de Zurbarán (1598-1664) is undoubtedly one of the most famous Spanish painters of the seventeenth century. Zurbarán, who for the Romantics represented the Spanish monastic asceticism, would become topical in the 20th century thanks, in part, to Cubism, which contributed to the rediscovery of the great plastic qualities of his work. Indeed, if the simplicity of his artistic preparation reflects a melancholic and scarcely refined temperament, and if his painting even contains a rustic accent, in his work there is nevertheless a predominance of plastic values that responds to the concern of giving a form concrete to the construction of the spirit. Professor Santiago Alcolea offers us a general perspective of Zurbarán’s artistic career, structured in four periods marked by relevant events that caused significant changes in style.

POLÍGRAFA

Euro 24,50

ISBN 9788434309661 (english)

ISBN 9788434309425 (español)

128 pp., 117 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 24,50

ISBN 9788434312708 (english)

ISBN 9788434312692 (español)

128 pp., 104 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 24,50

ISBN 9788434311367 (english)

ISBN 9788434311350 (español)

128 pp., 122 ill.

21,50 x 28 cm / hardback with jacket

POLÍGRAFA

Euro 24,50

ISBN 9788434311725 (english)

ISBN 9788434311718 (español)

128 pp., 124 ill.

21,50 x 28 cm / hardback with jacket

OLD MASTERS

EL GRECO

Santiago Alcolea i Gil

GOYA

José Gudiol

CATALUÑA ROMÁNICA

ARTE, CULTURA E HISTORIA

Diether Rudloff

JAN VERMEER

Jean-Luc Chalumeau

VERMEER

OBRA COMPLETA

Gilles Aillaud, Albert Blankert, John Michael Montias

Conventional studies of the Catalan Romanesque do not do justice to the true nature of this art. To remedy this, Diether Rudloff offers us not only an artistic appreciation of these works but also an absolutely new study of the values and the essence of the Romanesque in Catalonia. His vision tends towards a modern cognitive Goetheanism, nuanced by the ideas of Rudolf Steiner, who sees the various historical stages of the human consciousness as an expression of the metamorphosis of a constant spiritual awareness. Notable among the various types of work considered by the author are the monasteries, with their magnificent cloisters Sant Fruitós, Elna, Girona Cathedral, Ripoll, L’Estany and Santes Creus, as well as sculptures, codices and murals, such as those in Sant Climent de Taüll and Santa Maria d’Esterri d’Àneu, many of which are today found in museums in Barcelona and Vic.

POLÍGRAFA

Euro 49

ISBN 9788434311589 (español)

256 pp., 132 ill.

24 x 30 cm / hardback with jacket

OLD MASTERS

THEORY / HISTORY / CRITICISM

Rediscovered at the end of the 19th century, Vermeer’s art has intrigued and astounded ever since. Vermeer was unlike his Dutch contemporaries and other painters in his own century and indeed stands out in the whole of the history of painting as unique. The perfection of his work, which everyone recognises and acknowledges, is itself an enigma: how, why, in what conditions, and with whom around him did Vermeer paint these silent scenes whose magic holds us in thrall?

Very few paintings, less than forty, can be attributed with certainty to Vermeer, but each one is a perfectly achieved study of light, colour and space. For all his profound originality, Vermeer is very much a part of the Dutch tradition, combining realism and sobriety with a skillful rendering of perspective and optical effects.

Rediscovered at the end of the 19th century, Vermeer’s art has intrigued and astounded ever since. Vermeer was unlike his Dutch contemporaries and other painters in his own century and indeed stands out in the whole of the history of painting as unique. The perfection of his work, which everyone recognises and acknowledges, is itself an enigma: how, why, in what conditions, and with whom around him did Vermeer paint these silent scenes whose magic holds us in thrall?

In answer to these questions, this book presents us with the three different viewpoints of: Gilles Aillaud, a painter and writer whose conciseness of language gives his words the allure of a limpid essay on limpidity; John Michael Montias, who unties the most important items in his biography; and Albert Blankert, who gives us an essential analysis from the perspective of the history of art.

POLÍGRAFA

Euro 15,50

ISBN 9788434309333 (español)

64 pp., 50 ill.

24,60 x 31,20 cm / hardback

POLÍGRAFA

Euro 59

ISBN 9788434311213 (español)

240 pp., 138 ill.

26 x 31,50 cm / hardback with jacket

In the first years of its activity, which took place on 9-11 Berlinés Street, Metrònom registered its site-specific projects in small publications produced with the direct involvement of the artists. In just eight pages images of the installations, a short critical text and / or a writing by the artist are collected. Given its discontinuity, 12 publications by Jiri Kolar, Josefina Miralles, Mirella Bentivoglio, Txomin Badiola, Robin Crozier, Tom Carr, Sara Gibert, Marcel Pey, Modern Architecture (with projects by Navarro Baldeweg, Martín Begué and Emilio Tuñón, among others), Alex Flemming, Cherif & Silvie Defraoui and CVA (a group formed by Juan Luis Moraza and María Luisa Fernández).

METRÒNOM 1981-1983

12 volumes (booklets)

METRÒNOM

Euro 90

ISBN 9788434314283 (English/Català/Español)

12 volumes

8 pp (each vol.)

29,5x21 cm / staple bound in custom envelope

CONTEMPORARY ART, ARTIST’S BOOKS

Working as a Mediterranean kunthalle, Metrònom carried out its activity in two locations: Berlinés 9-11 and Fussina 9, being, for a long time, the only space in Barcelona devoted to contemporary art. This envelope brings together 12 small volumes dedicated to his early years.

STEVA TERRADES: DE LA TINTA A LA XINA (FROM INK TO CHINA)

Steva Terrades

DARRER MARINER (LAST SAILOR)

Andreu Terrades

METRÒNOM: TRAMESA POSTAL / MAIL ART EXHIBITION

AA. VV.

Foreword by Glòria Picazo

Tabloid-size notebook with drawings in black lines published on the occasion of the Neon de Suro Group exhibition at the Centro Lavoro Arte in Milan, in March 1981. Neon de Suro is the name of a free distribution magazine-brochure, published between 1975 and 1982 by a group of conceptual artists led by Steva and Andreu Terrades, Sara Gibert and Bartomeu Cabot. Among his collaborators were some of the artists who have had a wide international impact in recent decades: Miquel Barceló, Eugènia Balcells, Barbara Rosenthal, Bob Wades, Mariscal, Toni Catany, Muntadas and Julien Blaine, among others.

Catalog of the visual poems of Andreu Terrades.

“In the room of my house in Andratx there were sailor’s trunks full of magazines, documents, letters and papers from when my godfather Esteve went to Cuba, as the skipper of a ship carrying cement. I didn’t know much people from Andratx, so when I went swimming in the secluded places: Cala Llamp, Cala d’Egos, Es Caló del Monjo... I took some papers inside the sign and read them and imagined the story of a character similar to my godfather who returned to the village after many years of being in Cuba. The character did the same as me: recalling aspects related to time, hours, days, events, memories, friends, loves, hobbies, and so on. Everything that is part of the link to a place, yours, which, despite the distance, you can never replace and to which you return for good. “Last Sailor” is imaginary, but all of us who seek meaning in life through places that take us back to the same place of departure are involved”. —Andreu Terrades

Catalogue of the exhibition held at Metrònom in fall 1980, with contributions by Carl Andre, JM Calleja, Ulises Carrión, Christo, León Ferrari, Antoni Miralda, Fina Miralles, Joan Rabascall, Andreu and Steva Terrades, Edgardo-Antonio Vigo, Horacio Zabala, among others.

“The motivations of the correspondence artists are many. They have notably included a desire to trascend the often rigid boundaries of the art world activity and a desire to open art world support systems to new talent. By developing strong new methods to expand those boundaries, and to bring some forms of support to artists whose work might otherwise go unseen, correspondence art has made itself an integral part of the art world” —Ken Friedman

METRÒNOM: LLIBRES D’ARTISTA (ARTIST’S BOOKS)

AA. VV.

Foreword by Rafael Tous Text by Ulises Carrión, Hubert Kretschmer, José Luis Mata, Huy Schraenen

This catalogue documents the artist books submitted by more than 700 artists from around the world. The collection includes works by Artur Barrio, Ulises Carrión, Lourdes Castro, Eugenio Dittborn, Peter Downsbrough, Jenny Holzer, Peter Hutchinson, Antoni Muntadas, Dennis Oppenheim, Marta Rosler, Tim Ulrichs, Lawrence Weiner and Krzysztof Wodiczko, among others.

This rare exhibition catalogue was published in conjunction with what is generally considered the first artist’s book exhibition in Spain (within the contemporary realm of artist books). Features some 2000 works by more than 700 artists, and includes images of the exhibition space, art works, and artist contact information. With this, Metrònom/ Centre de Documentació d’Art Actual carried out its purpose of informing all interested persons: artists, critics, registry offices, libraries, museums, etc. about the matter.

SARA GIBERT: ATZAR INTIM (INTIMATE RANDOM)

Sara Gibert

Sara Gibert’s work can be linked to one of the main branches of body art, that of artists who are interested in the kinetic activity of the human being and who reflect on the social potential of the human body. In this subtle artist’s book, Sara Gibert introduces random on the cover with the imprint of six faces of a dice. But, as we know, random is closely linked to play and this, in turn, to artistic practice, which in Sara Gibert has always had a bodily (intimate) dimension. By way of anthropometries, the impression of her body here adopts the shape of the clover, the diamond, the spades and other forms linked to random.

METRÒNOM

Euro 35

ISBN 9788434314597 (català)

16 pp.

31,50 x 44 cm / paperback

METRÒNOM

Euro 45

ISBN 9788434314580 (català)

60 pp.

21 x 29,50 cm / paperback

METRÒNOM

Euro 90

ISBN 9788434314610 (english / català)

136 pp.

21,50 x 30 cm / paperback

METRÒNOM

Euro 90

ISBN 9788434314276 (english / català)

200 pp.

21 x 30 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

METRÒNOM

Euro 35

ISBN 9788434314290 (català)

16 pp.

22 x 35 cm / paperback

CONTEMPORARY ART, ARTIST’S BOOKS

ITALO MAZZA: ADDA

Italo Mazza

FRANCESC TORRES: WHAT DOES HISTORY KNOW OF NAIL-BITING?, 2017

Limited Edition of 500 numbered copies

In this artist’s book, Italo Mazza returns to the original landscape of Trezzo sull’Adda modifying, as our memory does, the features of the landscape that we experience as our own.

“If the words, when they are something more than words, recall emotions to be persued, the most varied and complicated one, thus the image recall in the minds other images, that multiplying in the fantastic, are not rebrought to their origin, neither for significance nor for relation. To loose oneself in a succession of ghosts is always less delusive that to appropriate that reality, that each one of us modifies within itself in order to survive. The essential thing is to preserve the portion of heaven which is our due.” —Italo Mazza

Francesc Torres (Barcelona, 1948) is, without doubt, one of the most important European artist of his generation.

During the Spanish Civil War a contingent of 3,500 Americans —known as the Abraham Lincoln Brigade—joined the International Brigades. Half of them didn’t return. Harry Randall was one of them and he did return. He was a photographer and cameraman in the brigade, and he is the prime mover of the editorial project presented here as an artist’s book. The basis material was 45 minutes of 16mm film shot over a period of two years (1937-1938), that very few people have seen to date.

As a matter of fact, this book reflects on the visual sedimentation of history beyond the concrete historical event; it is a comment on the material fragmentation, literal and metaphoric, that silently sleeps under the politically conditioned and socially negotiated official narrative of History.

METRÒNOM

Euro 35

ISBN 9788434314306 (italiano)

32 pp.

23,50 x 29,50 cm / paperback

POLÍGRAFA

Euro 45

ISBN 9788434313590 (english / español / català)

88 pp., 76 ill.

21 x 28 cm / printed hardcover

The title of this project is taken from the novel Darkness at Noon by Arthur Koestler and sums up the implacable indifference of History, in the Hegelian sense of the term, to the human being in his or her naked individuality. History is a priori amoral, a living organism devoid of consciousness.

—Francesc Torres

GOLDBERG: LA CAZA DEL SNARK, 2014

Limited edition of 380 numbered copies

Taking the title of Lewis Carroll’s epic poem TheHuntingoftheSnark considered a disconcerting, mysterious and meaningless work, the artists Guillermo Faivovich and Nicolás Goldberg shape this collector’s book.

4000 years ago a number of meteorites hit Campo del Cielo, a region located in the northeast of Argentina. “Since their fall on the distant planes of the Gran Chaco —claim its creators—, these iron masses have been the centre of a strange fascination, the search for answers and the site of constant pilgrimages [...] as well as the object of study and amazement of a long list of expeditionaries, scientists and enthusiasts.”

The story of Campo del Cielo constitutes an enormous puzzle. Faivovich and Goldberg investigate and revisit this tale with voluminous documentation in an attempt to challenge the passage of time.

POLÍGRAFA

Euro 45

ISBN 9788434313453 (español)

64 pp., 118 ill.

21,50 x 28,40 cm / hardback contains foldout map and card with printed text

ARTIST’S BOOKS, LIMITED EDITIONS

FERNANDO BRYCE: AMÉRICAS, 2009

Limited edition of 500 copies, numbered and signed by the artist

At the end of the nineties, Fernando Bryce (Lima 1965) gave up painting and devoted himself entirely to drawing. He produced a work based on what he calls the mimetic method of analysis, i.e., an ink copy of a series of photographs, newspaper cuttings, advertisements, promotional publicity or popular propaganda, among other documents, taken from archives and libraries.

At first his intention was to do an exercise on the history of power and the images of his own country, Perú, but his documentary archaeological research soon extended to decisive moments and historical figures of the 20th century. This book collect, in a facsimile way, the Américas series included South of the Border. Now at the MOMA collection in a numbered edition of five hundred copies.

POLÍGRAFA

Euro 45

ISBN 9788434312005 (english)

128 pp., 118 ill.

21 x 30 cm / paperback

ARTIST’S BOOKS, LIMITED EDITIONS

ANTONI TÀPIES / JOAN BROSSA: U NO ÉS NINGÚ, 1979

Limited edition of 500 copies, numbered and signed by the authors

DAVID HOCKNEY: LA ISLA DE MARTHA’S VINEYARD Y OTROS LUGARES, 1985

Limited edition, 400 numbered copies

This book is a veritable bibliographical landmark, due in equal measure to its intrinsic value and its special significance.

Antoni Tàpies produced the suite of drawings between 1950-1951, the culminating moment of his oneiric period, when the hallmark of Surrealism and the consolidation of his own personality were crystallizing in works that reached extraordinary heights.

Joan Brossa’s prose poems, written at the same time as Tàpies was working on his drawings, comprise a parallel vision of the world expressed in literature, and contain a profound lyricism and originality that in themselves justify the prominent position that this poet holds in Catalan literature.

The text contained in this book —brewed from long conversations with Nikos Stangos— mainly shows David Hockney ideas on the function and significance of this sketch book as container and accommodation of the painting essence.

“My first sketch book is dated in the years while I was studying in the Bradford School of Art. [...] After that, I had a box manufactured by Asprey, where I stored paper and colour pencils. They were unbound papers and, of course, there were drawings among them. [...] In August, 1982, I was in Martha’s Vineyard island and I used them as well. The sketch book I’m presenting now is chronologically situated between the Polaroid photos and the photo collages that I began in September, 1982. When I started up with the photo collages, I left my drawing and, when I left my photo collages, I went back to drawing again’’.

POLÍGRAFA

Euro 360

ISBN 9788434304505 (español)

Case containing a facsimile sketch book and a booklet

Sketch book: 150 pp. / 23 x 32 cm

Booklet: 32 pp. / 23 x 32 cm

ARTIST’S BOOKS, LIMITED EDITIONS

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