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This unique collection brings together books and publications dedicated to world art, created by leading publishers from various countries. The section includes works in English, French, German, and other languages, covering a wide range of topics: from art history and theory to contemporary trends and cultural phenomena. This collection offers an opportunity to explore an international perspective on art, as well as access the latest research and insights in the field of culture.
Количество изданий в фонде: 128
Hung Wu, Yin Xiuzhen — 2015 (Phaidon Contemporary Artists)
Ведущая женщина-скульптор и деятель современного китайского искусства Инь Сючжэнь (р. 1963, Пекин, Китай) начала свою карьеру в начале 1990-х годов после окончания Столичного педагогического университета в Пекине, где в 1989 году получила степень бакалавра на факультете изобразительных искусств. Наиболее известная своими работами, включающими подержанные предметы, Инь использует свои произведения для изучения современных проблем глобализации и гомогенизации. Используя переработанные материалы, такие как скульптурные документы памяти, она стремится персонализировать объекты и намекать на жизнь конкретных людей, которыми часто пренебрегают в стремлении к чрезмерной урбанизации, быстрому современному развитию и растущей глобальной экономике. Художник объясняет: «В быстро меняющемся Китае «память», кажется, исчезает быстрее, чем все остальное. Вот почему сохранение памяти стало альтернативным образом жизни «.
NSK Embassy Moscow, How the East sees the East, May 10 — June 10, 1992. [каталог] — 2015
A catalogue with numerous articles and images on the a month long live installation with a program of lectures and public discussions, organized by the Irwin group, as a part of Apt-Art International and co-organised by Ridzhina Gallery. Neue Slowenische Kunst or NSK (a German phrase meaning New Slovenian Art), is a controversial political art collective that formed in Slovenia in 1984, when Slovenia was part of Yugoslavia. NSK is a large collective consisting of different groups, such as the music group Laibach (German name for Ljubljana), IRWIN (visual art), Cosmokinetic Theatre Noordung (Scipion Nasice Sisters Theatre and Red Pilot), New Collective Studio (New Collectivism), Retrovision (film and video), and the Department of Pure and Applied Philosophy (theory), sometimes represented by same members.
Dickerman L., Jacob Lawrence: the Migration Series — 2015
В 1941 году Джейкоб Лоуренс, которому тогда было всего двадцать три года, завершил серию из шестидесяти небольших темперных картин с текстовыми подписями о Великом переселении народов. В течение нескольких месяцев после создания, серия «Миграция Лоуренса» была разделена между Музеем современного искусства (панели с четными номерами) и Мемориальной галереей Филлипса (панели с нечетными номерами). С тех пор эта работа стала вехой в истории афроамериканского искусства, памятником в коллекциях обоих учреждений и важнейшим примером того, как историческая живопись была радикально переосмыслена в современную эпоху. В 2015 и 2016 годах, приуроченные к столетию начала Великого переселения народов (1915—16), панели воссоединятся на выставках в Музее современного искусства, а затем в коллекции Филлипса. Издано для сопровождения выставки. Эта публикация основывает серию «Миграция Лоуренса» на культурных и политических дебатах, которые сформировали творчество молодого художника, и подчеркивает, что серия продолжает вызывать резонанс у художников и писателей, работающих сегодня. Эссе Лии Дикерман связывает сериал с бурными современными дискуссиями о роли художников как социального агента; растущий императив писать и придавать образ истории чернокожих в конце 1930-х — начале 1940-х годов; и зарождающееся чувство активной политики. Эльза Смитгалл прослеживает выставочную историю панно «Миграция» от их показа в галерее Даунтаун в Нью-Йорке в 1941 году до их приобретения МоМА и коллекцией Филлипса годом позже. Короткие комментарии к каждой панели исследуют карьеру Лоуренса и его технику рисования, а также аспекты социальной истории Великого переселения народов, изображенные на его изображениях. В каталоге также представлены десять стихотворений, написанных по заказу известных поэтов в ответ на серию «Миграция». Элизабет Александр (удостоенная звания поэта на первой инаугурации президента Обамы) представляет поэтический проект с обсуждением поэтического качества творчества Лоуренса, а также влияния и наследия поэтов на его орбите, включая Клода Маккея и Лэнгстона Хьюза.
Irina Nakhova: The Green Pavilion. [catalog exhibition]. Russian Pavilion 56th International Art Exhibition — Venice Biennale 2015 — 2015
В павильоне России на 56-й Венецианской биеннале представлен инсталляционный проект Ирины Наховой «Зеленый павильон». Ее творчество стало важным вкладом в развитие московского концептуализма: уже в 70-е годы прошлого столетия (И. Нахова родилась в 1955 году) она привнесла в типичную для него «логоцентрическую» модель зрения свою визуальную энергию и критическую ноту
Obrist H.U., Art Basel. Year 44 — 2014
In celebration of Art Basel’s 44th year-the first to include three exhibitions on three continents--JRP-Ringier joins Art Basel in publishing a new book documenting the dynamic experience of its Basel, Miami Beach and Hong Kong fairs. «Art Basel — Year 44,» designed by Gavillet & Rust (Geneva), has an A-to-Z format that maps the world of Art Basel with a comprehensive look at the shows of 2013. This elegant, hardcover publication offers the widening audience of art lovers a compilation of portfolios, interviews and essays on contemporary art, and lists all exhibitors participating in the three exhibitions. It depicts works from the different shows' sectors, highlights events and talks, and gives art world experts, curators and collectors a platform for sharing their expertise, providing an immersive art experience for the reader. Among the authors and artists featured are John M. Armleder, Nicholas Baume, Harry Bellet, Dara Birnbaum, Florence Derieux, Herzog & de Meuron, Gianni Jetzer, Tadashi Kawamata, Arto Lindsay, Malcolm McLaren, Elaine Ng, Hans Ulrich Obrist, Mickalene Thomas and Adrian Wong, as well as many others whose work contributed to the exhibitions on all three continents. An extensive survey, a path to discovery and an indispensable piece of memorabilia, «Art Basel — Year 44» will no doubt be a favorite addition to the library of essential art books for the expanding global art world community
Andrey Grositsky. Matter und metrialien — 2013
Andrey Grositsky—s exhibition at the pop/off/art Gallery in Berlin — is the first solo European project of one of the best-known representatives of contemporary Russian art of the older, post-war generation. Andrey Grositsky (b. 1934) — one of the reformers of pictorial language, is an artist who in his work has dealt with the issues of the painting after the radical changes in the latter—s language in the 1960s. In the USSR his work developed within the sphere of unofficial art, which was prohibited for public display, along with such figures as Erik Bulatov, Ivan Chuikov, Viktor Pivovarov, Dmitri Prigov and other leading names of Russian art of the second half of the 20th century — beginning of the 21st century. Russian museums had already begun buying Grositsky—s works in the Perestroika era, and his retrospective exhibition was held in 2007 at the State Tretyakov Gallery. Выставка Андрея Гросицкого в берлинской галерее pop/off/art — первый сольный европейский проект одного из самых известных представителей современного российского искусства старшего, послевоенного поколения. Андрей Гросицкий (р. 1934) — один из реформаторов живописного языка, художник, в своем творчестве обратившийся к проблемам живописи после радикальных изменений в ее языке в 1960-е годы. В СССР его творчество развивалось в сфере неофициального искусства, запрещенного к публичному показу, наряду с такими деятелями, как Эрик Булатов, Иван Чуйков, Виктор Пивоваров, Дмитрий Пригов и другими ведущими именами русского искусства второй половины XX века — начала XXI века. Российские музеи начали закупать работы Гросицкого еще в эпоху перестройки, а его ретроспективная выставка прошла в 2007 году в Государственной Третьяковской галерее.
L—Internationale. Post-War avant-gardes between 1957 and 1986 — 2013
Taking as its starting point these five museums and their respective collections, —L—Internationale—Post-War avant-gardes Between 1957 and 1986— presents a wide range of case studies, historiographical and theoretical essays that reconsider a period in art history that, according to the established canon, has been almost exclusively dominated by Western Europe and North America. In questioning this canon the publication works to acknowledge the existence of and to explore a dispersed, multi-polar, and at times interconnected neo-avant-gardist field that existed (long) before it became common to think according to frameworks of globalization or trans-nationalism. In the process, this collection of compelling contributions puts many a central question on the table: To what extent has a common international language existed in art over these three decades, while at the same time local terminologies and approaches might have differed significantly? How were such dispersed forms of knowledge and experience situated in their respective social contexts? What parallels of artistic method appeared across different regions, even continents? Finally, can such local narratives be brought together in a new —rhizomatic— way, one that works to reshape our ideas of trans-localism and internationalism? With essays by Inke Arns, Zdenka Badovinac, Bart de Baere, Charles Esche, Christian H¦ller, Bartomeu Mari, Viktor Misiano, Piotr Piotrowski, Georg Sch¦llhammer and Steven ten Thije among others.
5th Moscow Biennale of Contemporary Art, More Light — 2013
More Light gathers the works of over seventy international artists represented at this year—s 5th Moscow Biennale of Contemporary Art. Curated by Catherine de Zegher in close collaboration with Joseph Backstein and today—s protagonists in contemporary Russian art, this edition of the Moscow Biennale draws in large parts on Kasimir Malevich—s opera Victory of the Sun premiered in 1913 at the Luna Park in Saint Petersburg
Urs Fischer. 2000 words — 2013
Швейцарский художник Урс Фишер наиболее известен своим драматическим преображением выставочного пространства, а также неожиданными преобразованиями повседневных предметов. Предлагая широкие жесты с попсовым отношением, художник работает в различных медиа, которые основаны на скульптуре, несмотря на то, что художник обучался как фотограф, чтобы исследовать пересечение искусства и повседневной жизни. Часть новогоСерия 2000 слов, задуманная и заказанная Массимилиано Джони и опубликованная Фондом Десте, эта красочная монография с эссе Джессики Морган представляет широкий спектр работ Урса Фишера в коллекции Дакиса Джоанну.
Russian Artists at the Venice Biennale, 1895—2013 — 2013
In 2014 the Russian Pavilion at the Venice Biennale will celebrate its 100th anniversary. As the anniversary year approaches, Stella Art Foundation with the support of the Banca Intesa is presenting a book dedicated to the history of the Russian Pavilion and of Russian involvement in the Venice Biennale. The book is the first-ever attempt to fully analyse and understand the historical and cultural contribution made by Russian artists to the world—s greatest art event, from 1895 to 2013
Vadim Zakharov. Dana›. [catalog exhibition] — 2013
Vadim Zakharov, an exponent of the Moscow conceptualists, has staged a performance in five acts for the Biennale at the Russian pavilion in the Giardini — curated by Udo Kittelman and under the supervision of commissioner Stella Kesaeva. The starting point and formal 'pretext' for Zakharov—s work is the Greek myth of Dana›, the inspiration behind numerous existing works of art—such as one by Titian painted in 1553 or another by Rembrandt, ainted between 1636 and 1647 and vandalised in 1985 at the Hermitage-revolving around the themes of power and destiny. Nothing could be done by King Acrisius of Argos against the prophesy of his death, the work of his grandson Perseus. He tried to fight against it by locking his daughter Dana› in a bronze tower (or cave) but Zeus visits her in the form of golden rain and impregnates her. Mother and son also survive being abandoned by Acrisius at sea, locked inside a wooden box
Der Klare Blick. Zeitgen¦ssische Photography from Eastern Europe. The straight look. contemporary photography from Eastern Europe — 2012
Каталог выставки «Straight Look. Contemporary Photography from Eastern Europe», прошедшей филиале галереи pop/off/art в Берлине в 2012—2013. Куратор выставки Сергей Попов. Художники: Danny Croucher, Vita Buivid, Natasha Shulte, Nikolay Bakharev, Anna Skladmann, Olga Chernysheva, Sergey Chilikov, Vladimir Kupriyanov, Anastasia Khoroshilova, Sergey Bratkov, Gregori Maiofis, Sigrid Viir
Groys B., Moscow Symposium: Conceptualism Revisited — 2012 (E-flux journal)
Publication based on the conference —Revisiting Conceptual Art: The Russian Case in an International Context,' which took place in Moscow in April 2011, organized by Boris Groys and Stella Art Foundation. Boris Groys is an art critic, media theorist, and philosopher. He is Global Distinguished Professor of Russian and Slavic Studies at New York University and Professor of Philosophy at the European Graduate School in Saas-Fee, Switzerland. He is the author of Art Power, History Becomes Form: Moscow Conceptualism (both published by the MIT Press), and other books. Beyond the view that multiple, globally dispersed conceptual art practices provide a heterogeneity of cultural references, Andrei Monastyrski and Collective Actions propose much more: other dimensions altogether, other spatiotemporal politics, other timescales, other understandings of matter, other forms of life--not only as works, but as a basic condition for being able to perceive artworks in the first place. Could it be that the Moscow Conceptualists were so elusive or saturated with the particularities of life in a specific economic and intellectual culture that they precluded integration into a broader art historical narrative? If so, then their simultaneously modest and radical approach to form may present a key to understanding the resilience and flexibility of a more general sphere of global conceptualisms that anticipate, surpass, or even bend around their purported origins in canonical European and American regimes of representation, as well as what we currently understand to be the horizon of artistic practice.
Galindo M., Signage Design — 2012
Since signage systems are created to provide orientation, they must be universally legible and understood by people of all ages and culture. Signs must show the way, and also present the proper information at the proper location. By making effective use of graphics, colors and shapes, a signage system helps to create an identity for spaces. Signage Designs showcases a great variety of current examples from across the world, indoor and outdoor, ranging from individual buildings like museums, hospitals and stadiums, to larger contexts like subway systems, town districts or entire cities. This title is an essential reference for designers involved in communications, architects, interior designers and indeed for creative persons in all sectors.
Storr R., September: A History Painting by Gerhard Richter — 2011
Gerhard Richter is one of the most influential artists of modern times. His painting «September» is a response to the bombing of the World Trade Center on September 11, 2001, made some four years after the event. The eminent American critic and curator Robert Storr, who has had a long working relationship with Richter, explores both the painting and the event itself, through a very personal account of his experience of being in New York on the day of the bombing. Storr shows, through words, details and comparative illustrations, how this painting is part of a current running throughout Richter’s career that responds to traumatic and controversial events, including works based on the bombing of cities in World War II and the capture of the Baader-Meinhof terrorist group. It comes with a foreword by Sir Brian Urquhart.