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Cover of Rubbings Catalogue 1984-2016

JRP Editions

Rubbings Catalogue 1984-2016

Matt Mullican

€50.00

One of Matt Mullican's central and most consequential inventions, the so-called “Rubbings,” are a kind of “frottages,” a technique the artist uses to produce specific pictures. The book presents a catalogue of the Rubbings on canvas from 1984 to 2015. It comprises around 500 works, documented by images and catalogue entries (the book also contains an essay by Dieter Schwarz).

From the beginning of his career, Mullican looked for pictures that would not be paintings; thus, he used banners, the traditional carriers of signs, posters, and, in 1984, he realized his first Rubbing. He used a cardboard plate on which the canvas was placed; by rubbing with an oil stick the cardboard reliefs, forms became visible on the canvas. This way, Mullican was able to transfer complex representations onto canvas; the result is a picture of something that is not present, it is a form of copy. The cardboard plates may be used for other works and so the imagery can reappear in different configurations. Each Rubbing is a single work and at the same time a reproduction, like a print, part of a sequence which contains picture elements from different sources.

Following the Rubbings from 1984 to recent times, it becomes visible that they represent the motives and themes the artist worked with over the years. The sequence of the Rubbings appears therefore like a diary of Mullican's work.
Published on the occasion of the exhibition “Nothing Should Exist” at Kunstmuseum Winterthur, Switzerland, from June 11 to October 16, 2016.

Working in the fields of performance, installation, digital technology and sculpture, Matt Mullican (born 1951 in Santa Monica, lives an works in New York) is seeking to develop a cosmological model based on a personal vocabulary combining the formal and the symbolic. Hypnosis and cartography are his principal modes of operation. He explores functional sign systems of his own devising through activities under hypnosis, in a permanent oscillation between the real and its schematization, between fiction and its physical reality.

Edited by Dieter Schwarz.
Text by Dieter Schwarz.
 
published in June 2016

recommendations

Cover of Matt Mullican’s Pure Projection Landscapes

If I Can't Dance

Matt Mullican’s Pure Projection Landscapes

Vanessa Desclaux

Performance €15.00

Since the late 1970s Matt Mullican has developed a practice of performing under hypnosis that extends from his investigations into representation and subjective projection, and from his efforts to “enter the image” and embody a fictional character, a body of work that offers an exceptional perspective on repetition and renewal in performance practice.

This book is the outcome of an extensive research project into Mullican’s hypnosis performances, undertaken within the frame of If I Can’t Dance’s Performance in Residence programme with invited researcher Vanessa Desclaux, and a two-day Class of Masters with Mullican on character construction. Desclaux takes up the question of personification in light of her analysis of Mullican’s hypnosis performances. A selection of Mullican’s photographs and works on paper are reproduced in this book.

Cover of The Glover Group – A Los Angeles Story

Nero Editions

The Glover Group – A Los Angeles Story

The Glover Group

A portrait of the cohesive community of women artists in Frogtown, Los Angeles, including Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner.

The Glover Group: A Los Angeles Story narrates the journey of an extraordinary group of artists who have nurtured their unique artistic voices within the same studio complex in Frogtown, Los Angeles. The Glover Group includes Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner, a coincidental yet cohesive community of women artists sharing a unique bond through their interconnected workspace.

This catalog, designed to document their collaborative exhibition held at MASSIMODECARLO in Milan during July and August 2023, features interviews to the artists by Cecilia Alemani, Alison M. Gingeras, Justine Ludwig, Marta Papini, and Heidi Zuckerman, together with photographs by Tracy Nguyen.

Contributions by Ruby Neri & Alison M. Gingeras, Hilary Pecis & Cecilia Alemani, Megan Reed & Marta Papini, Lily Stockman & Heidi Zuckerman, Austyn Weiner & Justine Ludwig.

Cover of Three Moral Tales

Paraguay Press

Three Moral Tales

Joëlle de La Casinière, Ana Jotta and 1 more

The moral tale is a literary genre that was especially popular in Europe throughout the 18th century. As ways of being and doing were strongly tied to conventions assigned to social roles and genres, the rise of rationality and freethought, characteristic of this era, began re-organizing the so-called “natural order” of established patterns. Through fables and satires, moral tales expressed sharp critical views on the social relationships and hierarchies of the time, often using radical irony and cruelty, as in the tales of Jonathan Swift or of the Marquis de Sade, to decipher the untold rules at play in this early age of capitalism.

The works of the three artists invited to these Three Moral Tales are not that of moralists, but somehow assume a kind of moral dimension, as they present themselves as critical allegories. Joëlle de La Casinière, Ana Jotta and Anne-Mie Van Kerckhoven make use of fables and sometimes caricatures to observe and criticize the cruelty of human relationships. The “moral tales” narrated by these three artists scrutinize representations of evil, and mock hierarchies, traditions and social order. By doing so, they also follow up on a certain spirit of the iconoclastic avant-gardes of the early 20th century.

French artist Joëlle de la Casinière, Portuguese Ana Jotta and Flemish Anne Mie Van Kerckhoven have in common to pay no fealty to trends of contemporary art. Moreover, they fought unwaveringly throughout their respective careers the need to see their work being given an “official line”. Instead, they stood aside, went underground or remained indifferent to the twists and turns of the art market and institutions. They sometimes created surrogate characters, hid, or playfully modified their names to react to the branding of identity in the artworld, and to the imposed marginalization that they had to cope with as women artists, as did artists living in peripheral geographies. In a way, paradoxically, being marginalized encouraged a calculated versatility of media and styles, and the invention of an idiosyncratic vocabulary, while total freedom remained their one and only rule.

Cover of Human Pelvis, Bitter Radish

Reliable Copy

Human Pelvis, Bitter Radish

Leone Contini

This publication features a project by Leone Contini looking into the canned food available during the war of Caporetto in 1917 and especially its iconography. It brings together an essay by the artist along with reproductions of a selection of his drawings.

Leone Contini (born 1976 in Florence) studied philosophy and cultural anthropology at the University of Siena. His research unrolls at the intersection of anthropology, aesthetics and politics and his mediums include lecture-performances, collective interventions in public spaces, textual and visual narratives, drawings. His research is focused on intercultural frictions, conflict and power relations, displacement, migrations and diasporas, aiming to investigate, to question and to re-shape identity patterns and power relations.

Cover of Wet With Dew

Forlaget emancipations frugten

Wet With Dew

Cecilie Skov, Moa Alskog

Painting €20.00

Text by Eleanor Ivory Weber
Published by Forlaget emancipa(t/ss)ionsfrugten
Edited and produced by Eller med a △ Åbäke 
Edition: 200 ex. 
Format (b*h): 20 * 26,5 cm
Pages: 48 sider 
Print: Grafiche Veneziane
Paper: Munken Pure 170g
Typeface: Base12 by Zuzana Licko

More info at https://www.cecilieskov.com/Works/Wet-With-Dew

Cover of Evol/Love

Self-Published

Evol/Love

Nibor Traaw

Evol/Love is a project in three parts: a billboard series, installation and publication connecting 160 subtitled movie stills that all contain the word Love.

A collage of voices and definitions arranged in alphabetical order, from ‘Love is where you find it’ (A: A Date with Judy, US 1948, 00:22:37) to ‘But even if it’s a little late, love has a way of coming back to you’(Y: Yeonae/Love is a Crazy Thing, KR 2005, 01:38:02), but read backwards to sound like its antonym: evil.

Self-published: Stichting Mei, Amstelveen, NL 2020
19,6 x 19,6 x 2,3 cm
200 pages, 160 images
Japanese bound, buckram cover with flaps
Offset on pink paper (interior), screenprinted buckram (cover)

Graphic Design Vilmantas Žumbys, Vilnius

Edition of 666 copies