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Wolfgang Tillmans (b 1968) is arguably the most influential artist
and photographer of his generation, widely known for his work in
'i-D', 'The Face' and 'Purple', and for photographing, among
others, Kate Moss, Gilbert and George and John Waters. The first
non-British-born artist to be awarded the Turner prize, Tillmans
has exhibited internationally, with two major museum tours
travelling worldwide over the past ten years and many exhibitions
in some of the finest art institutions. This revised edition is
brought up to date with the inclusion of Tillmans' most recent
work.
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Stano Filko - A Retrospective (Paperback)
Stano Filko; Edited by Sandro Droschl, HALLE FÜR KUNST Steiermark; Text written by Lucia Gregorová Stach, Patrizia Grzonka, …
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R1,041
Discovery Miles 10 410
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Ships in 12 - 17 working days
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Stano Filko is considered as an influential utopian and polyartist,
who understood art and life universally and cosmologically as a
unity beyond geographical attributions of East and West. Filko was
one of the most important representatives of the Central European
neo-avant-gardes, whose work has remained current. Early on, he
designed hybrid objects and environments, extending them into
unfamiliar terrains with his basic conceptual approach. Again and
again, the focus of the work changes: assemblages are followed by
text-based works and performances that attempt to circumvent state
repression, and later by large-scale gestural painting,
characterized by artistic self-assertion, and finally by a final
phase, which he dedicates to his increasingly complex "System SF".
The publication approaches the multi-layered œuvre from various
perspectives and takes a fresh look at this exuberant oeuvre. After
achievements in the 1960s, Stano Filko (1937-2015) became persona
non grata as a result of the Prague Spring, which led to a daring
escape from the "Eastern Bloc", his participation in Documenta, and
him eventually moving to New York. After the fall of the Berlin
Wall, he returned to Bratislava and transformed the studio house
Snezienková into a multi-dimensional, colorful "gesamtkunstwerk".
This first monograph on Phillip Lai (b.1969, Kuala Lumpur,
Malaysia) charts the artist's sculptural development over the
course of the last two decades. From a basement soy-sauce factory
to the Hepworth Prize for Sculpture, the publication surveys
several of the artist's exhibitions across London, Wakefield,
Turin, Berlin and Hong Kong. The nine chapters explore an evolving
oeuvre that finds form in materials like aluminium, pewter,
concrete, resin, rice, cooking pots, textiles and film. It is
through these technologies that Lai broaches the material limits of
the everyday world, often working with casting processes that see
the abstraction and changing stability of materials as they
transition from fluid to solid. What comes into focus is a
fascination with how objects can relieve or modulate primal human
urges to food and water and how, by extension, a material world
might be re-envisioned around concerns of depletion and survival.
This publication includes an essay by critic and writer Jan
Verwoert, with bilingual text in English and Chinese throughout.
Canadian artist Geoffrey Farmer (born 1967) devises collections
that unite aspects of visual art, literature, music, politics and
history, and that eventually culminate in sprawling theatrical
installations. This publication offers detailed insight into the
artist's installation entitled "Let's Make the Water Turn Black."
What do we learn by making art? What do we discover by discussing
our art with other people? These are the questions at the heart of
No New Kind of Duck, which documents an exchange between Jan
Verwoert and artists, critics, and other researchers at the
Graduate School at the Berlin University of the Arts, including
artists Alex Martinis Roe, Jeremiah Day, Azin Feizabadi, Lizza May
David, and Ralf Baecker and composers Nuria Nunez Hierro and Bjorn
Erlach. Creating art and coining the terms to explain and define
one's artistic practice, the contributors find, are two closely
related yet distinct practices. The book begins with an
introduction by Verwoert that discusses the politics of art as a
form of knowledge production. Verwoert's introduction is followed
by contributions that turn the focus on the stakes of an art
practice today. The book also presents a careful selection of art,
in which each piece is presented without accompanying explanations
or justification, highlighting the possibilities for artists to
coin their own terms to describe the concerns of their practice.
Beautifully designed by artist Nienke Terpsma, the book will be an
equally welcome companion for established or aspiring artists.
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