August 25, 2004 - Revolver - and an online project: Black Friday – Exercises in Hermetics
August 25, 2004

and an online project: Black Friday – Exercises in Hermetics

and an online project: Black Friday - Exercises in Hermetics

Revolver presents 15 new books and an online project: “Black Friday – Exercises in Hermetics”

  

15 new titles by Revolver:

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MIB – Men in Black
Handbook of Curatorial Practice

Kunstlerhaus Bethanien, Berlin; ed. Ute Tischler & Christoph Tannert,
with statements, essays, discussions, interviews by more than 100 international curators (German/English) and the pictorial “Theory of Justice” by Peter Friedl
20,5 x 15,5 cm, 600 pp., 80 ill., paperback
ISBN 3-936919-03-8

Ironically entitled “Men in Black” this handbook includes the currently discussed subjects on the processes of exhibition making. A voluminous text section provides statements by international curators, artists and critics on their working methods, evolving from the generally changes within functional relations and practices of curatorial activities. A comprehensive selection of critical essays and more than 100 personal statements of curators, commissioned to answer questions regarding their personal situations, this source book provides a profound insight into the development and differentiation of the curatorial discourse from the 1990s up to now. This rich compendium is supplemented by a service section, describing the various educational programs for curatorial practice.

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Mark Kremer / Maria Hlavajova / Annie Fletcher (eds.)
Now What? Artists write

BAK – basis voor aktuele kunst; eds. Mark Kremer, Maria Hlavajova & Annie Fletcher; with contributions by Pawel Althamer, Tiong Ang, Ansuya Blom, Phil Collins, Flying City (Jeon Yongseok), Liam Gillick, Marina Grzinic, Sigudur Gudmundsson, Thomas Hirschorn, Hans van Houwelingen, Daniel Jewesbury, Job Koelewijn, Boris Ondreicka, Anatoly Osmolovsky, Maria Pask, Jan van de Pavert, Marko Peljhan, Manfred Pernice, Paul Perry, Willem de Rooij, Tino Sehgal, Fiona Tan, Thorvaldur Thorsteinsson and Sarah Tripp (English);
20 x 15 cm, ca. 160 pp., paperback
ISBN 3-937577-45-9

‘”Now What? Artists Write” presents a collection of texts written by artists. Over twenty international artists have been invited to engage with the subjects they deal with in their artistic practice on one hand, and the themes that permeate the project “Now What? Dreaming a better world in six parts”(of which the book is part six) on the other.

As we learn from art history, including the history of contemporary art, artists’ writings have been a valuable resource for knowledge about art and its context(s). Texts by artists reach a level of accuracy that would otherwise remain undisclosed to us. As such, they have the capacity to fill discursive gaps between artistic thought and critical writing about art’s manifestations.

“Now What? Artists Write!” is a document that presents the reader with an urgency to respond to the current momentum. It is meant to become a specific forum to voice the artists’ (day)dreams as visions for the future. The book is a space for articulating, negotiating, or even testing ideas by involved artists not only about the world we know, but also about the world we strive to envision.

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Jens Hoffmann (ed.)
Artists’ Favorites

Institute of Contemporary Arts, London: An Exhibition in Two Acts (Act I: 5 June – 23 July 2004, Act II: 30 July – 5 Sept. 2004)

Act I – Artworks chosen by:
Pawel Althamer, Eleanor Antin, John Baldessari, Victor Burgin, Maurizio Cattelan, Michael Elmgreen & Ingar Dragset, Liam Gillick, Nan Goldin, Brian Jungen, Ilya & Emilia Kabakov, Tim Lee, Paul McCarthy, Gustav Metzger, Jonathan Monk, Mariko Mori, Gabriel Orozco, Yvonne Rainer, Anri Sala, Yinka Shonibare, Rirkrit Tiravanija.

Act II – Artworks chosen by:
Art & Language, Eija-Liisa Ahtila, Ghada Amer, Daniel Buren, Janet Cardiff, Martin Creed, Olafur Eliasson, Ceal Floyer, Liam Gillick, Eberhard Havekost, Susan Hiller, Koo Jeong-a, Cildo Mereiles, Vik Muniz, Rivane Neuenschwander, Cornelia Parker, Tino Sehgal, Luc Tuymans, Gillian Wearing.

2 stapled brochures, each ca. 16 pp
ISBN 3-937577-76-9

Which artworks do artists consider important and influential? Which pieces would artists like to see exhibited? What artworks have had an influence on other artists’ work? Artists’ Favourites investigates these questions inviting a distinct group of internationally active artists to each select and introduce an artwork of personal significance. In addition, each artist has been asked to elaborate on the reasons behind her or his choice. These statements are presented alongside the artworks in the gallery spaces. By selecting on of their favourite artworks the artists begin a conversation regarding their own individual practice and about particular influences on their work. Consequently building a net of relationships, references and affinities that go further than their own practice and the artwork they have selected for the exhibition. In essence the selected works hold an altered significance, standing not only for themselves and the artists that created them but in addition representing the artists who selected them. The result – a subjective and multifarious collection of artists’ individual choices – suggests the associative relationships between artists and artworks, whilst at the same time mirroring the broad spectrum of contemporary practice. The selected works include pieces by artists such as:

Act I
Robert Barry, Andre Cadere, John Cage, Martin Creed, Walt Disney, Laura Ford, Hollis Frampton, Jean-Luc Godard, Peter Hujar, Sarah Jacobs, Alfred Johansen, Donald Judd, Judson Dance Theater, Sol LeWitt, Philippe Parreno, Robert Smithson, Rirkrit Tiravanjia, Christopher Williams…

Act II
Chantal Akerman, Carl Andre, Peter Fischli & David Weiss, Gary Hill, Martin Honert, Jeff Koons, Piero Manzoni, Chris Marker, Charles Ray, Ed Ruscha, Fred Sandback, Rosemarie Trockel, Andy Warhol, Lawrence Weiner…

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Christoph Keller (ed.)
Spur04 – The Cheap Champagne Issue

Reader, 100+ Contributors: Olav Westphalen, Bettina Funcke, Maurizio Cattelan, Erik Steinbrecher, Claude Closky, Claudia and Julia Muller, Corinna Schnitt, John Miller, Elmgreen & Dragset, Carissa Rodriguez, Peter Piller, Wolfgang Ullrich, Bernhard Martin, Michael S. Riedel, Gelatin, John Bock, Nina Montmann, David Shrigley, Lionel Bovier/Christophe Cherix, Michael Stevenson, The Histrionics, Jens Hoffmann/Tim Lee, Jonathan Monk, Gardar Eide Einarsson, Edward Krasinski, Korpys/Loffler, Noemi Smolik, Raimar Stange/Christian Jankowski, Wilhelm Schurmann, Ludwig Seyfarth, Werner Buttner, Harald Falckenberg, Jonathan Meese, Bettina Steinbrugge, Andreas Neumeister, Marti Guixe, Tobias Rehberger and many others (German/English).
23,5 x 17 cm, 383 pp., 300 ill., paperback, goldcut
RDB 040707

Produced in collaboration with students of the Hamburg School of Fine Arts and the Material Verlag, this publication offers numerous contributions touching the sphere of humour, wit, irony, cynism, grotesque in contemporary art. The various contributions were designed by 16 different designers:
groenland.berlin.basel – Manuel Raeder – Norm – FDT Design – adehauserlacour – surface – Bureau voor Tele(Communicatie), Historiciteit & Mobiliteit – Laurent Goei – Elektrosmog – Pridgar und Jurt – Vier5 – Will Stuart – Martha Stutteregger – Herburg Weiland – Meire und Meire – Alex Papdopoulou

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Angelika Fitz / Klaus Stattmann (eds.)
Reserve der Form

Kunstlerhaus Wien (27 Aug. – 10 Oct. 2004): Acconci & Steven Holl, Coop Himmelb(l)au, Christo and Jeanne Claude, Hermann Czech, Gunther Domenig, Valie Export, Formalhaut, Volker Giencke, Herzog & de Meuron, Shantanu Lodh, Walter de Maria, Rahul Mehrotra, Peter Noever, Jean Nouvel, OMA, Gustav Peichl, Walter Pichler, Architecture Principe, Werner Reiterer, SITE, Johannes Spalt, Stiletto, UN Studio, Vivienne Westwood, Franz West, Allan Wexler, Peter L. Wilson, WochenKlausur, and many others; eds. Angelika Fitz & Klaus Stattmann; with contributions by Dirk Baecker, Sybille Kramer, Andreas Spiegl, Wolfgang Pauser, Philip Ursprung, Angelika Fitz and Klaus Stattmann (English/German);
23 x 16 cm, 336 pp., ca. 400 col. ill., paperback with dust jacket
ISBN 3-86588-007-X

“Reserve der Form” presents more than 90 projects from the field of architecture, art and everyday-culture. “Form”, here, means more than the formal. Formal reserves encourage numerous parallels within esthetic, economic and politic relations.
Apart from the associative grouping of projects on the subject, “Reserve der Form” is also a reader with contributions by well-known authors from the fields of sociology, architecture, art theory and philosophy.

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Peter Friese (ed.)
After Images

Art as Social Memory, Neues Museum Weserburg, Bremen (27 June – 2 Oct. 2004 ): Darren Almond, Shimon Attie, Christian Boltanski, Jake & Dinos Chapman, General Idea, Jochen Gerz, Rudolf Herz, Eckhard Karnauke, Korpys/Loffler, Mischa Kuball, David Levinthal, Bernhard Prinz, Ellen Rothenberg, Andreas Slominski, Luc Tuymans, Piotr Uklanski, Micha Ullman, Harry Walter, Rachel Whiteread and Penny Yassour; ed. Peter Friese; with essays by Peter Friese, Harald Welzer, James E. Young and Guido Boulboulle (German/Englisch)
17 x 24 cm, 238 pp., 65 ill., paperback
ISBn 3-937577-84-X

The exhibition and the accompanying catalogue show works by contemporary artists who conceive of themselves explicitly as post-Auschwitz and of their art as incomprehensible without reflection on that historical event. At the same time, however, their concern is not with an endeavour to represent the horror that ultimately defies depiction but with an artistic inquiry into history and memory. The participating artists operate on the assumption that the historic event can be depicted today only as one already conveyed to us through the media and personal communication. They have chosen the distance between “history-as-it-was” and the “memory-after-the-memory” of this history as their theme. The exhibition consistently avoids not only the suggestion that the past events can be depicted, but also the fixed form of a traditional monument or memorial. The confrontation with the past thus remains an incomplete and incompletable process.

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Mark Hamilton / Julia Schmidt (eds.)
Synth

10 artists from Glasgow; Kunstraum B/2, Leipzig (15 April – 13 May 2004): Karla Black, Stuart Gurden, Camilla Low, Alex frost, Iain Hetherington, Alan Michael, Jim Lambie, Sophie MacPherson, Yvonne Twade and Scott Myles; with essays by Sarah Lowndes and Bettina Reichmuth (German/English);
26 x 20,5 cm, 48 pp., 30 col. ill., stapled
ISBN 3-937577-51-3

The catalogue documents a network of different working positions from 10 Glasgow-based artists that subtly re-configure art-historical sources and debates. An implicit interest in subcultural scenes and moments can also be detected. – ‘During navigation through the exhibition the visitor to Synth can accrue an impression of nimble improvisation and stubbornly uncompromising artistic engagement. The visitor encounters time-based and two + three dimensional work transforming a given area and shifting attention from surface into space, the space rough and smooth, of participation and invention’ – with essays by art historian Bettina Reichmuth and Sarah Lowndes, writer and visiting lecturer to Glasgow School of Art.

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Andreas Baur / Ludwig Seyfarth (eds.)
Recherche? entdeckt!

6th international Photo-Triennial 2004, Villa Merkel, Esslingen (18 July – 3 Oct. 2004): The Atlas Group, Guillaume Bijl, Monika Brandmeier, Willie Doherty, Olafur Eliasson, Hamish Fulton, Charles Gaines, Daniela Keiser, Jochen Lempert, Bettina Lockemann, Peter Piller, Richard Prince, Martha Rosler, Ed Ruscha, Erik Steinbrecher, Ralf Weissleder; with essays by Ludwig Seyfarth, Wolfgang Ullrich and Noemi Smolik (English/German);
23 x 19,5 cm, 232 pp., 200 col. ill., paperback
ISBN 3-937577-91-2
25,00

“Pictures alone have no power; they need a framework of content, an institutional context or at least a signature if they are to acquire significance. Put in another way: a picture is not self-reliant at all, so the concept of the ‘autonomous’ picture is correspondingly questionable; it is only when combined with words or clearly coded surroundings that a picture can suddenly become a code itself, and then express meaning better than many other things.” (Wolfgang Ullrich)

The exhibition and the accompanying publication mainly investigate the syntactics of pictures and picture sequences – in other words, what lies behind the visual surfaces and draws them together to make intelligible passages that create meaning.

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Kirstine Roepstorff
Who Decides Who Decides

with contribution by Nikola Dietrich, Scott Weaver, Dan Smith, Barry Holstun Lopez, Carl Bildt, Sarah Gavlak, Simone de Beauvoir, Harm Lux, Andreas Roepstorff, Solvej H. Ovesen, Gretty Mirdal, Pernille Albrethsen and Douglas Klovedal Lannark (English);
32,5 x 23 cm, 116 pp., ca. 80 ill., paperback
ISBN 3-937577-32-7

This beautifully designed artist book offers a broad insight into Kirstine Roepstorff’s artistic production.

“Above all, the Danish artist Kirstine Roepstorff (1972) is an observer of how we as humans are governed and bewildered by our own or commonly accepted interpretations of the reality. Beyond being a good observer, she is also a fantast and a provocative thinker, who translates her critcal approach to our time into strong visual scenarios. Roepstorff has always appropriated her artistic material from other contexts – with work ranging from large embroidered fabric banners to delicate curtains; from almost invisible wall and yarn drawings to colourful montages playing with a range of political cords. Roepstorff meanders between loudly visible manifestations addressed directly to the public and almost invisible interventions in the exhibition space that sneak up on the viewer like a private whisper.” (Solvej Helweg Ovesen)

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Jakob Kolding
City 2

ed. Christoph Keller, with contributions by Iain Borden, Stephen Graham/Simon Marvis and Doreen Massey (English);
20,5 x 15,5 cm, 112 pp., 89 ill., paperback
ISBN 3-937577-88-2

A classical artist’s book, providing a profound insight in the work of Jakob Kolding and its oscillating between suburbanism, street culture, pop music, skateboarding, modernist architecture, urban planning and the psychology of space.

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Florian Zeyfang
Focussy

Video installations and other works; ed. Axel-John Wieder; with essays by Florian Zeyfang, Clemens Krummel, Ariane Muller, Bennett Simpson, Bettina Steinbrugge and Axel John Wieder (German/English);
23 x 17 cm, 176 pp., ca. 120 col. ill, hardcover
ISBN 3-937577-85-8

“Fokussy” is published on the occasion of two exhibitions by the artist Florian Zeyfang. However, it is not only a documentation but extends the focus to the artist’s interest in experimental film and various forms of political documentation and technologies. Thus this book is not only a catalogue but rather a complete monography on Zeyfang’s artistic work/research.

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Francis Alys
Time is a Trick of the Mind

Museum fur Moderne Kunst, Frankfurt am Main, ed. Andreas Bee; with an essay by Andreas Bee and a conversation between Andreas Bee and Anton von Bebenburg (German, English);
9 x 15 cm, 159 pp., 106 col. ill., paperback
ISBN 3-937577-54-8

“Whereas the highly rational societies of the Renaissance felt the need to create Utopias, we of our times must create fables.” (Francis Alys)

Flip book featuring Francis Alys’s animated film “Time is a Trick of the Mind”.

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Michael Kerkmann
Arsenal

28 x 20 cm, 155 pp., ca. 180 ill., paperback
ISBN 3-937577-81-5

Michael Kerkmann – editor of the German music magazine SPEX – for the last three years has been collecting pictures of soccer players, games etc. from national and international daily newpapers. For his book, as well as for an exhibition, Kerkmann has combined a choice of those newspaper clippings with photos he has taken himself. The result is a collection of images that offers a perspective on soccer, its fan culture and representation through the media, which is driven by fascination and passion but which on the takes into consideration its social implications.

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Siegrun Appelt
Moderato Cantabile

Oberosterreichische Landesgalerie, Linz (12 Feb. – 2 May 2004); with essays by Martin Hochleitner, Bernhard Kellner, Vanessa Joan Muller, Christiane Meyer-Stoll and Harald Welzer (German/English);
13,5 x 20 cm, 128 pp., 60 ill., paperback
ISBN 3-937577-67-X

Ten people read Maguerite Duras’ novel “Moderato cantabile”. Two rooms play a crucial role in this book: a music studio, into which the protagonist acompanies her son, and a harbor cafe, where a murder takes place. Siegrun Appelt takes these two rooms as a starting point of a precise investigation: How did the rooms look like in the imagination of the readers? How was the arrangement of the furniture? How was the atmosphere of the light and which sounds could be heard?

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Tomma Abts

eds. Daniel Buchholz & Christopher Muller; with an essay by Jan Verwoert and a conversation between Tomma Abts and Peter Doig (English/German);
23 x 17,5 cm, 52 pp., col. ill., paperback, 800 copies
RDB DB 040730

The first monographic publication ont the work of London based artist Tomma Abts. The book contains a conversation between Peter Doig and Tomma Abts, an essay by Jan Verwoert and a sequence of ten paintings by Tomma Abts.

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Black Friday
Exercises in Hermectics

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What is Black Friday?

Black Friday, Sept. 24, 1869, in U.S. history, day of financial panic. In 1869 a small group of American financial speculators, including Jay Gould and James Fisk, sought the support of federal officials of the Grant administration in a drive to corner the gold market. The attempt failed when government gold was released for sale. The drive culminated on a Friday, when thousands were ruined-the day is popularly called Black Friday. There was great indignation against the perpetrators. Several other days of financial panic have also been occasionally referred to as Black Friday.
What is Black Friday?

Black Friday, the day after Thanksgiving in the United States, is historically one of the busiest retail shopping days of the year. It marks the official beginning to the Christmas shopping season. The “black” in the name comes from the standard accounting practice of using red ink to denote negative values (in this case, profits) and black ink to denote positive values. Black Friday is the day when retailers traditionally get back “in the black” after operating “in the red” for the previous months.

Contributing artists:

Anton Vidokle (USA), Carey Young (UK), Carol Bove (USA), Cerith Wyn Evans (UK), Christoph Steinegger (A), Claude Closky (F), Daniel Herskovitz (USA), David Hatcher (NZ), Derek Barnett (CA), Edgar Arceneaux (USA), Florian Pumhosl (A), Gardar Eide Einarsson (N), Haegue Yang (Korea), Heiko Karn (D), Helen Mirra (USA), Henrik Olesen (DK), Ibon Aranberri (ES), Jakob Kolding (DK), Jop van Bennekom (NL), Katja Strunz (D), Klaus Weber (D), Kristine Ropstorff (DK), Liam Gillick (UK), Ludovic Burel (F), Manuel Raeder (D), Marianna Deball (MX), Markus Amm (D), Markus Schinwald (A), Markus Weisbeck (D), Martin Boyce (UK), Martin Neumaier (D), Mathias Poledna (A), Michael Hakimi (D), Michael S. Riedel (D), Michael Stevenson (NZ), Norm (CH), Olaf Nicolai (D), Roman Schramm (D), Sebastian Romo (MX), Seth Price (USA), Simon D. Moller (DK), Thomas Bayrle (D), Tim Lee (CAN), Tobias Rehberger (D), Tue Greenfort (DK), Vier5 (F), Will Stuart (NL) / Ausstellungsarchitektur: Tobias und Raphael Danke (D)

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Black Friday
Exercises in Hermectics

(curated by Christoph Keller, Revolver)

10 July – 11 September 2004

Galerie Kamm
Almstadtstrasse 5
D-10119 Berlin
T/F +49 (0)30 28386464
info@galeriekamm.de

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Download: www.black-friday.org

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REVOLVER
Archiv fur aktuelle Kunst
Christoph Keller
Jacobystrasse 28
D – 60385 Frankfurt am Main
Germany
Tel.: +49 (0)69 44 63 62
Fax: +49 (0)69 94 41 24 51
revolver@naiv.de www.revolverlag.de

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