10 NEW TITLES AND A NEW WEBSITE
10 NEW TITLES AND A NEW WEBSITE FROM REVOLVER
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Revolver is pleased to present a new website for 2004, designed by ade hauser lacour and aspekt1, Frankfurt. Comprehensive information on every publication and a comfortable ordering system is now available under www.revolver-books.de
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10 NEW TITLES
by
Pawel Althamer & Artur Zmijewski
Edgard Arceneaux
Heike Baranofsky
Susanne Burner
Andrea Geyer
Danius Kesminas / The Histrionics
Mark Lewis
Marjetica Potrc
Florian Pumhosl
Daniel Roth
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Pawel Althamer & Artur Zmijewski
So genannte Wellen und andere Phanomene des Geistes
Kunstverein fur die Rheinlande und Westfalen, Dusseldorf (14 Sept. – 23 Nov. 2003); with essays by Rita Kersting, Grzegorz Kowalski, Joanna Mytkowska and an interview by Artur Zmijewski and Pawel Althamer (German/English); 26 x 19 cm, 44 pp., 8 ill., stapled
ISBN 3-936919-71-2
For a long time already, the two Polish artists, Pawel Althamer and Artur Zmijewski, planned a joint project which they have finally been able to realize in the Dusseldorf Kunstverein. This project was done in collaboration with the Foundation Foksal Gallery in Warsaw. As he has in his former works, Artur Zmijewski takes the position of an observer working in the field of behavioral research who provokes and studies unusual situations. Four short portrait films show Althamer in different states; the artist is a medium, mediating the intensity of his experiences or sensual perceptions. The artist’s consciousness, extended through travelling, hypnosis and drugs, opens up a different, “alien” view on our direct surroundings. Banal situations are the starting point for a virtual flight into the zones of spirituality and metaphysics.
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Edgard Arceneaux
107th Street Watts
with essays by Charles Gaines, Lynell George and Vincent Johnson (English); 15 x 20 cm, 48 pp., 50 ill., leporello and text booklet in fold-out box
(Special edition abvailable. See Editions.)
ISBN 3-934823-82-3
“107th Street, Watts by Edgar Arceneaux is a conceptual photographic project shot in the dense historic battleground of Watts, California. “Part of the trajectory of the project and the ideas that have led to its genesis and ultimately its fulfillment, include a desire to produce a number of strong visual counter arcs to a relentlessly mediated social space, as well as a desire to ignite a critique of the narrow histories of Los Angeles’ provocative past. Another aspect of the project, that of expanding the traditional subjects of Southern California artistic practices was to photograph an area of the world both known and also viewed globally through a singular event in its history.” In this case it was Watts and the Watts riot of 1965 and this is an excerpt from the essay, Watts at Sunset” by Vincent Johnson for this book project. Simulating the format of mapping the “Sunset Strip” of 1966 by Ed Ruscha, this bookwork formally mimics the Ruscha book by shooting every building on 107th Street (the location of the historic Watts Towers) in a 7-foot photomontage. The book actually has only one page folded into an accordion, allowing the reader to open and pull it completely out for an undisturbed viewing from end to end. Printed in an edition of 1000, the bookwork is enclosed in a small rectangular box and includes 3 essays by writer Lynell George of the Los Angelees Times and artist/writers Charles Gaines and Vincent Johnson in a separate accordion book. The essays act to contextualize the photographs and also attempt to bridge the voice of the virtual non-existence of any writing about Watts not focused on the riots of 1965. The book seems to want to broad the discourse around the photographic history of Los Angles and become a historical record of Watts. In this, it succeeds admirably.” (Umbrella, 12/2003)
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Heike Baranofsky
Kolibri
with essays by Rosetta Brooks, Jeremy Gilbert-Rolfe, Norman Klein, Patti Podesta, Janet Owen, Norbert Zahringer and a conversation by Heike Baranowsky, Jack Goldstein and Rosetta Brooks (German/English); 23 x 16 cm, 96 pp., 50 ill., paperback with dust jacket, 800 copies
(Special edition abvailable. See Editions.)
ISBN 3-936919-06-2
The motifs of Heike Baranowsky’s video pieces are taken from everyday life – a swimmer, a cyclists, a zeppelin or grass – and that’s why they seem familiar to the viewer at first sight. Through cuts and loops, however, one’s perception is disturbed after watching the videos for awhile: the swimmer never takes a breath, the cyclists don’t overtake one another even though they travel at different speeds.
“Heike Baranowsk’ys work is gapped. Her work relies on the relationship of the imagery to vertical seams that fracture conventional illusionism. It seems a simple practice – and Baranowsky is unassuming about its importance – but the simplicity is deceptive. The longer you spend with the work, and the more work you see, the more your conventional expectations develop into increasingly complicated conceptions of time and spatiality. Taken together, Baranowsky’s works are an experimental reformulation of the gap, with each singular work composing a unique perceptual model. It is only through an investigation of multiple works over an extended period that the actual parameters of her practice come into focus.” (Patti Podesta)
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Susanne Burner
Fog Book
ed. Christoph Keller; 20,5 x 15,5 cm, 96 pp., 80 ill., paperback, 500 copies
(Special edition abvailable. See Editions.)
ISBN 3-934823-87-4
If you can’t see anything, you still see something … impenetrable fog, heavy clouds, whirled up dust – white noise as an aesthetic and visual phenomena, examined and archived through a broad collection of found images.
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Andrea Geyer
Vienna Secession (18 Sept. – 16 Nov. 2003), Kunstverein St. Gallen in Katharinen (21 Feb. – 28 March 2004); with essays by Barbara Clausen, Jeff Derksen and Matthias Herrmann (German/English); 16,5 x 22 cm, 80 pp., ca. 8 col. ill., paperback
ISBN 3-936919-57-7
Besides a documentation of the works “Information Upon Request”, “Cambio_de_Lugar_Change_of_Place_Ortswechsel” and “Interim” (2000-2002) Andrea Geyer’s first catalogue presents the complete material of her 2003 piece “Parallax”. Using the USA as an example, “Parallax” discusses (in a complex combination of texts and photographs) the notions of city, nation, nationality and media policy, as factors contributing to the creation of the individual and social sphere of action. In his essay, Jeff Derksen discusses this subject matter in detail. Barbara Clausen examines Andrea Geyer’s artistic strategies in relation to questions of authorship.
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Danius Kesminas/The Histrionics
Never Mind the Pollocks – Here’s the Histrionics
Audio CD; produced by Danius Kesminas, Antonio Milillo and Dave Nelson; with booklet (24 pp.) in jewel box, 1.000 copies
(Special edition abvailable. See Editions.)
RCD 030405.0X
The Histrionic’s line-up of vocals, guitar, bass and drums is modeled on the Australian ‘cover band’ stereotype and sets out to demonstrate how second-hand mediation of international art in Australia can be a productive experience. For this CD, the Histrionics have grafted new lyrics onto faithful renditions of familiar rock/pop classics. Part critical, part ironic, these texts examine serious theoretical issues gripping the visual art world and field of culture at large. These upbeat pop renderings wade through murky political waters, dripping in controversy, innuendo and rumor.
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Mark Lewis
Some Near Distance
Sala de Exposiciones Rekalde Erakustaretoa (10 July – 28 Sept. 2003); with essays by Chus Martinez, Jan Verwoert and Mark Lewis (Euskaraz/Castellano/English); 24 x 17 cm, 95 pp., 34 ill., paperback
ISBN 3-937577-15-7
“What distinguishes Lewis’ films is that they radically redefine the importance of the image we are seeing: it occupies the centre of our attention, of our gaze and, at the same time, provides a magnificent opportunity to explore wider terrain of which it forms only a part-. This fragment then becomes a substantive object for the investigation of the situation it is part of, and of the social and cultural context within which the image falls. The cinematic construction of these films emerges from the camera’s ability to produce a number of points of view, to give shape top what we are seeing through the very personal way the image moulds in with the camera’s perspective and, later, through what happens on the editing desk. The exclusion of sound bears this out.” (Chus Martinez)
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Marjetica Potrc
Next Stop, Kiosk
Moderna galerija Ljubljana (29 Oct. – 30 Nov. 2003); with essays by Zdenka Badovinac, Goran Tomic, Livia Paldi, Hans Ulrich Obrist and Marjeta Portc (English); 24 x 17 cm, 128 pp., 100 col. ill., paperback
ISBN 3-936919-97-6
“This publication is intended not only to accompany Marjetica Potrc’s solo exhibition >Next Stop, Kiosk
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Florian Pumhosl
CENTRAL-Kunstpreis, Kolnischer Kunstverein (11 Oct. – 14 Dec. 2003); with essays by Martin Prinzhorn and Ruth Horak (German/English); 24,5 x 17 cm, 88 pp., 30 ill., hardcover
ISBN 3-936919-95-X
This publication documents Austrian artist Florian Pumhosl’s exhibition at the Cologne Kunstverein on the occasion of the fourth CENTRAL art prize awarded to him in 2002 after former prize winners Rirkrit Tiravanija, Douglas Gordon and Ernesto Neto.
Florian Pumhosl refers to moments of early abstract and documentary image production. He not only transfers their technical and aesthetic aspects into the 21st century, but also transmits the contents of manifestos which came up together with the production of a modern picture language. Abstract films mark an important point within his exhibition. Like no other work of art they give proof of the fundamentally changed concept of the single image and the reproduction of reality.
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Daniel Roth
Glaswaldsee
ed. Christoph Keller; 31 x 23 cm, 104 pp., 80 col. ill., hardcover in box, 500 copies
(Special edition abvailable. See Editions.)
ISBN 3-936919-61-5
“An exciting journey into Daniel Roth’s magnificently drawn underworld … drifting from Black Forest lake, Glaswaldsee, into the realms of Tora Bora, meeting the UNA bombers’ rural hideout and Thoreau’s famous hut, finally ending up in Japanese mysteries. Pencil drawings and color photographs reproduced in five colors and turned into an exclusively produced hardcover book – this publication is a mind-blowing experience!” (Herbert Weihrauch)
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We wish you all a very happy x-mas and a great new year 2004.
