Eleven Minus One

Amir Zaki, Eleven Minus One

Amir Zaki, Eleven Minus One
Softcover, 122 pp., offset 4/4, 9 x 9 inches [26 x 36 inches unfolded]
Edition of 500
ISBN 978-0-26172-2-9
Published by LAXART

$75.00 · add to cart

For this project, Amir Zaki carefully reconstructed and reinterpreted, in virtual 3D space, several photographs from a series made in the mid-1980’s by Swiss artist duo Peter Fischli and David Weiss. Their photographs depict precariously balancing temporary sculptures that they intentionally constructed in a slap-dash manner. Their photographs of these sculptures were casually shot in their studio using unprofessional lighting and equipment. Through these photographs of temporary sculptural constructs made of household detritus, Fischli and Weiss subvert the idea of sculpture as a heroic manifestation of a unique and masterfully constructed object. Their work privileges the document over the sculpture, which Zaki interprets as an ironic inverse of the ubiquitous professional photographic documentation of the ‘serious’ sculpture found in so many art books and journals. In Zaki’s adaptation of their work, there is a re-inversion at play as he privileges the sculpture again, but only as a 3D virtual non-object in order to destabilize their relationship. This has manifested as a series of short photorealistic animation loops and a foldout book based on the eleven different ways that a cube can be unfolded. Working with this methodology allowed Zaki to further interrogate the conventions and limitations of photography by exploring depictions of ‘real’ space, but without the restraints of actual physics or forces such as gravity. Zaki is interested in the perversion of using Fischli and Weiss photographs of quickly made, throw-away sculptures as a source to create an incredibly laborious photorealistic virtual 3D scene that can be explored from all angles, both through photographic and orthographic projections. In this project Zaki has also fetishized the sculptures by making them virtual, stylized and idealized. He has resurrected these sculptures and placed them in a world where they need not ever ‘fall’ (fail). In the animations Zaki has created, the sculptures simply spin, teeter or gyrate indefinitely. In the photographs Zaki has rendered for the book, the sculptures hover in a perfect orthographic projection space, surrounded by a black void.

The book is a complex foldout design that is quite difficult to describe in text. It is ten double-sided square pages. Each page spread unfolds into unique configurations of six squares that represent all sides of a cube. The images on each unfolded page spread depict 3D digital recreations of photographs from the series Equilibres by Swiss artist duo Peter Fischli and David Weiss. When fully unfolded, the book opens up to approximately 27 x 36 inches. It is an interactive object, and can be folded and unfolded in multiple ways, creating grids, cubes, and unfolded boxes, each creating a unique experience and juxtaposition of images. It is important to recognize the book in terms of a limited edition or a multiple. It is also more of an object with sculptural qualities and a tactile nature than a ‘book’ in the traditional sense.

Amir Zaki, Eleven Minus One

Amir Zaki, Eleven Minus One

Amir Zaki, Eleven Minus One

Amir Zaki, Eleven Minus One

Amir Zaki, Eleven Minus One

The Line

Saul Steinberg, The Line

Saul Steinberg, The Line
Leporello Foldout, 30 pp., offset 1/1, 195 x 255 mm [5850 x 255 mm unfolded]
Edition of 1000
ISBN 978-3-905714-80-7
Published by Nieves

$24.00 · out of stock

The hallmark of Saul Steinberg’s art is the inked line, always drawn with a spare elegance that expresses the semiotic richness of the line itself. As it shifts meaning from one passage to the next, Steinberg’s line comments on its own transformative nature.

The Line, the original a 10-meter-long drawing with 29 panels that unfold, accordion fashion, is Steinberg’s manifesto about the conceptual possibilities of the line and the artist who gives them life. His drawing hand begins and ends the sequence, as the simple horizontal line that hand creates metamorphoses into, among other things, a water line, laundry line, railroad track, sidewalk, arithmetic division line, or table edge; near the end, the curlicues etched by the iceskater’s blade remind us of the role calligraphy plays in Steinberg’s art.

The Line was designed for the Children’s Labyrinth, a spiraling, trefoil wall structure at 10th Triennial of Milan, a design and architecture fair that opened in August 1954. The drawing, photographically enlarged and incised into the wall, was one of four Steinberg conceptions used on the labyrinth.

Multiples 1982-1997

Martin Kippenberger, Multiples 1982-1997

Martin Kippenberger, Multiples 1982-1997
Softcover, 144 pp., offset 4/4, 215 x 270 mm
Edition of 2000
ISBN 9783883756783
Published by Walther König

$35.00 · out of stock

This latest reference work on Kippenberger catalogues all of the multiples produced between 1982 and 1997, documented by title, year, format, motive, edition, signature, and production. Here you will find many hard-to-describe works, including Mirror Babies, ELITE ‘88, Upside Down And Turning Me, Disco Bombs, and Kippen Seltzer.

Wouldn’t it be nice

Katya Garcia-Anton and Emily King, Wouldn't it be nice

Katya Garcia-Anton and Emily King, Wouldn’t it be nice
Softcover, 300 pp., offset 4/1, 232 x 297 mm
Edition of 2000
ISBN 978-3-905829-24-2
Published by JRP|Ringier

$42.00 · add to cart

Contemporary culture is witnessing one of the most significant shifts of recent times. The old dividing lines between artists and designers appear to be dissolving into one another. Indeed the breadth and range of investigation and inspiration they share is possibly the widest to date. This publication Wouldn’t it be nice hopes to present a series of projects emerging from these lines of dissolution, which reflect the current spirit of cultural production internationally.

The publication includes interviews with Jurgen Bey, Bless, Dexter Sinister, Dunne & Raby and Michael Anastassiades, Alicia Framis, Martino Gamper, Ryan Gander, Martí Guixé, Tobias Rehberger, and Superflex. Fully illustrated, the book presents a number of projects that have been specially commissioned for the exhibition. Quoting the aesthetic of the glossy magazine, the publication is designed by London-based group Graphic Thought Facility, and has attached to each cover a Bless N°14–2000, Shopping Supports Stickerbags self-adhesive purse/multiple.

General Idea, AIDS Stamps

General Idea, AIDS Stamps

General Idea, AIDS Stamps
Perforated paper, offset 3/0, 210 x 255 mm
Edition unknown, unsigned
1988 / 8804
Published by General Idea

out of print

Produced as a insert for Parkett No. 15 (1988, pp. 117-127). The artists also signed and numbered an edition (8805) of 200 off-prints of the AIDS Stamps as a fundraiser for amfAR (American Foundation for AIDS Research).

Performance

Harsh Patel, Performance

Harsh Patel, Performance
Cotton tote bag, screenprint 1/0, 297 × 420 mm
Published by Harsh Patel

$25.00 · add to cart

Made in a small, but unknown, quantity.

First

Harsh Patel, First

Harsh Patel, First
Cotton tote bag, screenprint 1/0, 297 × 420 mm
Published by Harsh Patel

$25.00 · add to cart

Made in a small, but unknown, quantity.

This is Work

Bas Morsch, This is Work

Bas Morsch, This is Work
Softcover, 10 posters/80 pp., offset 4/1, 210 x 297 mm
Edition of 1000
Published by Bas Morsch

$5.00 · add to cart

A compilation of one and a half years of Art & art.

Signature (Poster)

Shannon Ebner, Signature (Poster)
Shannon Ebner, Signature, offset poster, 24 × 36 inches (above: 12 x 18 inches folded)

Shannon Ebner, Signature (Poster)
Poster, perforated, offset 4/1, 6 x 9 inches [24 × 36 inches unfolded]
Edition of 280
Published by Wallspace

$10.00 · out of stock

Shannon Ebner’s work centers on a do-it-yourself alphabet of handmade letters and signs temporarily placed—and strategically displaced—in public contexts. The artist sets language in the service of photography, her cryptic messages captured and fixed in black-and-white photographs. Populating actual yet uncertain landscapes or mise-en-scènes including California real estate sites, the La Brea Tar Pits, and the Washington Monument, these ephemeral signs spell out such darkly ambiguous phrases as “Landscape Incarceration,”
“The Doom,” and “The Day—Sob—Dies.”

—Todd Alden

A La Cach Cachi Porra

Manuel Raeder, A La Cach Cachi Porra

Manuel Raeder, A La Cach Cachi Porra
Softcover, 120 pp., offset 3/1, 17 x 24 cm
agenda/calendar/file folders
Edition of 500
Published by Manuel Raeder

$40.00 · add to cart

A calendar/day-planner for 2009 by graphic designer Manuel Raeder, exploring the possibilities of being a time storage device in a book format. Each copy has a different color scale iris print and every sixth page needs to be torn open by the reader.

Goodbye

Harsh Patel, Goodbye

Harsh Patel, Goodbye
Poster, offset 1/0, 24 x 36 inches
Edition of 250
Published by Harsh Patel

$15.00 · add to cart

Notebook (Yellow)

Vier5, Notebook (Yellow)
Softcover, 24 pp., offset 1/1, 210 x 297 mm
Edition of 500
Published by Vier5

out of print

The work of Vier5 is based on a classical notion of design. Design as the possibility of drafting and creating new, forward-looking images in the field of visual communication.

Notebook (Magenta)

Vier5, Notebook (Magenta)
Softcover, 24 pp., offset 1/1, 210 x 297 mm
Edition of 500
Published by Vier5

out of print

The work of Vier5 is based on a classical notion of design. Design as the possibility of drafting and creating new, forward-looking images in the field of visual communication.