Like the name of this artists’ collective, G.R.A.M. is unideological and denotes a brand rather than the people behind it, which leads to a dissolution of authorship as it is traditionally understood. G.R.A.M. often work with others and outsource the production process, hence their involvement is limited to the concept. Collaborations with other artists from a variety of disciplines also emphasize this idea of extended authorship. During a six-month stay in Los Angeles in 1997, the artists engaged in an in-depth exploration of photography, video, and film media. Using paparazzi photography as a model, G.R.A.M. began a fundamental critique of visual culture as a whole. The appropriation of this particular form of image production and the restaging of specific themes drawn from the mass media led them into a sphere of enormous interest in the art world today. As Peter Weibel wrote in the 2002 G.R.A.M. catalogue wiener blut—nach motiven von…: “the paradox is accomplished: by means of photographic reappropriation with the aid of other actors, the action plunges back into the sphere of performance and is delivered from the dictates of photography.” G.R.A.M. Reenactements 1998–2011 is the first extensive survey of G.R.A.M.’s work. With an introduction by one of the most renowned German art and culture theorists, Wolfgang Ullrich, this publication constitutes a critique of the narrative image.
144pp./ 0x0cm./ 208il./ Hardcover
ISBN:
| 9788434312944 | bilingual |
35.00€
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For decades, José Luis Pérez Ocaña has been completely ignored by historians of Spanish art. Featured more in newspapers in his day than in art galleries and journals, Ocaña is today being revived as a queer artist, though this might be regarded as an act that dislocates him from his own times, imposing on him genealogies and notions that do not reveal but rather mask the contexts in which thinking, art and politics developed in the post-Franco years, as well as the counterculture of this period.
When Andy Warhol was elevated in 1989, two years after his death, to the status of one of the most iconic artists of American art by the Museum of Modern Art, Douglas Crimp forced art historians to consider cultural and queer studies by pondering on the issue of “Getting the Warhol We Deserve”. Today we might ask: who is the Ocaña we deserve?
This monograph is the first ever comprehensive study on Ocaña. As pointed out by Pedro G. Romero, who is responsible for the publication, it is also an attempt to “resituate some behavior that is all too often excluded from the realm of art, appearing as a mere fact of society and culture.”
480pp./ 0x0cm./ 318il./ paperback
ISBN:
| 9788434312999 | quadrilingual |
39.00€
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With a long teaching career at the University of Salamanca, Spanish artist Fernando Sinaga (Zaragoza, 1951) is, at once, one of the sculptors with more solid career in the field of European creation in recent decades.
Facing the "serialization" and asepsis of minimal movement, his work takes a position that could be described as naturalistic in the sense that by suitable supports minimum and counterpoints about complex processes trigger irreversible perceptive concatenation. Nothing is left to chance, but infinitesimal interdepen-dence typical of natural processes. Thus, in the work of Sinaga, interactive openness to the audience is combined with naturalistic tone triggers small variations, to form a clear interior landscaping, in partnership with the architecture, which often colour not only activates composition, but the open planes defined from the set of correspondences between the spaces and forms.
This book, entitled Ideas K, contains the symbolic imagery, geometric, optical, material and colour that underlies the work of artist since The German Breakfast (1984) to his most recent work. Ideas K pursues ideas to highlight both the specificity and experimental in the work of Sinaga through the strong management of connections and links in their work over the last three decades.
96pp./ 24x17cm./ 154il./ Hardback
ISBN:
| 9788434312234 | bilingual |
35.00€
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