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Art 39 Publications in Random Order

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Chus Martínez, Ignacio Vidal-Folch, Enrique Vila-Matas y Guillermo Santomà

Cerralbo Santomà

Idioma
Español-English
Formato
240 x 320 mm
Edición limitada / limited edition
500 ejemplares
Diseño gráfico
Raquel Quevedo
PVP
39 € (gastos de envío gratuitos en España)

Me parece muy sugestivo tu propósito de buscar en la abundancia de la casa Cerralbo los errores más interesantes, las incongruencias, lo ausente, precisamente lo que falta. Ese interés lo asocio a un vago y antiguo deseo tuyo de desaparecer. Deseo paradójicamente asociado a tu hiper-presencia: cuanto más desapareces, más estás. El anhelo de la desaparición era una forma tuya de estar, de super-estar… de superstar.

Si en lugar de ir a París, finalmente, al estilo de Herzog, vas caminando al Cerralbo a ver las obras de Santomá, yo te acompañaré, tenlo por seguro. A ti te cae a la vuelta de la esquina. Y a mí más lejos, pero desde mi poblado, puedo llegar a caballo, buscando el ritmo del Jinete de Moreau.

Guillermo Santomà is an artist based in Barcelona. In a few words, he could be described as being interested in how a space is affected by the production of elements vaguely similar to furniture as well as by chromatic interventions. It seems that the force that motivates his interest in the house of the marquis is driven by the question: how does the social space of a reactionary mind look? The question is a sensitive one because we tend to ascribe the practice of art to liberal values, even though there are plenty of historical examples of artists who by no means share such principles. Yet Santomà’s intervention adds another twist: the artist is not only interested in how politics shapes character and how character shapes taste, but also how, then, taste shapes the body. Do ultra-conservatives sit in chairs similar to the liberals’?

I read his insistence on placing his work there as act to study the nature of transformation, of the relation between human agency and power, as well as nature (present in all the materials) and technology (as in all of us in relation to the space and its objects). The different works he decided to introduce in the palace act as the containers of the main problem the house and its past poses to us and our time: the importance of the simultaneous representation of existing and non-existing phenomena. How can art or an artwork sustain a double vision between the tangible and the intangible?

Does anybody know if the toilets at the palace of Cerralbo are gender neutral?

 

Un conjunto de capas y capas de literatura oblicuas y entrelazadas a cargo de Chus Martínez, Ignacio Vidal-Folch, Enrique Vila-Matas así como del propio Guillermo Santomà. Todo ello acompañado de las fotografías de José Hevia y Rafa Castells que documentaron la intervención que tuvo lugar durante 2019 en el Museo Cerralbo de Madrid producida por Side Gallery y Etage Projects.

Carla Cànovas Puigmartí

Y tal.

Impresión
Risografía
Dimensiones
21 x 29,7 cm
Incluye póster
42 x 59,4 mm
Precio
12€
Edición
Do the Print

Los patrones de conducta se perpetúan diluyéndose en diferentes ámbitos sociales. Este ejercicio se fija en como se reproducen los esquemas de comportamiento y praxis en el cristianismo y en el turismo a través de una analogía visual a partir de fotografía de archivo. Planteando una aparente coincidencia, el dialogo que se establece pretende analizar lo intrínseco del vínculo entre estos dos sectores.

NXS WORLD

Viral Bodies – NXS issue #3

Size
34x12 cm
Pages
64
Print
Offset
Binding
Staple Binding
Language
English

NXS issue #3 Viral Bodies investigates the changing concepts of gender and identity norms in the digital space, and open the discussion to many possible speculations and to their real world implications. Kicking off the issue with a starting piece by Reba Maybury, over 20 fellow contributors explore social conventions, share intimate moments and experiences of pain, love, hate and fear. They delve into authenticity in the non-human sphere, they code accidental bigotry on the internet. Science fiction writer Alan Dean Foster blurs the lines of reality, transmitting what is real and what not in a dystopian society. Political art critic Penny Rafferty unravels the minds of tech giants while artistic researcher Addie Wagenknecht questions the diffusing lines between virtual technology and working bodies in reality.

With contributions by:
Reba Maybury (UK)
Dario Alva (ES)
Josefin Arnell (SE)
Jonathan Castro (PE)
Lois Cohen (NL)
Jesse Darling (UK)
Vita Evangelista (BR)
Alan Dean Foster (US)
Gaika (UK)
Jahmal B Golden (US)
Sophie Hardeman (NL)
Manique Hendricks (NL)
Gui Machiavelli (BR)
Mary Maggic (US)
Simone C.Niquille (CH)
Norman Orro (EE)
Clara Pacotte (FR)
Pinar & Viola (NL & FR)
Penny Rafferty (UK)
Addie Wagenknecht (US)
Melek Zertal (DZ)
Lil Miquela (US)
Indiana Roma Voss (NL)

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Nuevos formatos, nuevos imaginarios

Formato
Tapa blanda
Encuadernación
Cosida, lomo visto
Impresión
Offset 2/2 tintas (negro, verde flúor)
Páginas
200
ISBN
978-84-120302-4-2
Colaboraciones
Eyal Weizman, Elii, Helen Hester, Christina Agapakis (Ginkgo Bioworks) + Alexandra Daisy Ginsberg + Sissel Tolaas, Lluís J. Liñán, Davide Tommaso Ferrando, Peio Aguirre + Andrés Carretero, Hito Steyerl, Ryan Scavincky, Elena Castro Córdoba + Laura Tabarés
Edición, traducción y diseño
Antonio Giráldez López y Pablo Ibáñez Ferrera
Fotografías del libro
Laura Tabarés

Nuevos Formatos, Nuevos Imaginarios explora cómo los nuevos procesos, formatos y contextos de producción de conocimiento, arquitecturas, información o verdad, plantean nuevos interrogantes que han de ser abordadas desde las prácticas espaciales críticas. Imágenes pobres, circulacionismo, memes, arquitectura forense, resurrección biológica, arquitecturas del simulacro, xenofeminismo…

Situándose a caballo en un mundo entre lo físico y lo digital, reclaman nuevas estéticas y nuevos imaginarios. ¿Han democratizado el acceso a ciertas discusiones o por el contrario privilegian a unos pocos? ¿Han sido capaces de construir nuevas estéticas a través las cuales interrogar nuevas realidades y conectar con otros receptores? ¿Es posible repensar hasta qué punto los medios y mecanismos utilizados en la actualidad están condicionando nuestras prácticas espaciales? O, pensémoslo al revés, hasta qué punto las nuevas sensibilidades, preocupaciones y agencias arquitectónicas deben encapsularse en formatos superados o requieren de nuevos mecanismos capaces de visibilizar estas nuevas prácticas. 

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NXS WORLD

Algorithmic Anxiety – NXS issue #4

Size
38 x 15 cm
Pages
56
Print
Offset
Binding
Staple Binding
Language
English

NXS #4 Algorithmic Anxiety explores the spectrum of algorithmic authority over our lives (whether perceived or not). The contributors question or reveal the inconspicuous influence of algorithms, in their various forms, on our behavioral patterns, emotions, and self perceptions of our position in the world.

Are algorithms really rational and only virtual? Are they better than we are in drawing up a reflection of ourselves? Can they predict our future selves? The intangibility and unclarity of the effects of algorithms on our lives can lead to the uncanny feeling of a loss of control, a sense of frustration and anxiety. Are we at risk of losing our agency to act and think, of being increasingly controlled and programmed through social credit systems, surveillance, and Big Data rankings? Are we on the path towards digitally structured totalitarianism? Control, as well as influence, over future decisions and actions, are after all the goal of pre-emptive algorithmic systems and forms of government. What does that mean for the conception of the autonomous self?

With contributions by:
Arnar Ásgeirsson
Crosslucid
Julie Czerneda
Simon Denny
Ariana Dongus
Wesley Goatley
Quentin Gomzé
Benjamin Edgar Gott
Normunds Grūzītis
Abby Jame
Gwyneth Jones
Colin Koopman
James Massiah
Vector Newman
Nathalie Nguyen
Sabrina Scott
Nishant Shah
Jaeho Shin
avoidstreet
Viktor Timofeev
Veronika Vidø
Coralie Vogelaar

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Óscar Martínez Martín

C19

cuadernos puré #30
ediciones puré, 2020

C19 es una selección de dibujos que provienen de otros dibujos a través de las páginas de un cuaderno. Una comunidad de líneas.

C19 is a selection of drawings coming from other drawings through the pages of a sketchbook. A community of lines.

 

 

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Emilie Hallard

Les corps incorruptibles

Price
35 euros (shipping fees not included)
Edition
500 copies
Printing
Offset
Cover
Black and white soft cover with sticker
Pages
120
Size
23 x 29,5 cm
Papers
Creative Sand and Coral Book
Design
Silvia Renda / Radial Radiant
Digital Retouching
Rémy Moulin
Translation
Kali Sudhra and Claude Lemaire
Prepress and Printing
Nova Era
Texts
Judith Butler, Antonio Centeno, Virginie Despentes, Jean Kilbourne, Daria Marx, Erin McKean, Elvira Swartch Lorenzo, Nicole Seck and Julie Rambal
Language
English

It’s 2020 and our bodies are still political.

The 21st century still drags on with the same beauty standards of the last century. Those of a young, white, thin, ethereal and heterosexual woman. Beauty, or rather a  woman’s first commercial asset; is a passport to a happy marriage, professional success and social recognition. Both women and men are bombarded with an infinite amount of photoshopped images, which has alienated them and also driven them on a search for ideal beauty. This claustrophobic and impossible standard has only lead us to eternal comparison, frustration and levels of self-hatred. A blinded population starved by its regimes, which becomes terribly tractable and obedient.

Refusing the norm is to choose, as from the vulnerable side as the enthusiastic one, to be incorruptible, faithful to oneself, honest, punk in front of a capitalist system that fathers monstrous children of uniformity and consumerism, all made from the same postcolonial and patriarchal mould.

The artist refused the norm. She cherished and desired bodies of all ages, sizes, genders and colours, with intent to deconstruct beauty standards, beginning a quest for honesty, empowerment, acceptance and self-confidence, while gathering the words of her peers and taking a tender look at them.

These incorruptible bodies are a celebration of the diverse, the unlikely, the ambiguous, the androgynous, the non-obvious and the non-binary.

Les corps incorruptibles is a feminist, queer and anti-racist declaration of love.

 

Pdf de la traducción en castellano de los textos en nuestra web.

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Gabriela Barzaghi De Laurentiis

Louise Bourgeois y modos feministas de crear

Edition
Bia Bittencourt
Translation
John O'Kuinghttons
Cover
Lucas Kroeff
Design
Bia Bittencourt

Cuando parecía difícil, por tanto, decir algo distinto sobre Bourgeois, Gabriela Barzaghi De Laurentiis nos sorprende con un libro poético y original; un libro que se atreve a pensar fuera de los límites del marco establecido. Como esas gatas de Bourgeois que evoca en el último capítulo de su ensayo, Barzaghi De Laurentiis se aventura en un salto interpretativo: frente a una mirada despolitizada que cierra la obra de sentidos posibles, confinándola al estrecho marco hermenéutico de la psicobiografía, la autora nos propone un acercamiento feminista y radicalmente político a la artista franco-americana. No es que con ello quiera ignorar la innegable vertiente autobiográfica del trabajo de Bourgeois: es que entiende la autobiografía en un sentido que va mucho más allá de lo confesional, como un proceso de invención de sí que es también una invención de nuevos e inesperados modelos de lo femenino.

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Mercedes Villalba

Fervent Manifesto

Edición
No Libros
Arte
Theo Firmo
Traducción
Bia Bittencourt
Co-edición
Calipso Press

El “Ferviente Manifiesto” de Mercedes Villalba, define el momento actual como tiempos de resistencia. Villalba utiliza el ejemplo de resistencia de la naturaleza como inspiración para nuestra propia resistencia. Observando la fermentación y los hongos, ejemplos de cómo cada superficie “rebosa de vida y tiempo”, admira la negativa de la naturaleza a quedarse quieta.

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Blank Books

Cover
softcover
Format
14,8 x 21 cm
Pages
18
Binding
staple bound
Printing
digital
Colour
black & white
Editorial
Urbild Editions

Blank Books is a tribute to Ulises Carrión

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Luis Úrculo, Sara Rubinow

8.00 AM / 15.00 PM

Format
20 cm x 14.7 cm
Pages
28 + poster
Printing
Digital
Colour
Black and white
Binding
Stapled
Edition
100 (numbered)

[EN]

8.00 AM / 15.00 PM explores the physical structure of printed matter. The title represents the time difference between Mexico City and Madrid, the two places where the artist lives. Luis Úrculo uses the publication’s construction as a physical manifestation of the temporal divide between the two cities. Objects are bent, mirrored, broken, or otherwise altered by passing through the center of each spread—breaking the illusion of synchronous existence.

[ES]

8.00 AM / 15.00 PM indaga la estructura física del artzine. El título representa la diferencia horaria entre la Ciudad de México y Madrid, los dos lugares donde vive el artista. Luis Úrculo utiliza la propia anatomía de la publicación como una manifestación física de la brecha temporal entre las dos ciudades. Los objetos son doblados, reflejados, rotos, o alterados de modo que al pasar por el centro de 8.00 AM / 15.00 PM se rompa la ilusión de una existencia sincrónica.

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Andy G. Vidal

Noisification: Listening to the abat-voix

Dimensions
11 x 18 cm
Pages
36
Language
English
Edition
28
Cover
Silkscreen on softcover vinyl
Printing
Silkscreen + Digital - B&W
Design
Darío Dezfuli

The vibration-environment is a term that conceives sound as an immersive scenario. In close relationship to this, the abat-voix, as a surface used in churches to direct priests’ voices towards the public to make them distinct, becomes a clear example of sound deployment within a political dimension. Thus, listening to the abat-voix refers to the questioning of the vibration-environment and the questioning of the relationships between noise and the physical and contextual vibrations occupying spaces and bodies.

////////////////////////////////

La vibración-entorno es un término que concibe el sonido como un escenario inmersivo. En estrecha relación, el abat-voix—superficie utilizada en iglesias para dirigir la voz del sacerdote hacia el público y hacerla inteligible—se convierte en ejemplo del despliegue de lo sonoro en su dimensión política.

Así, la escucha del abat-voix hace referencia al cuestionamiento de la vibración-entorno y el cuestionamiento de las relaciones entre ruido y la vibración física y contextual que ocupa espacios y cuerpos.

TAMBOURINE presents

Sistaaz of the Castle

Dimensions
25 x 29cm
Format
Softcover
Pages
152
Edition
First
PVP
23.00€
Publisher
Art Paper Editions
Editors
Gerda van de Glind, Jan Hoek, Duran Lantink & SistaazHood
Designer
Merel van der Berg

Jan Hoek, fashion designer Duran Lantink and trans sex worker organisation SistaazHood present ‘Sistaaz of the Castle’, published by Art Paper Editions, an ongoing project about the colorful looks and lives of transgender sex workers that roam the streets of Cape Town, South Africa.

Most of the girls are homeless, living under a bridge near Cape Town’s castle. The Sistaaz are eager activists, proud to be trans, proud to be a sex worker, and even prouder of their stunning sense of style. And they want it to be acknowledged.

A series of photographs and a fashion collection based on the girls’ appearance and their ability to turn whatever they find into the most exuberant outfits was created. This has already resulted in a fashion show at Amsterdam Fashion Week (a show in Cape Town in still on the wish list) and a photo exhibition in Foam Amsterdam.

TAMBOURINE is an online platform established for the promotion and distribution of the independent magazine scene. Its aim is to decipher the role of printed matter in contemporary culture, as well as provide its readers with the latest magazine releases, connecting the digital community with the highest quality printed matter goods.

 

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Katy Deepwell (ed.)

Feminist Art Activisms and Artivisms

ISBN
978-94-92095-72-5
Pages
448
Format
24 x 16,8 cm (h x w)
Binding
Paperback
Publisher
Valiz, supported by Prins Bernhard Cultuurfonds and Middlesex University London
Series
PLURAL
Editor
Katy Deepwell
Contributors
Linda Aloysius, Marissa Begonia, Sreyashi Tinni Bhattacharyya, Marisa Carnesky, Paula Chambers, Amy Charlesworth, Emma Curd, Katy Deepwell, Tal Dekel, Emma Dick, Lior Elefant, Christine Eyene, Abbe Leigh Fletcher, GraceGraceGrace, Alana Jelinek, Sonja van Kerkhoff, Alexandra Kokoli, Elke Krasny, Loraine Leeson, Laura Malacart, Rosy Martin, Alice Maude-Roxby, Kathleen Mullaniff, Louise O’Hare, Tanja Ostojić, Martina Pachmanová, Gill Park, Pune Parsafar, Roxane Permar, Anne Robinson, Stefanie Seibold, Pam Skelton, Mare Tralla, Christina Vasileiou, Camille Melissa Waring, Michelle Williams Gamaker, Virginia Yiqing Yang
Design
Lotta Lara Schröder

‘Feminisms’ (as a plural) is widely used today to draw attention to inequalities and to critique the status quo in limiting women’s roles/ positions/ lives/ potential. Art can offer a vision of future worlds, manifesting a desire for projecting change, playing with existing realities and conventions. Feminist Art Artivism and Activism, two sides of the same coin, arise where art approaches, develops or transforms into activism and vice versa, where activisms become artivisms. In both, art emerges in differing forms of political intervention, at both an individual, shared or collective level, apparent in actions, events, identifications and practices.

This volume wants to reveal the diversity of these practices and realities. Representing a range of critical insights, perspectives and practices from artists, activists, curators, academics and writers, it explores and reflects on the enormous variety of feminist interventions in the field of contemporary art, social processes, the public sphere and politics. In doing so, Feminist Art Activisms and Artivisms touches upon broader questions of cultural difference, history, class, economic position, ecology, politics, sexual orientation, and the ways in which these intersect.

 

Richly illustrated with c. 300 black and white illustrations and photos.

 

This is the first volume in the new PLURAL series. The series focuses on how the intersections between identity, power, representation and emancipation, play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in the arts and to address the history and present and future meaning of these positions and their interrelations. PLURAL brings together new and critical insights from artists, arts professionals, activists, cultural and social researchers, journalists and theorists.

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Lost Dad presents

Daddy Issues #2 – The Issues With Art Education

Dimensions
14.8 x 21 cm
Edition
50
Pages
64
Language
English
Printing
Digital - Full color
Editors
Daniel Ordoñes Muños & Léo Ravy
Contributors
Anna Laederach, Christopher Lawrence, David Haack Monberg, Jeroen Kortekaas, Jean-François Peschot, Pierre Bujeau, Quentin Dupuy, Rachele Monti, Sara Daniel, Sun Chang, Tom Kemp, Tomasz Skibicki, Walter Götsch
Design
Léo Ravy

“Daddy Issues #2 – This Issues With Art Education” tells the tales of the year of the swan – a group of participants of the Dirty Art Department, a masters program hosted by the Sandberg Instituut in Amsterdam (NL).

As part of our masters program, we left Amsterdam by plane to Bari, and travelled in descending order of technology—by boat from Bari to Patras, by public transport from Patras to Delphi and by foot from Delphi to Athens before settling down for 2 months in the Greek capital.

In this publication, we share collective thoughts about our individual learning experiences as art students, reflecting on course structure, ideology and nomadism and collectivity as pedagogical methods.

////////////////////////////////

“Daddy Issues #2 – This Issues With Art Education” recoge las historias del año del cisne- un grupo de participantes del Dirty Art Department, programa de estudios de máster del Sandberg Instituut en Ámsterdam (NL).

Como parte de este programa dejamos Ámsterdam a bordo de un avión camino a Bari y desde allí seguimos viajando en orden tecnológico descendiente–en barco de Bari a Patras, en transporte público de Patras a Delfos, a pie de Delfos a Atenas –para finalmente asentarnos durante dos meses en la capital griega.

En esta publicación pensamos de manera colectiva en cada una de nuestras experiencias de aprendizaje individuales como estudiantes de arte, reflexionando acerca de la estructura e ideología de nuestros estudios así como en el nomadismo y lo colectivo como métodos pedagógicos.

Sara Kamalvand

The Invisible Monument

ISBN
978-600-5268-42-3
Print-run
Limited edition of 200 numbered copies
Published in
Bon—Gah, 2020
Editing
Sara Kamalvand, Sonia Berger
Printed
Artes Gráficas Palermo
Graphic design
Jaime Narváez (La Troupe)
Pre-press
La Troupe Lab

The Invisible Monument shows the process of an anachronic reading of Tehran using underground layers of an abandoned irrigation network to reveal the capital’s contemporary nature and needs. As a graphic novel, the book retraces the history of Tehran since its Zoroastrian beginnings by shedding light on how an infrastructure has the capacity to shape thoughts and space through time. Out of the necessity to inhabit the desert, an anthropogenic landscape shaped by underground water sources and astronomical cycles gave emergence to the enclosed garden as one of the oldest art forms.

In her projects, Iranian architect and artist Sara Kamalvand addresses issues such as climate change, resource depletion and pollution footprint through heritage, conservation and memory.

 

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@enric.pe

Quarantine T–Shirt

Throughout recent months our realities have changed drastically, with the coronavirus taking centre-stage in the quarantine world tour that has so quickly made its way across the globe.

And with every tour comes its accompanying merchandise (even the uncomfortably apocalyptic science-fiction ones). In the hopes of producing something positive from a situation so negative, and of coming together in times that pull us apart, this t-shirt – now available on @everpresshq – was designed in collaboration with Pedro Mata Nogueira 31,00 €.

Available until May 12

 

 

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Más allá de lo humano

Formato
Tapa blanda
Encuadernación
Cosida lomo viso
Impresión
Offset 1/1 (plata/verde/morado)
Papeles
Offset 80 grs 1.5 Coral Ivory Book (interior) y cartulina metalizada (cubierta)
Páginas
280
ISBN
978-84-09-06950-7
Colaboraciones
Timothy Morton, Gabriel Ruiz-Larrea, Paulo Tavares, Takk + Miguel Mesa del Castillo, Fernando Cremades, Catia Faria, The Extrapolation Factory (Chris Woebken y Elliot P. Montgomery), Husos, Stephen Graham, Institute of Human Obsolescence (Manuel Beltrán) y Victor Muñoz Sanz
Edición, traducción y diseño
Antonio Giráldez López, Pablo Ibáñez Ferrera
Fotografías del libro
Sandra MG

Más allá de lo humano explora discursos y prácticas que desplazan al hombre del centro de la producción espacial y entienden su posición dentro de un sistema global atravesado por múltiples tentáculos. Una realidad habitada por bacterias, animales, residuos, cadenas de bits, órdenes logísticas, hongos, ciborgs, territorios, ecosistema, aires… Un nuevo cuerpo múltiple que será necesario interrogar para entender las realidades espaciales y desvelar las posibilidades arquitectónicas que van más allá de lo humano.

A través de sus páginas, encontraremos aproximaciones que rompen el binomio cultura-naturaleza, propuestas para una nueva geología postnatural, arquitecturas y dispositivos que convocan a animales no-humanos y otros agentes, exploraremos las implicaciones espaciales del antiespecismo, cómo utilizar las realidades biológicas de otras especies para la recuperación de un territorio y descubriremos las nuevas realidades espaciales de la acumulación de datos y de los nuevos entornos automatizados.

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TAMBOURINE presents

Sabat Magazine

Dimensions
20 x 28,5cm
Format
Softcover
Edition
First
PVP
18.00€
Editor
Elizabeth Krohn
Graphic Designer
Cleber Rafael de Campos

SABAT is a three-issue magazine (The Maiden Issue, The Mother Issue & The Crone Issue), fusing witchcraft and feminism, ancient archetypes and instant art to paint a portrait of and offer insight into what the occult means today.

“Satanic feminism, esoteric influences on high fashion and celebrating the darker side of being a woman: just a few things to be spellbound by in biannual magazine Sabat.” – VICE

“Sabat is a wizard of a magazine and it’s such an unexpectedly fantastic concoction. It brings together two interests of mine that I never thought would or could combine; witchy themes found in 90s TV shows like ‘Buffy’ and ‘Charmed’ on the one hand, and crisp design and typography on the other. You wouldn’t expect this combination to work, but it does.” – MAGCULTURE

All three issues available to purchase through our website!

TAMBOURINE is an online platform established for the promotion and distribution of the independent magazine scene. Its aim is to decipher the role of printed matter in contemporary culture, as well as provide its readers with the latest magazine releases, connecting the digital community with the highest quality printed matter goods.

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@enric.pe

Editorial Mark Yareham

Editorial portfolio for the photographer Mark Yareham, which collect, his work from recent years. [210 x 297 mm]. → Contact @enric.pe for buy it.

Do the Print

This is not a copy #8: imprimir/publicar

Impresión:
Risografía
Dimensiones:
12 x 19 cm
Encuadernación:
Grapa
Precio:
2€

This is not a copy se compone de una serie de fanzines donde contenido bebe de diversas fuentes, a veces los autores se diluyen, se mezclan, son generadores de contenido online, traductores automáticos o fragmentos de fragmentos de textos recortados de la red, o no. Cada uno de ellos aborda desde diferentes puntos de vista la forma de aproximarnos y relacionarnos con la idea de libro, el objeto impreso y del hecho en sí de publicar.

Miriam Fernández Lara

La forma del Estado Límite Último

ISBN
978-84-09-17083-8
Binding
Softcover, Wire-O
Pages
166
Format
20 x 14 cm
Print-run
Limited edition of 75 copies
Texts
Miriam Fernández Lara, Iván del Rey de la Torre
Graphic design
Jaime Narváez (La Troupe)
Pre-press
La Troupe Lab
Printed
Artes Gráficas Palermo

La forma del Estado Límite Último [The Form of the Ultimate Limit State] is a publication in which the drawings of shapes created from the laws of effort overlap the images of collapsed bridges. Thus, we can visualize the moment before the catastrophe. The visual forms created from the calculations that condition the design of the structures act as gestures of rehabilitation of those bridges – more ideal than physical – and, like flowers on a tombstone, allow us to look at failure in another way.

Miriam Fernández Lara is an engineer and multidisciplinary artist. Her practice revolves around the concepts of space and time, reflecting on the process and approaching knowledge by questioning the two facets from which she works, art and science.

 

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Andrey Kasay, Mantrasse, Manuel Donada

Stolen Books

THE BEST FROM THE WEST – Andrey Kasay

This is a collection of the best works by Andrey Kasay, a Russian visual artist based in Moscow, by the summer of 2019. His metaphoric, surreal and crazy illustrations and animated videos are based on a satiric look at contemporary society. Since 2010 he took part in various group exhibitions and had solo shows in Europe, Asia, North and South America. He worked with brands like MTV, Nike, Red Bull, CNN, Washington Post, New Yorker, Adidas; and was featured by VICE, WIRED, Juxtapoz and It’s Nice That. 170 x 230 mm, 200 pages Edition of 300 copies ISBN 978-989-54589-1-2 Stolen Books // Published March 2020

THE TREE AS AN ANTENNA TO A SPIRITUAL REVOLUTION – Mantraste

“I wanted to pay homage to all the trees for a long time, so I picked sticks in my village, drew the memories of my childhood by sight and crumpled the paper pulp that shaped the fruits of my spirit. How many have found enlightenment through a tree?” 190 × 250 mm 32 pages 2 color risography printing on Fedrigoni Arena Rough 90g paper. 2 color silkscreen cover printed by Telmo Chaparra (Stolen Prints) on Pop Set Fawn 170g paper. Each copy comes with a 2 color risograph print by the artist, size approx. 300 x 410 mm, printed on Munken Print White 90g. Limited edition of 100 copies, signed and numbered.

SOLIN SALA RA – Manuel Donada

It is not talking about the origin of this book, because this book, infinite, varied, diverse, always similar and always different, perpetual and changing, has existed from all eternity. Nothing has been discovered, everything has been found. But in the heart of this artifact everything changes, everything is transformed, everything evolves. These pages have not existed at any time or any place, the message itself has an origin and the magic emanating from each of its pages can never be trained. At this point, there is nothing to do. It would be lovely to wait for the revolution of an admirable science. This book is dedicated, in part, to all those punks of sectarian mentality and false morals, those who feed the annihilation of the individual and those who are part of a camouflaged class, who die of fear and grief with the idea of being isolated. To all those who do not violently reject the supporters of an absurd and pestilent elite. To the loose dogs of abstract camaraderie that obstructs the spiritual, individual and cosmic revolution. To the victims of the revolution block, accomplices of permanent repression, duck-faced corpses and wild manners, all obstacles of the universal protest. 245 x 310 mm, 96 pages 978-989-54589-2-9 Stolen Books

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Giulia Paradell & Raúl Dávila

BOOKSCAPES

Cover
softcover
Format
21 x 29,7 cm
Pages
56
Binding
saddle stitch
Printing
digital
Colour
black and white
Editorial
Urbild Editions

Based on the cross-over between sound and image, BOOKSCAPES documents a journey across Mexico through a series of short recordings of a blank book made in various locations. The idea of bookscape, formed by the combination of words book and landscape, was born in response to the practice developed by composer Murray Schafer to study the acoustic environment of various contexts (soundscapes). The bookscapes incorporate into the sound recording the visual element of such environment, which is reflected into the blank pages of an open volume.

Through this process, an expanded sense of reading emerges, unsettling the established forms of a practice that usually contemplates the literary and visual material rather than the sonorous component, which in this case becomes a central part of the reading experience, responding to a certain place where the context in which the reader is located provides and creates the narrative.

The blank page is an invitation to listen, rather than to see; it outlines a form of expanded literature where the reader participates as an active listener, in search of a book always open to another time and another space.

→ TAKE PART TO THE CONFINED BOOKSCAPES EDITION

The time and space where we all suddenly found each other is a state of quarantine.The soundscape that surrounds us has changed deeply, and the environment of our lockdown has become our shelter.

For this reason, we would like to create a diverse and collaborative edition for our second volume of BOOKSCAPES, collecting the recordings of what has become the reality of each of you and put it together as a memory of these uncertain times.

If you’d like to be part of it:

Find a sound and visual context of your quarantine that you’d like to share
Take a blank paper or a blank book
Record a one minute length video of it from above
Send it to hola@urbildeditions.com

We will collect the material and weave together the next publication

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Eduardo Sourrouille

Cáscaras

Características
Caja con 39 dípticos color (156 páginas), Offset, 24 x 30.5 x 2 cm, 1.020 gr
Edición
marzo 2019
ISBN
978-84-941867-6-9
Editorial
Belleza Infinita
PVP
42 €

Imágenes sobre imágenes sobre páginas sobre páginas. Retratos, autorretratos. Caras, capas, maquillaje, disfraz. Identidades, personajes entre objetos, fetiches y banderas en decorados en escenarios construidos entre las paredes de casa. El hombre maduro, el patriota, el amante, el artista. Estereotipos. La cultura. Lo que soy, lo que quieren que sea, lo que pienso que piensan los demás, lo que yo pienso de los demás. Lo que deseo. La fantasía, la realidad. Roles, máscaras, cáscaras.

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Sun Chang, Sara Santana López & Felix Navarrete

transcription

Dimensions
12 x 19,5 cm
Edition
30
Language
English
Printing
Silkscreen
IBAN
978-87-971367-2-0
Design
Sara Santana López & Sun Chang

This publication is based on a conversation between Félix Navarrete, Sun Chang and Sara Santana López. While talking, the conversation was visualised in a collective thought mapping centered around the question – “What is the essential feeling of being together?”. Without being comprehensive, we hope for this publication to work as a bridge between us three and those who are reading, so that the conversation we held might keep on growing through your interpretation.

////////////////////////////////

Esta publicación está basada en una conversación que mantuvieron Félix Navarrete, Sun Chang y Sara Santana López. Las reflexiones que surgían mientras hablaban se iban plasmando al mismo tiempo en un mapa visual alrededor de la pregunta “¿Cuál es la esencia del sentimiento colectivo? [¿Cuál es el sentir esencial cuando sentimos estar juntos?] Sin ánimo de ser totalmente comprensibles, esperamos al menos que esta publicación sirva como puente entre nosotros tres y aquellos que nos leen y así, aquella conversación que tuvimos pueda seguir creciendo a través de su interpretación.

Julia Scher

3 Zines: I’ll Be Gentle, No Consent / Delta / Wonderland

Pages
20 p. each
Dimensions
23,5 x 16,5 cm
Process
Offset on pink paper
Binding
Staple bound
Edition
100
Published by
Weinspach, Cologne, April 2019

Developed in collaboration with and dedicated to Julia Scher, the three zines document and deconstruct the artist’s recent solo exhibitions 2018/2019 at Drei, Cologne, Neuer Aachener Kunstverein and Esther Schipper, Berlin

Julia Scher, born 1954, lives and works in Cologne, where she holds a professorship in Multimedia Performance & Surveillant Architectures at the Academy of Media Arts Cologne

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Cristina Garrido

The (Invisible) Art of Documenting Art

Idioma
Español-English
Medidas
225 x 305 mm
Diseño gráfico
Setanta
Edición limitada / limited edition
500 ejemplares
PVP
39 € (gastos de envío gratuitos en España)

Somos espectadores de pantalla. Consumidores virtuales de arte contemporáneo. Visitamos museos, galerías, bienales y ferias sin necesidad de desplazarnos, gracias a profesionales que retratan piezas, exposiciones, instalaciones, performances, incluso arte sonoro. Su mirada se traduce en imágenes que sintetizan y transforman el hecho artístico y que nos abren las puertas a la curiosidad.

Quiénes son estos fotógrafos, qué proceso siguen para crear sus imágenes, cómo consiguen distinguirse en un reino de plataformas de digestión compulsiva de fotografias, por qué en el sistema del arte, siempre preocupado por la autoría, pasan tan desapercibidos que se necesita una lupa para encontrar su firma en los créditos.

La artista CRISTINA GARRIDO ha conversado con ocho de ellos (Roberto Ruiz, Peter Cox, Moritz Bernoully, Carlos Díaz Corona, PJ Rountree, Erika Barahona Ede, Ela Bialkowska y Andrea Rossetti). Esta es la historia -o al menos una de las historias- de la cara B del arte: la (invisible) figura del fotógrafo que documenta arte contemporáneo.

 

We are screen art spectators. Virtual consumers of contemporary art. Visitors to museums, galleries, biennials, and art fairs without having to move from where we are, thanks to professionals who portray artworks, exhibitions, installations, performances, and even sound art. Their ways of looking produce images that synthesize and transform the artworks, opening doors to curiosity.

Who are these photographers? How is the process they follow when creating images? How do they manage to stand out in the era of smartphones and platforms of compulsive consumption of images? Why in the art system, specially concerned about authorship, they are so unnoticed that one needs a magnifying glass to find their name in the credits?

Visual artista CRISTINA GARRIDO went to meet eight of them (Roberto Ruiz, Peter Cox, Moritz Bernoully, Carlos Díaz Corona, PJ Rountree, Erika Barahona Ede, Ela Bialkowska y Andrea Rossetti). This is the story –or at least one of the stories– of art’s B-side: the (invisible) figure of the photographer who documents contemporary art.

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Pepe Medina

Travelling

Title
Travelling
ISBN
978-84-09-13693-3
Depósito Legal
M-27383-2019
Pages
192
Format
Hardcover/ Casebound
Dimensions
21,8 x 14,8 cm.
Edition
300 copies numbered and signed with an original drawing in each cover.
Author
Pepe Medina
Publisher
Pepe Medina
Publication year
2019
Printed in Spain
Gráficas Palermo

Travelling es un libro de dibujos sin palabras. Es un recorrido visual a través de 9 historias encadenadas en las que se hace especial énfasis en la representación del lenguaje y de sus sonidos a partir de elementos gráficos. Y donde también la representación del entorno se convierte en materia prima de los mensajes.

Es un libro en el que el tono y el color de la comunicación son más importantes que lo que se dice.

Y es también un experimento de exploración del lenguaje gráfico. Una búsqueda de una escritura y lectura universales.

Esta edición de 300 ejemplares está numerada y firmada y cada ejemplar tiene una portada con un dibujo original y diferente.

Cada uno de los dibujos de las portadas es lo que llamo sonogramas. Cada sonograma encierra una posibilidad. Puede ser un discurso, o  una voz, o un ruido, o una melodía, o una historia. Y cada lectura es un significado nuevo.


Precio: 40 € / España; 50 € Europa, Canada y Estados Unidos (gastos de envío incluídos)

Para comprar el libro o solicitar un encargo de ilustración puedes ponerte en contacto conmigo en: contacto@pepemedina.net

 

 

 

 

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TXOMIN BADIOLA

MALFORMALISMO

Colección
Letra Caniche
Medidas
138 x 210 mm
Páginas
312 páginas
ISBN
ISBN 978-84-120368-2-4
PVP
18 € (gastos de envío gratuitos en España)
Diseño de portada
Setanta
Diseño interior
Iñaki Rodríguez

El escultor Igan O. ha sido invitado a participar en un debate sobre el formalismo en un museo principal, un desnudarse ante público, colegas y críticos que lo enfrenta a su propia creación, a su práctica y a su historia —la pequeña pero fundamental historia de cada cual—, desde las experiencias preartísticas de la niñez y la adolescencia, cuando surgen las incipientes formas, en intimidad con la familia, la memoria, la identidad y la muerte.

En parte ensayo, ficción y autobiografía, Badiola despliega —ahora dentro del ámbito de la literatura— las maneras fragmentadas, acronológicas y, a la vez, intensas emocionalmente que han caracterizado el funcionamiento de la mala forma practicada a lo largo de los años en su trabajo como artista.

La compleja mirada del creador —interior y sobre su entorno— se sirve de una estrategia que lo oculta y a la vez lo expone: «Me di cuenta enseguida de que no estaba en disposición de mentir en forma de verdad. Pensé que para mí, y puede que para todos, resultara de mayor interés que me histerizase, intentando decir la verdad en forma de mentira».

TXOMIN BADIOLA  (Bilbao, 1957) es un artista de amplia trayectoria en el campo de las artes plásticas. Su obra ha sido objeto de varias retrospectivas, la última en 2016 en el Museo Nacional Centro de Arte Reina Sofía, de Madrid. Ha compaginado su práctica con labores de comisariado y docencia, como las desarrolladas en el centro de arte Arteleku y el programa Primer Proforma, del MUSAC. Es autor de Oteiza. Catálogo razonado de escultura, publicado por la Fundación Museo Oteiza. Esta es su primera novela

<<A Txomin Badiola le pidieron un ensayo sobre las “malas formas”, expresión que se refiere a su manera de hacer arte con materiales heterogéneos que componen una obra que despierta y “agrede” al espectador. Podria haberlo contado con las armas habituales de la teoria. Pero respondió con otra “mala forma”, una narracion compuesta de hilos muy diferentes, con tres protagonistas que se cuestionan a si mismos, que se parecen y no se parecen al artista>>.
Iñaki Esteban, El Correo.
▫️
«Llega Badiola con un libro bajo el brazo en el que ha reunido distintos materiales propios y familiares, como en sus obras plásticas, para crear una ficción ensayística, o un ensayo ficcionado, y autobiográfico».
Paula Achiaga, El Cultural.
▫️
«Badiola considera el trabajo con las formas como núcleo del arte, pero en vez de aceptar las formas dadas, social y politicamente aceptadas, cree que los artistas deben situar su produccion de formas en una linea de transgresión».
José Jiménez, ABC.

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Various

2020* Magazine

Binding
iPad Cover
Size
16x22
Pages
200
Paper
Shiny 115gr
Specials
Invisible Ink + UV Light Pen
PVP
30€ + Shipping
ISSN
2695-6926
Graphic design
Paloma De Casso
Web design
Fernando Espeso
Editor in chief
Adela Rodríguez

2020 Magazine, Issue 0


2020 is an annual magazine that serves as a guide for the year that’s about to start. This, 0, is our first issue. A yearbook made from different perceptions about what’s to come in this year. Taking the idea from the fashion calendar, 12 authors from different branches are presenting their vision about the ideas, images and trends for the year that have been developed from the year before. An exercise about the immediate future from 12 different perspectives, one for each month. Every year, the magazine will be presented in a completely different way, adapting each publication to the moment we’re living and covering a whole decade, from 2020 to 2029.

In this issue:
⌂ Yosi Negrín
∏ Lola Zoido
☼ BoiHugo
♠ Jorge Ariza & Andrea Muniáin
♫ Caesar Arenas
∅ Daniel Jordán Pompa
ℜ Ronni Campana
╬ Geray Mena
¶ Nacho García
Yufei Liu
∑ Sofía Sanz
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Bruno Alonso (urbru)

Buenos hábitos, túneles y cachitos

Buenos hábitos, túneles y cachitos
cuadernos puré #31
Autor: Bruno Alonso (urbru)
ediciones puré, 2020

Buenos hábitos, túneles y cachitos (ES), surge como camino en la búsqueda de una respuesta positiva a los cambios vitales; primero en forma de un texto que inspirará los dibujos del fanzine. En todo el conjunto hay una búsqueda de buenas costumbres, como comer fruta, pasear o amar y toda la cantidad de dificultades absurdas para no conseguirlas.
Aparece la idea de generar túneles para conectar (personas/proyectos/espacios) como mejor hábito que tender puentes, ya que estos atraviesan el territorio, te hacen descomponerlo en cachitos, analizarlo y valorarlo (lo que no significa que tender
puentes sea algo estupendo también). Contiene muchas ganas de construir, dentro de un ciclo constante
de destrucción/creación, con un fuerte peso del tiempo, que a la vez libera. El buen hábito de descomponer las cosas en cachitos para comprenderlas mejor y componer cosas nuevas con esos cachitos. Un reloj de arena lleno de cachitos. Un túnel que se vacía y crece, rellenando un reloj de arena. Todo, como si de un juego se tratara.

Buenos hábitos, túneles y cachitos (Good habits, tunnels and little pieces) (EN), come as a way forward in the
seeking a positive response to vital changes; First in the form of a text that will inspire the drawings of the fanzine.
There is a search for good morals as a whole, such as: eat fruit, walk or love, and all the amount of difficulty absurd, not to pursue them. The idea of creating tunnels to connect (personae/projects/spaces) as a better habit building bridges,
that they cross the territory, they make it impossible for you to do so in achides, analyse and valuate (which does not mean that buliding briges is great too.) It contains a great desire to construct within a constant cycle of destruction/creation, with a heavy duty of time, which is also liberating. A good habit of breaking up things in little parts for a better understanding and creating new ones with them. An hourglass full of little parts. A tunnel which is empty and grows by filling an hourglass. As if everything was a game.

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NXS WORLD

Virtual Vertigo – NXS issue #5

Size
38x15 cm
Pages
56
Print
Offset
Binding
Staple Binding
Language
English

NXS#5 Virtual Vertigo examines the challenges of the digital extension of reality and its shadowy underbelly for the self.

Daily digitally mediated interactions have made human perception more and more relative. Engaging with your friend’s avatar lookalike, FaceTime’s video chat applying its attention correction function, or talking on the phone with eerily human sounding virtual assistants literally make our senses deceive us.

Virtual Vertigo investigates questions such as: what emotional effects might a computer-communicated reality precipitate? How is the user’s behavior influenced after returning to the physical world from those layers of lifelike experience? Which ethical pillars should be kept high? And: are we able to restore our understanding of the structure of reality in a new form of find ways to resist manipulation?

With contributions by:
Manuel Arturo Abreu (DO)
Giusy Amoroso (IT)
Galit Ariel (IL)
Ash Baccus-Clark (US)
Cibelle Cavalli Bastos (BR)
BEA1991 (NL)
Karolien Buurman (NL)
Amber Case (US)
Harriet Davey (UK)
Daphne Dragona (DE/GR)
Mat Dryhurst (UK)
Friederike Hantel (DE)
Holly Herndon (US)
Bailey Keogh (US)
Baptiste Kucharski (FR)
Kim Laughton (UK)
Sean Mahoney (UK)
Shawn Maximo (CA/US)
Florian Mecklenburg (DE)
Katja Novitskova (EE)
Omega.C (DE)
Fr. Bertie Pearson (US)
Douglas Rushkoff (US)
Tamar Shafrir (IL)

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Davit Ruiz

I’m a Landscape Photographer

Páginas
36 páginas
PVP
8 €
Formato
A5 sobre papel mate reciclado, color
Fotografía y edición
Davit Ruiz

“I´m a Landscape Photographer” representa un portfolio de imágenes de paisajes en un momento donde no podemos hacer imágenes de paisajes. ¿Qué es un paisaje? Sobre idílicos escenarios de playas, ríos, valles o volcanes en un videojuego de finales de los dosmil emulado en mi ordenador he dado un paseo virtual por varios lugares de ensueño que nunca podré visitar. Puedes visitar la tienda virtual del autor para comprarlo o mandarle un mail a hola@davitruiz.com.

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Carlos González Boy

Una Noche Integral

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Nieves de la Fuente Gutiérrez

Metal

Pages
16
Dimensions
23,5 x 16,5 cm
Process
Offset, variant covers in Pantone 873 & 875
Binding
Staple bound
Edition
350
Published by
Weinspach, Cologne, April 2017

As an excerpt as well as a continuation of her show “No habrá servicio los domingos ni en el cumpleaños de la Reina Victoria” at the Academy of Media Art Cologne (2016), Nieves de la Fuente Gutiérrez collages landscape photography, mars rover selfies and screenshots of game engine generated images, blurring the distinctions of their physical and digital origins, addressing the materiality of virtuality. Superimposed by text fragments on the anthropology of precious metals and the ethics of terraforming mars, fictional and nonfictional merge into a state of immediate fuzziness, questioning perceptions as well as the possibilities to communicate within contemporary imagery and content.

Nieves de la Fuente Gutiérrez, born 1988, lives and works in Cologne and Madrid.

Do the Print

Cuadernos de Campo

Impresión:
Risografía
Dimensiones:
14,5 x 20,5 cm
Encuadernación:
grapa
Precio:
12€

Cuadernos de campo se compone de tres libretas, un póster y una escultura. Un encontronazo con los códigos que afectan al lenguaje y los cuerpos en los procesos de impresión y repetición de ordenes para la generación de formas y contenidos.

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Iñaki Domingo

Javi

Tamaño
25,5 x 19 cm (natural)
Páginas
32
Impresión
4 colores (UCR)
Encuadernación
Caballete con grapa negra
Autor
Iñaki Domingo
Diseño
Lucas Criado
Preimpresión
La Troupe
Producción
Durero

Javi era yonki, y también una persona amable y delicada. Le conocí hace más de 20 años, al inicio de mi trayectoria como fotógrafo. Generosamente me dejó fotografiarle un día, en un acto íntimo en el que su fragilidad quedaba al descubierto para el resto.

Hace unos meses me topé de nuevo con estas imágenes, y sentí que debía hacer una publicación con ellas; pero ahora mi interés ya no reside tanto en la acción que representan las fotografías, sino en la morfología de los volúmenes y los juegos de luces que las habitan.

Ojalá que Javi disfrute de este pequeño recuerdo, allá donde esté.

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Rosa von Praunheim

Gibt es Sex nach dem Tode?

Publishing house
Prometh Verlag
Edition
First Edition
Binding
Softcover
Pages
Unpaginated, circa 105 pages
Size
30,5 x 21 cm
Images
Black & White photographs
Language
Texts in German
Condition
Used. VG
Video
© Andrea Pazos www.andreapazos.com

Just in case you don’t know him, Rosa von Praunheim (he took the artistic name of the pink triangle that homosexuals had to wear in Nazi concentration camps) is a prolific German film director and gay rights activist, became a cult figure in the early 70s. He was one of the initiators of the homosexual rights movement in Germany and an early advocate of AIDS awareness. A Queer Cinema and films focusing on LGBT+ issues pioneer, but he has been a controversial figure even within and out the gay community too.

And this is the book about his film ‘Death magazine: or how to be a flowerpot’. A film that was accompanied by a major scandal because the productor didn’t want the audience to see it. The film and the book are a documentary about “Death” magazine, founded by “Screw” Magazine founder and publisher Al Goldstein, and its eventual failure. Images about death, the tabooed part of life, like to sex, because we try to ignore both. The book shows living death as an important part of our life.

The photobook ‘Gibt es Sex nach dem Tode?’ Rosa brings death to life: trivial, banal, disrespectful, undignified, serious, sexy, happy and punk. From different supports we can meet face-to-face with the dead and all the clichés of the television and newspeper feature are gathered: interviews, statements, archive material, reportage with accidental deaths, mountains of corps from the concentration camp, executions, impaled heads, traffic fatalities…

A raw and different book with a great use of colour in this collage design!