Amir Zaki, Eleven Minus One
Softcover, 122 pp., offset 4/4, 9 x 9 inches [26 x 36 inches unfolded]
Edition of 500
Published by LAXART
$75.00 · add to cart
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.
Anna Sew Hoy
Temporary bookshop and exhibition
July 21 — August 25, 2011
Reception: Thursday, July 21, 6-8pm
Organized by Textfield, Inc.
205 Mulberry St.
New York, NY 10012
In conjunction with the bookshop, which will feature current and archived titles from Textfield Distribution, there will be an exhibition of work by artists that Jonathan Maghen has collaborated with through Textfield to realize various publishing projects. The exhibition will feature the works of Phil Chang, Arthur Ou, Eduardo Sarabia, and Anna Sew Hoy.
The bookshop and exhibition title have been appropriated from the Philippe Parreno work, No More Reality (the demonstration), 1991, which is a four-minute video of children demonstrating, and chanting the slogan and title (“No More Reality”).
Alex Klein, Words Without Pictures
Softcover, 510 pp., offset 1/1, 5.75 x 8.25 inches
Edition of 2000
Published by Aperture/LACMA
$25.00 · add to cart
Zaki’s new work explores structures common to his new locale: lifeguard towers and the Volkswagen Vanagon. The beach-side architectural structures seem to float in the sky, as all access to the towers has been digitally erased. Colors in both the skies and the small buildings themselves have been intensified, adding to sense of the fantastic. Several structures read like military outlooks, all streamlined angularity, while others would not seem out of place at nearby Disneyland. The image of the Vanagon presents this beach mobile as both an emblem of 1960s hippiedom, as well as a smooth-edged visual sculpture. On a biographical note, the two vans represent the vehicle Zaki owned as a younger man, and the replacement he sought out more than a decade later. The two mirrored images look at each other nose to nose, perhaps a portrait of youth staring age in the eye.
Reception: 7 January 2010, 6pm
7 January 2010 — 20 February 2010
James Harris Gallery
312 Second Avenue South