June 19, 2004 - Revolver - 18 New Titles
June 19, 2004

18 New Titles

18 New Titles from Revolver

 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

Revolver at Art Basel and Liste 04
+ 18 New Titles from Revolver
(by Carol Bove, Lucy McKenzie, David Thorpe, Gardar Eide Einarsson, Kathrin Hohne & Bjarte Gismarvik, Ibon Aranberri, Otto Mittmannsgruber & Martin Strauss, Moritz Gotze, Martin Fengel, Matthias Muller, Florian Pumhosl and others…)

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Basel 2004:

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Revolver is pleased to invite you for drinks and a celebration on the occasion of the release of David Thorpe’s first publication A Rendezvous with My Friends of Liberty” at the Art Basel 2004. We welcome you for a reception at Meyer Riegger Gallery’s booth on monday, June 21.

Additionally, an overview on Revolver publications is presented at Liste 04 within the framework of VIB -Very Important Books” at Kaskadenkondensator throughout the whole week. Meet the publishers on wednesday and sunday.

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18 New Titles from Revolver:

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David Thorpe
A Rendezvous with my Friends of Liberty

ed. Christoph Keller; texts and illustrations by David Thorpe (english)
20,5 x 15,5 cm, 112 pp, 80 illustrations, hardcover
ISBN 3-937577-83-1

Special edition: 30 copies with original, unique sketches/drawings (each ca. 18 x 24 cm) by David Thorpe.

Comrades, our city of the sun!
A quest unfound, a joy unwon;
Ay, here in England shall it rise
Beneath her grey and solemn skies.
Far in her golden past, or far
Ahead where her Utopias are,
For hearts that feel and souls that find
Their inner life within the mind,
The inner life yet scarce begun,
Here stands our city of the sun!
(The Song of the Builders of the City of the Sun, by C.R Ashbee)

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Carol Bove
Below Your Mind

Artist book/exhibition catalogue, Kunstverein in Hamburg and Kunsthalle Zurich, ed. Yilmaz Dziewior; with essays by Yilmaz Dziewior & Beatrix Ruf;
21 x 14,8 cm, ca. 144 pp., ca. 90 ill., paperback w. dust jacket
ISBN 3-936919-75-5

This publication beautifully mixes archival elements and references in the style of an artist book and at the same time documents New York artist Carol Bove’s first international solo show at the Kunstverein in Hamburg. Her artistic work is part of a broad project in which she concentrates on North American history and art from the late 1960s to the early 1970s. Her interests lie in literature, architecture, music and the visual arts, as well as in the important events that affected and changed society during those years – and still do today – for example, the feminist, Hippie, psychedelia and peace movements. In her virtuous atmospheric installations, the artist, acting and understanding herself as a kind of archeologist, combines autobiographical moments, or personal memories of her mother, with the common socio-historic framework, transferring them into new contexts.

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Lucy McKenzie
Brian Eno

Artist book/exhibition catalogue, NAK neuer Aachener Kunstverein (23 Feb. – 27 April 2003); ed. Susanne Titz; with an essay by Neil Mulholland (German/English)
31 x 22 cm, various objects in gatefold cardboard box: 4 posters (each 40 x 60 cm), 4 postcards, a brochure (24 x 17 cm, 40 pp.,with ill. by Lucy McKenzie, stapled), and a paper model of the actual exhibition space (8 sheets, each 20 x 30 cm, full color), 700 copies
ISBN 3-936919-53-4

Special Edition: 30 copies with an original hand-typed letter to Brian Eno, on offset printed letterhead by Lucy McKenzie (20 x 30 cm, with envelope)

Lucy McKenzie, with her first solo exhibition in a public institution, approaches the subjects of social and historical engagement. Informed by her recent enquiries in the role of curator and public mural painter, she attempts to continue this dialogue in a manner specific to the context of the NAK.
The name Brian Eno conjures up many connotations, and can be read as an emblem of sorts for dialogues around avantgarde ideas, and an assimilation of these ideas into mainstream culture.
“Brian Eno” employs this reference to the musician and producer as a further dimension of the overall flat literalism employed by the visual elements of which it is constituted. Wilfully intended to be so, the mural installation, neon and drawings turned into posters and a paper model of the exhibition within this boxed publication, have their amateur “cottage industry” quality accentuated by their proximity to the professional, international intellectualism associated with Brian Eno.

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Gardar Eide Einarsson
long haired and freaky people need not apply …”

artist book, ed. Christoph Keller; with a text by Steven Parrino;
20,5 x 15,5 cm, 112 pp., 94 ill., paperback with spraypaint
ISBN 3-937577-77-7

Special edition: 30 copies with an object by Gardar Eide Einarsson

NOXIOUS, INJURIOUS BANEFUL, UNWHOLESOME, NOISOME, NUCLEUS, NUISANCE PLAGUE, PEST, BANE, INFLICTION, BORE, OFFENSE NULL, INVALID, NUGATORY, NULLIFY, INVALIDATE, ABROGATE, CANCEL, REPEAL, COUNTERMAND, NUMB DEADENED, UNFEELING, INSENSIBLE, BENUMBED (S. Parrino)

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Kathrin Hohne & Bjarte Gismarvik
Eventyr

Not Lost – but gone before; artist book, ed. Christoph Keller
20,5 x 15,5 cm, ca. 128 pp., 100 ill., hardcover, linen
ISBN 3-936919-79-8

Special edition: 30 copies with an original unique drawing by Hohne/Gismarvik (ca. 20 x 15 cm) in box

In 2002, the German-Norwegian artist couple Kathrin Hohne and Bjarte Gismarvik has undertaken a secret expedition into “Finnskogen”, a landmark located in the east of Norway, touching the border of Sweden. The area has received its name after settling Finnish immigrants and is known for its inhabitants’ strong believe in mystic appearances and fairy-tale-like personnel such as dwarfs, fairies, trolls, elves etc. The beautifully produced book recounts the artists’ trip into the dark woods of Scandinavia, documenting strange encounters with the world beyond

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Ibon Aranberri
No Trees Damaged

Artist book/exhibition catalogue/documentary, Sala de Exposiciones Rekalde Erakustaretoa (2004); with essays by Joseba Zulaika and Lars Bang Larsen (Euskaraz/Castellano/English)
24 x 17 cm, 95 pp., 65 ill., hardcover (linen)

RDB 040602

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Martin Fengel

Artist book/exhibition catalogue, Neue Galerie, Dachau (7 May – 13 June 2004); with an essay by Susanne Gaensheimer (German/English)
25 x 20 cm, 108 pp., 72 col. ill., paperback
ISBN 3-937577-55-6

“Beauty permeates Martin Fengel’s photographs. Without really being able to pin down where it exactly lies, and knowing that in an age where we can no longer call on the classical concepts of the beautiful to talk of beauty is like walking on thin ice, it still seems to me to represent one essential feature of his pictures. Their beauty is unmistakably before me, bar any stylization or exaggeration: simple, almost subdued, and as a matter of course. Unlike other visually seductive works by artists of his generation, Fengel’s aesthetic is not refracted by the metalevel of a theory of perception, by technical manipulation or by references to the artificiality of our modern ways of seeing. Quite the contrary, Fengel photographs what he sees, simply as it appears, be this the urban civilization around him or the wolrd of nature.” (Susanne Gaensheimer)

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Matthias Muller
Album

Monography, Neuer Berliner Kunstverein NBK (18 March – 2 May 2004); ed. Kathrin Becker; with a foreword by Alexander Tolnay and essays by Alexander Tolnay, Kathrin Becker, Elisabeth Bronfen, Mark Gisbourne, Stefan Grissemann and Angelika Richter (German/English)
26 x 17,5 cm, 143 pp., 70 col. ill., hardcover
ISBN 3-937577-26-2

“Matthias Muller, born in 1961, operates in a border zone between experimental film and video art. For over a decade, his works have been represented at renowned festivals such as Cannes, Venice and Berlin. They have been shown at large international exhibitions, are included iny many public collections and have recieved numerous prizes. Awarding their 2000 prize to Muller, the Jury of the Vernad deutscher Kritiker wrote, ‘Matthias Muller is one of the most innovative, stylistically confident German filmmakers of the 1990s. The materials for his films come from various sources; he uses found footage and scenes he has shot himself, and he works with Super 8, 16 mm and video, in colour and black-and-white. His fantastic, confident monatge made of disparate pieces, saupported by a congenial musical collage, forms an emotional, overwhelming stream of images.’
Muller’s exhibition in the NBK is the artist’s first larger presentation in a public German institution. This publication, which contains both extensive visual documentation and several topical texts by well-known authors, is an indispensable, encyclopaedic accompaniment to his oeuvre.” (Alexander Tolnay)

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Florian Pumhosl
Wachstum und Entwicklung

Artist book/exhibition catalogue, Galerie im Taxispalais, Innsbruck (31 Jan. – 14 March 2004); ed. Silvia Eiblmayr; with essays by Florian Pumhosl, Silvia Eiblmayr, Juliane Rebentisch and Georg Schollhammer (German/English)
24 x 16,5 cm, 94 pp., 10 col. ill., paperback
ISBN 3-937577-18-1

“Under the exhibition title ‘Growth and Development’ Florian Pumhosl summarizes three projects in which he deals with places in East Africa and Madagascar. The three video installations are completed by a fourth work in which he also presents his artistic and theoretical investigations on the grammars of Modernity. Pumhosl explores their avant-gardist, esthetic and political objectives and the processes triggered thereby so as to prepare the ground for new angles and interpretations from today’s point of view. Pumhosl’s works are not documentations, they are narratives of visuality and space as they link eshetic and social formations. Architecture, abstract film and an egangement with nature are central to this concept. (…)
In an introductory text and specific descriptions of the individual works, Florian Pumhosl describes his field of interest in very comprehensive terms. Georg Schollhammer, who followed Pumhosl’s work from the very start with a view to content and critique, provides an overview of how his methods emerged and are embedded in a broader contexts. In a converstion with Juliane Rebentisch the artist explains the meaning of the installation concepts, shedding light on the content of his engagement with abstract film.” (Silvia Eiblmayr)

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Moritz Gotze
Bildersaal Deutscher Geschichte

Artist book/exhibition catalogue, Kunstmuseum Kloster Unser Lieben Frauen Magdeburg (16 May – 22 August 2004); with essays by Karin Thomas, Peter Lang, Ulf Hader and Uwe Jens Gellner (German)
39 x 29 cm, 127 S., 52 col. ill., 29 reproductions from the Bildersaal der Deutscher Geschichte, hardcover (linen)
ISBN 3-937577-59-9

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Otto Mittmansgruber & Martin Strauss
Kampagnen ohne Auftrag / Public Spaces Go Public

Exhibition catalogue/documentation, Art Projects in Mass Media; MAK Wien (9 June – 12 September 2004); ed. Peter Noever; with essays by Otto Mittmannsgruber, Martin Strauß and Wolfgang Ullrich (German/English)
28 x 21 cm, 134 pp., 70 col. ill., paperback
ISBN 3-937577-72-6

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ars viva 03/04 – Film, Facing Footage:
Omer Fast, Jeanne Faust

Brandenburgischer Kunstverein Potsdam (4 Oct. – 2 Nov. 2003), Frankfurter Kunstverein (21 Jan. – 14 Marz 2004), Pinakothek der Moderne, Munchen (19 May – 4 July 2004); ed. Kulturkreis der deutschen Wirtschaft im BDI e.V.; with essays by Brigitte Weingart, Jennifer Allen, Vanessa Joan Muller and Bernhart Schwenk (German/English)
28 x 21 cm, 125 pp., 60 col. ill., paperback
ISBN 3-937577-70-X

This publication accompanies the travelling exhibition of 2003/04 ars viva award winners Jeanne Faust and Omer Fast.
“In conventional cinema, the spectator is meant to ‘suspend belief’, i.e., to blend out everything that produces the moving image and the fact that the action is not taking place in reality. And it is precisely these mechanisms that are thematised in art. The complicated interplay of image and sound, levelso f space and time, the identity of the actor, the heterotopy of set and recording system are made transparent or subjected to further forms of alienation. Images are broken up and newly combined, pieces of scenery are exposed, image and sound are separated from each other, altered and brought together again.
The subtitle of this year’s ars viva – ‘facing footage’ – is meant in this sense. Exposed film material (‘footage’) is faced off with other footage, in order to incite a mutual dialogue abd open up new levels of perception. This is what characterizes the works of this year’s award winners, Omer Fast and Jeanne Faust.” (Foreword)

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Hollein, Max / Luyken, Gunda (ed.)
Kunst – ein Kinderspiel

Schirn Kunsthalle, Frankfurt /Main (7 May – 18 July 2004): Bruno Taut, Lyonel Feininger, Paul Klee, Oskar Schlemmer, Gerrit Rietveld, El Lissitzky, Alexander Calder, Pablo Picasso, Otto Dix, Ettore Sottsass, Verner Panton, Andy Warhol, Rosemarie Trockel, Michel Majerus, Tobias Rehberger and many others; with essays by Max Hollein, Gunda Luyken, Gunter Gebauer, Eva Maria Barkhofen, Katharina Rutschky, Anna Seidel, Friedrich C .Heller, Gerhard Vana, Tanja Keppler, Sven Mesinovitch, Urs Latus, Niklas Maak and Tilman Rammstedt
25,5 x 19,5 cm, 415 pp., ca. 240 col ill., hardcover
ISBN 3-937577-48-3

Too see the world with the eyes of a child! Works by about 80 artists from the 20th century made especially for kids – an overwhelming overview!”

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Eva Schimdt / Horst Griese (Hg.)
Niemand ist eine Insel / No man is an Island

Gesellschaft fur aktuelle Kunst GAK, Bremen (13 Sept. – 26 October 2003); Jeremy Deller, Ayse Erkmenm Peter Friedl, Rainer Ganahl, Korpys/Loffler, Tracy Mackenna & Edwin Janssen, Rupprecht Matthies, Wolfgang Michael, N55, Sander/Claassen-Schmal, Bob & Roberta Smith, Superflex, Silke Thoss, Silke Wagner, Elin Wikstrom, Remy Zaugg; with contributions by Eva Schmidt, Horst Griese, Tino Sehgal, Norbert Schwontkowski, Annette Weisser, Marga Baumeister, Georg Mohr, Anna Tuschliung, Mirjam Wagner and many others;
16,5 x 22 cm, 180 pp., ca. 300 col. ill., paperback
ISBN 3-937577-44-0

No Man is an Island – initially, the sayinbg has a ring of self-evidence, perhaps even over-simplyfication; it only becomes complicated when we begin to think about it. It was taken from a text by the seventeenth-century English poet and theologian John Donne in which he elucidates the cohesion of the social community through mutual sympathy.
No Man is an Island was the name of an exhibition – sixteen independent artistic projects – that took place in Bremen in the autumn of 2003. The event articulated the increasing tendency of art in the urban public realm to make use of cooperation and communication – fundamental characteristics of the discourse which creates publicity – as artistic means.

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Boris Groys (ed.)
Privatisierungen
Zeitgenossische Kunst aus Osteuropa

KW Institute for Contemporary Art Berlin (16 May – 26 June 2004): AES & AES+F Group, Svetlana Baskova, Luchezar Boyadijev, Boris Groys/Ilya Kabakov/Pavel Pepperstein, IRWIN, Boris Mikhailov, Tanja Ostojic, Anri Sala, Nedko Solakov, Vadim Zakharov, Artur Zmijewski and maby others; with essays by Boris Groys, Sabine Vogel and Branislav Dimitrijevic (German)
16,5 x 19 cm, 117 pp., 39 ill., paperback
ISBN 3-937577-65-3

The publication documents works by 20 contempory artists from countries such as Albania, Bulgaria, Kasachstan, Poland, Russia, Serbia and the Ukraine. They are shown in an exhibition of the same title, curated by Boris Groys, at the KW Institute for Contemporary Art Berlin.
The works are all based on the artistic practice of appropriation: the artists appropriate what has formerly been an anonymous, collective cultural production imposed by the state in the socialist era. By transforming its forms and principles the artists create their own artistic spaces and identities in search for an adequate treatment of the communist past.
The exhibition is part of the research project “The Post-Communist Condition”, financed by Kulturstiftung des Bundes and situated at the ZKM Karlsruhe.

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Bettina Klein (ed.)
Ce qui reste

Galerie du TNB, Rennes, FRAC Bretagne (4 May – 26 June 2004): Corinna Schnitt, Tue Greenfort, Jonathan Monk, Markus Lohmann, Oystein Aasan, Monika Sosnowska, Herve Beurel,Christine Wurmell, Albrecht Schafer and Manfred Pernice; with essays by Knut Ebeling and Bettina Klein (German/French)
27 x 21 cm, 75 pp., 60 col. ill., paperback
ISBN 3-937577-49-1
Euro 19,00

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Casco Issues, # 8:
Multiplicity

ed. Lisette Smits; with contributions by Arie Altena, Marc Bijl, Peter Bilak, Mercedez Bunz, Yvonne Droge Wendel, Lars Lerup, Miltos Manetas, Kobe Matthys (Agency), Rafael Rozendaal, Hinrich Sachs, Tarik Sadouma and Jaakko van ‘t Spijker (studio Sputnik) (Dutch/ English)
25 x 18,5 cm, 94 pp., 36 ill., stapled
ISBN 3-937577-46-7

“Casco Issues has been drafted around the concept of multiplicity – not so much in terms of quantity, but more as a condition, to denote a special phenomenon that according to urbanist Paul Virilio occurs as an ‘accident of accidents’. New communication technologies have created the possibilty of an accident that is no longer local, but global, and that would occur everywhere at the same time’. New technology, in particular digitalisation, has influenced the design and the appearance of images (objects, information) and at the same time, the way they are produced and distributed. The basic assumption of Multiplicity is that invisible technological processes in particular, dictate our thinking and actions, even though we live in an extremely visually orientated society …” (Lisette Smits)

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Lasso, #1

Halle fur Kunst Luneburg e.V.; with contributions by Stephanie Bunk, Jan Kristian Wiemann, Peter Jap Lim, Florian Waldvogel, Christoph Behnke, Katharina Dohm, Bettina Steinbrugge, Hilmar Schafer, Ludwig Seyfarth, Ines Lechleitner, Anthony Auerbach, Anke Haarmann, Zilla Leutenegger, Dave Allen Raimar Stange and BAK – basis voor actuele kunst (German/Englisch)
21 x 15 cm, 159 pp., 37 ill., paperback
ISBN 3-937577-33-5

“Last year, we invited artists and lecturers to work with us and our audience on the subject of space. The magazine ‘Lasso’ is an addition to the already existing forums of Halle fur Kunst eV. We regard the magazine as an adequate format for further discussing the results, thoughts and questions that came up during the course of the project. (…)
‘Lasso’ brings together artistic projects, reflections on exhibitions, and theoretical thoughts on the subject of ‘space’. In our opinion, ‘making space’ also means opening up spaces for others. We therefore asked the Neue Review’ (Berlin) and BAK – basis voor actuele kunst (Utrecht) to present themselves and their spaces.” (Bettina Steinbrugge & Hilmar Schafer)

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