{"title":"1970S","description":"","products":[{"product_id":"an-exorcism","title":"An Exorcism","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePenny Slinger's feminist practice and exploration of feminine sexuality draw upon embodied experience, tantric philosophy, alchemy, psychology and archetypes. From her student years onward, she sought to move beyond the constraints of the male gaze, using collage to investigate and reconfigure the complexities of female subjectivity. As the artist writes in her introduction: “The images and accompanying captions present a record of the unraveling of the Self from dualistic limitations and the projections of others. It sets an example for psychic confrontation and transformation.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this spirit, “An Exorcism” follows a woman's journey of self-discovery through the decaying interiors of Lilford Hall in Northamptonshire, UK. Described by the artist as a “photo-roman,” the work unfolds as a sequence of symbolic passages, exploring desire, identity, and ultimately, liberation. Drawing on references ranging from religion and literature (particularly Georges Bataille) to the I Ching, Surrealism, and cinema (notably the films of Alejandro Jodorowsky and Alain Robbe-Grillet), Slinger constructs a postmodern feminist “bildungsroman” in visual form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross twenty-one chapters, the work interweaves primal fears, myth, ritual, eroticism and “exorcism” to confront patriarchal structures while tracing a movement toward autonomy through a series of psychological and symbolic rites of passage.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":53801311994195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AnExorcism_8a738fd3-dd4d-4383-818e-45cb21aec269.png?v=1781622405"},{"product_id":"ophelia-variacions-sobre-una-imatge","title":"Ophelia (variacions sobre una imatge)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften misrepresented, the figure of Ophelia has been shaped for centuries by a predominantly male critical tradition: artists have portrayed her in romantic abandon (including John Everett Millais, Eugène Delacroix, Thomas Francis Dicksee, John William Waterhouse, and Arthur Hughes), while critics have recast her as a prototype of hysteria. Alongside other feminist reworkings by women artists of her generation—such as Ana Mendieta’s \u003c\/span\u003e\u003cspan\u003eCreek\u003c\/span\u003e\u003cspan\u003e (1974) and Clara Gibson Maxwell’s \u003c\/span\u003e\u003cspan\u003eOphelie Song\u003c\/span\u003e\u003cspan\u003e (1989)—Eugènia Balcells’s revisitation of this Shakespearean figure displaces reductive symbolism and invites a more attentive re-evaluation grounded in a critical interrogation of art history itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHer \u003c\/span\u003e\u003cspan\u003eOphelia\u003c\/span\u003e\u003cspan\u003e project consists of multiple variations derived from a postcard reproduction of Millais’ \u003c\/span\u003e\u003cspan\u003eOphelia \u003c\/span\u003e\u003cspan\u003e(Tate Britain), processed through a Xerox 9200. In total, 1,000 variations were produced. From this corpus, an installation and a publication of 125 copies were realised, each presenting a selection of 37 xerox prints. Within this field of near-infinite repetition, the work opens a set of unresolved questions: “Which one is Ophelia? Are all of them Ophelia? Or perhaps none of them is Ophelia?”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027516117331,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ophelia.png?v=1781769396"},{"product_id":"the-book-of-eighteen-letters","title":"The Book of Eighteen Letters","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJosé Luis Castillejo (1930–2014) occupies a singular position within postwar Spanish experimental art and poetry. His artistic production evolved alongside his diplomatic career. Closely associated with concrete and visual poetry while ultimately moving beyond both, he developed the theory of \u003c\/span\u003e\u003cspan\u003enueva escritura\u003c\/span\u003e\u003cspan\u003e (\"new writing\"), which conceived writing as an autonomous artistic medium. Just as modern painting had abandoned representation and modern music had broken free from traditional harmony and melody, Castillejo sought to liberate writing from its exclusively linguistic function, treating it instead as a visual and conceptual practice.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Book of Eighteen Letters\u003c\/span\u003e\u003cspan\u003e (1972) is among the most important realizations of Castillejo's \u003c\/span\u003e\u003cspan\u003enueva escritura\u003c\/span\u003e\u003cspan\u003e. Published in Madrid by Artes Gráficas Luis Pérez in a limited edition of 350 copies, the artist's book comprises approximately 400 unnumbered pages. Here, Castillejo isolates a selected set of eighteen letters (consonants) from the Spanish alphabet, transforming them into both the material and the subject of the work. Through seriality and the disciplined organization of the page, the letters are stripped of their conventional communicative function and acquire an autonomous visual and conceptual presence. Reading gives way to contemplation as the book unfolds as a field of structure and spatial relationships, where writing is experienced as form and visual order rather than as a vehicle for narrative or semantic meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis copy is marked with the name of the artist and critic Richard C. Kostelanetz, written in pencil, alongside the date 8\/72.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027748409683,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/18letters.png?v=1781772592"},{"product_id":"vita-morte-e-miracoli-dell-architettura","title":"Vita, morte e miracoli dell’architettura","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eActive between 1968 and 1972, Gruppo 9999 was among the most visionary protagonists of the Italian neo-avant-garde, challenging the formal and institutional frameworks that defined architectural practice at the time. Founded by Giorgio Birelli, Carlo Caldini, Paolo Galli, and Fabrizio Fiumi, the group was based in Florence at Space Electronic, an experimental venue near the Santa Maria Novella station that transformed, within the same space, from an architecture school by day into a psychedelic club by night. A laboratory for exchange and experimentation, Space Electronic became the stage for Gruppo 9999’s radical exploration of architecture as a cultural, ecological, and ethical practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their work, the group questioned the mechanisms of mass media, the acceleration of consumer culture, and the conventions of architectural production, proposing instead new forms of spatial and social imagination. Their research contributed to the intellectual climate that would soon be identified by Germano Celant, in 1972, as “radical architecture”: an anti-establishment movement that shifted attention away from the profession of architecture itself and toward a critical investigation of its foundations, possibilities, and limits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1971, this rare volume remains one of the most compelling documents of Gruppo 9999’s visionary universe. Richly illustrated with photographs, photomontages, drawings, and comics, it gathers images of projects, installations, and speculative environments that embody the group’s experimental approach. Produced in collaboration with Superstudio and featuring contributions by Ant Farm, Ugo La Pietra, G. Chiari, Portola Institute, G. Pettena, UFO, and others, the publication served as the general catalogue for \u003c\/span\u003e\u003cspan\u003eCatalog Festival n.1\u003c\/span\u003e\u003cspan\u003e, issued on the occasion of the design event \u003c\/span\u003e\u003cspan\u003eS-Space Mondial Festival N.1\u003c\/span\u003e\u003cspan\u003e, held at Space Electronic in Florence from 9 to 11 November 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication’s pages unfold as a visual manifesto, bringing together alternative modes of representation. This dynamic and technologically charged imagery is set against the unexpected serenity of its bucolic cover, designed by Gruppo 9999, whose title (\u003c\/span\u003e\u003cspan\u003eVita, morte e miracoli dell’architettura\u003c\/span\u003e\u003cspan\u003e) suggests the cyclical, transformative vision of architecture that animated the group’s practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027774656851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/999smaller600.png?v=1781881510"},{"product_id":"sabor-a-mi","title":"Sabor A Mi","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew artists' books have achieved such a disturbing synthesis of poetry and politics as “Saborami.” Created in the aftermath of the September 1973 military coup in Chile, it gathers poems, journal entries, drawings, references to Georges Bataille and Mircea Eliade, insects, dried plants, fragments of cloth, and other found materials into an evocative work in which politics and intimacy become inseparable. The result is a meditation on violence, exile, memory, and survival that lies at the heart of Cecilia Vicuña's practice. Her body of work gives form to the gradual disappearance of Andean knowledge and Indigenous traditions under the pressures of colonialism and modernity. At this threshold, Vicuña's credo takes shape: “Today's task is to arm the minds.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhen Vicuña coined the term \"precarious art\" in the 1960s, she envisaged works fashioned from fragile, ephemeral materials. “Saborami” is among its most compelling realizations. Here, fragility becomes a source of strength, as the provisional and the handmade are transformed into a language of remembrance and resistance. At once militant and ritualistic, the book challenges established histories while affirming the enduring presence of Indigenous memory and culture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublis\u003c\/span\u003e\u003cspan\u003ehed in Devon, England, by the artist-run Beau Geste Press in an edition of just 250 handmade copies, “Saborami” was produced through mimeograph and offset printing, with each copy assembled by hand by the artist. Its modest means of production are inseparable from its meaning: the book itself embodies the precarious aesthetic that has come to define Vicuña's work. This volume remains a landmark in her career and stands among the defining artists' books of twentieth-century Latin America. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029794083155,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Vicuna.png?v=1781781415"},{"product_id":"classifying-the-thousand-longest-rivers-in-the-world","title":"Classifying the Thousand Longest Rivers in the World","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor Hans Ulrich Obrist, \u003c\/span\u003e\u003cspan\u003eClassifying the Thousand Longest Rivers in the World\u003c\/span\u003e\u003cspan\u003e is among the most influential artist’s books ever created: “one of the greatest artist’s books of all time” (\u003c\/span\u003e\u003cspan\u003eTate Etc.\u003c\/span\u003e\u003cspan\u003e, 2012). Invoking Heraclitus’s famous observation — “No man ever steps in the same river twice, for it’s not the same river, and he’s not the same man” — the Swiss curator recalls a reading of Boetti’s work in Turin several years ago, during which he recited every river’s name and length as an act of homage: “I learnt more from Boetti than I had in the previous years of studying,” he adds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCo-authored by Boetti with his wife and collaborator, the writer and art critic Anne-Marie Sauzeau, this 1,016-page volume transforms a systematic index of the world’s longest rivers into an extraordinary meditation on the world and its flowing arteries. Through its rigorous classification, this vast conceptual cartography unfolds, in the end, as a poetic reflection, functioning simultaneously as a catalogue, a prose work, and an extended haiku distilling the ever-changing nature of memory and imagination.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030023983443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Classifying_cover.png?v=1781782426"},{"product_id":"l-a-air","title":"L A AIR","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBruce Nauman’s artist’s books often appear deceptively simple, yet they are meticulously constructed around carefully orchestrated mysteries and ambiguities. As Robert Storr writes in his introduction to Nauman’s 1995 retrospective at the Museum of Modern Art, “at times cryptic, at times funny, and always intellectually and emotionally challenging, Nauman touches the raw nerves of contemporary life while making private feelings and hidden doubt publicly accessible.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Clea Rsky” and “LA Air” are among his most enigmatic publications as they operate less as illustrated books than as conceptual mechanisms. These works are built around fundamental inquiries that reveal the concerns of conceptual art: What constitutes an image? What transforms something into a picture? How much meaning can reside in a title, a color, or the physical structure of a book itself?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften discussed together, \u003c\/span\u003e\u003cspan\u003eClea Rsky\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eLA Air\u003c\/span\u003e\u003cspan\u003e are para-photographic experiments that reconsider the relationship between perception and representation. The images they present are “photographs” of the sky produced without a camera. Each publication consists entirely of printed colored pages that evoke the experience of looking upward while simultaneously revealing the constructed nature of that experience. As Nauman explained in an interview, \"Clear Sky was a way to have a book that had only coloured pages- pictures of the sky. I like the idea that you were looking into an image of the sky, but it is just a page: you're not really looking into anything - you're looking at a flat page. LA Air was the same idea, but it was also a response to Clear Sky using polluted colours instead.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough these works, Nauman transforms the book into a cartography of perception and uncertainty, inviting the viewer to question the fluid boundaries between seeing and believing.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030120649043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LAAIR_6de34c3f-4e83-4fa7-a395-2e9acaf47719.png?v=1782396127"},{"product_id":"this-way-brouwn-25-2-61-26-2-61-zeichnungen-1","title":"This way Brouwn: 25-2-61 \/ 26-2-61,  Zeichnungen 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSoon after arriving in Amsterdam in 1957, Stanley Brouwn became associated with the Dutch Nul group, closely related to the German Zero movement, which sought to establish new relationships between art and reality, before later transitioning to a practice more closely aligned with Fluxus and conceptual art. In this playful exercise and original reimagining of psychogeography, Brouwn collected maps and routes drawn by passersby whom he had asked for directions, then rubber-stamped them “This way brouwn”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived over two days in 1961 but not published until a decade later, “This Way Brouwn” remains one of his most performative artist's books. He literally transformed the everyday act of walking into art, in parallel with contemporaries who likewise adopted walking as an artistic medium, from the Situationists' explorations of psychogeography to Richard Long's “A Line Made by Walking” and Robert Smithson's “A Tour of the Monuments of Passaic,” among others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This Way Brouwn” is a walkscape in its own right, carrying both poetic and political resonance. As Francesco Careri writes in his seminal text Walkscapes: Walking as an Aesthetic Practice: \"\u003c\/span\u003e\u003cspan\u003eYou have to learn how to lose time, not always seeking the shortest route, letting yourself get detoured by events, heading towards more impenetrable paths where it is possible to ‘stumble,’ maybe even to get stuck, talking with the people you meet or knowing how to stop, forgetting that you were supposed to proceed; to know how to achieve unintentional walking, indeterminate walking.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54031039856979,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ThisWayBrouwn.png?v=1781792883"},{"product_id":"i-am-still-alive","title":"I am still alive","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst conceived in 1969 as a series of telegrams sent to curator Michel Claura, \u003c\/span\u003e\u003cspan\u003eI Am Still Alive\u003c\/span\u003e\u003cspan\u003e chronicles On Kawara’s enduring project of marking his presence in the world through succinct declarations of existence. His first telegrams were sent three days apart and carried a nihilistic simplicity: “I am not going to commit suicide don’t worry” (December 5), followed by “I am not going to commit suicide worry” (December 8), and “I am going to sleep forget it” (December 11).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis first recollection, published in 1979, gathers facsimiles of telegrams sent to friends and acquaintances, including many prominent gallerists and curators. Reproduced without additional text, the telegrams are brief, austere, and direct, faithful to the economy of the telegram form itself. Yet, unfolding across time, their accumulation becomes a silent seismograph of the international art world of the 1970s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt once an existential meditation on time and its passing, I AM STILL ALIVE transforms a simple phrase into a conceptual and philosophical statement in its own right.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055575945555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/IamStillAlive.png?v=1782028769"},{"product_id":"evidence","title":"Evidence","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA brilliantly orchestrated sequence of fifty-nine uncaptioned photographs, sourced from American government agencies, educational institutions, and corporations, forms the core of this seminal photobook by Larry Sultan and Mike Mandel. Preceded by a complete list of the contributing institutions and followed by an essay by Robert F. Forth, Dean of the California College of Arts and Crafts, reflecting on the relationship between the circumstantial and the evident, the volume stands as a landmark of paraphotographic and self-reflexive practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConstructed entirely from anonymous documentary images, \u003c\/span\u003e\u003cspan\u003eEvidence\u003c\/span\u003e\u003cspan\u003e generates a non-linear narrative that questions photography's capacity to record and authenticate truth. Each image carries an enigmatic charge, suggesting a \u003c\/span\u003e\u003cspan\u003epunctum \u003c\/span\u003e\u003cspan\u003ethat exists beyond the frame and opening onto a liminal zone between the real, the symbolic, and the imaginary. 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This volume, published by Aktionsraum 1 in Munich (one of the seminal German independent spaces for Conceptual art), distills Brouwn’s exploration of numerical representation to its essential form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe artist travelled to Tatvan, in eastern Turkey, in 1970. Known for being the terminus of an important railway line, the city set on the western \u003c\/span\u003e\u003cspan\u003eshore of Lake Van\u003c\/span\u003e\u003cspan\u003e is particularly scenic. After having photographed the landscape in the direction of the railway's imagined continuation, Brouwn decided to sublimate the imagery with the numerical. The book thus consists solely of a sequence of possible distances, one per page: \u003c\/span\u003e\u003cspan\u003ex – Tatvan 1 km\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003ex – Tatvan 1,000 km\u003c\/span\u003e\u003cspan\u003e; and so on, continuing “ad infinitum” into increasingly large numerical values. The work reduces the idea of place to numerical distance alone, proposing a conception of space that exists independently of visual description or pictorial and geographic representation. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063581954387,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Brouwn.png?v=1782129417"},{"product_id":"week-programma-amsterdam","title":"Week Programma Amsterdam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis cultural information booklet includes a contribution by Stanley Brouwn in the centre spread, featuring a street map of Amsterdam's Kinkerstraat neighbourhood with a printed arrow on Kinkerstraat pointing towards La Paz. A text on the lower right-hand page reads: \u003c\/span\u003e\u003cspan\u003e\"stanley brouwn. la paz. the section of Kinkerstraat between Nassaukade and Bilderdijkstraat points exactly in the direction of La Paz. On 6 December at 10 o'clock, at the above-mentioned location, stanley brouwn will walk 100 steps in the direction of La Paz.\"\u003c\/span\u003e\u003cspan\u003e [loosely translated from Dutch] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLa Paz\u003c\/span\u003e\u003cspan\u003e was both the title of Brouwn's conceptual art exhibition at the Stedelijk Museum Schiedam and of the accompanying publication. The project invited participants to follow directional arrows and walk prescribed distances aligned with cities around the world, transforming orientation and movement into conceptual gestures. Like many of Brouwn's works, this intervention reflects his obsession with numerical and directional systems in place of conventional visual representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eListed in Harry Ruhé's \u003c\/span\u003e\u003cspan\u003eStanley Brouwn: A Chronology\u003c\/span\u003e\u003cspan\u003e, this \u003c\/span\u003e\u003cspan\u003eWeekprogramma\u003c\/span\u003e\u003cspan\u003e leaflet is among the most elusive pieces of Brouwn's printed ephemera.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063953576275,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LaPaz.png?v=1782132290"},{"product_id":"200-fotografias-polaroid","title":"200 Fotografias Polaroid","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063981199699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Bigas.png?v=1782132848"},{"product_id":"criminals","title":"Criminals","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAd Gerritsen (1940–2015) devoted his artistic practice to those on the margins of society, from notorious criminals to vulnerable figures such as traumatised children. Throughout his career, he explored the aesthetics of the grotesque, the abject, and the undesirable, producing works that confront the viewer with unsettling imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis uncommon artist's book is illustrated with photocopied drawings by the artist, occasionally supplemented with handwritten annotations. It presents Gerritsen's idiosyncratic examination of a select group of historical criminals whose deeds marked the collective imagination during the first half of the twentieth century. Rather than offering a documentary account, the publication reflects on the place of violence in cultural memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137274204499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Criminals.png?v=1782736605"},{"product_id":"15-unedited-poems","title":"15 Unedited Poems","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue \u003c\/span\u003e\u003cspan\u003eItalian Visual Poetry \u003c\/span\u003e\u003cspan\u003e(Finch College Museum, New York, 1973):\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications...\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137615024467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/MarioDiacono.png?v=1782741055"},{"product_id":"eterografia","title":"Eterografia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe title in Italian,\u003c\/span\u003e\u003cspan\u003e eterografia\u003c\/span\u003e\u003cspan\u003e derives from the Greek roots \u003c\/span\u003e\u003cspan\u003eheteros\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003eother, different\u003c\/span\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cspan\u003egraphia\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003ewriting, inscription\u003c\/span\u003e\u003cspan\u003e), literally meaning \"other writing\" or \"different writing.\" In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn incisive critique on media manipulation and the instability of meaning, the book reconnects with the “\u003c\/span\u003e\u003cspan\u003eeterografia”\u003c\/span\u003e\u003cspan\u003e explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141177004371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eterografia.png?v=1782808101"},{"product_id":"untitled","title":"[Untitled, feet]","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eUnique artist's book consisting of an original newspaper clipping depicting a close-up photograph of chained feet, accompanied by sixteen successive photocopies of the image. Produced by the Mexican collective Grupo Suma (active 1976–1982), the work illustrates the group's politically engaged conceptual practice, which challenged the commodification of art through inexpensive, reproducible media and interventions rooted in everyday urban life. Emerging in the aftermath of the 1968 student protests and subsequent state repression, Grupo Suma used the visual language of mass media to address issues of political violence, censorship, poverty, and social inequality, positioning artistic production as a form of collective resistance and social activation. This unique copy belonged to Mexican painter René Freire.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141251977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Suma.png?v=1782808495"},{"product_id":"lets-take-back-our-space-female-and-male-body-language-as-a-result-of-patriarchal-structures","title":"‘Let's Take Back our Space’: “Female” and “Male” Body Language as a Result of Patriarchal  Structures","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal artist's book was conceived during the second wave of feminism in the 1970s, a period in which the concept of “\u003c\/span\u003e\u003cspan\u003ebody politics”\u003c\/span\u003e\u003cspan\u003e gained prominence through campaigns against domestic violence and the objectification of women, as well as movements advocating for abortion rights. Marianne Wex's thoughtful visual and textual survey of gendered body language is based on a corpus of more than 5,000 photographs of human gestures, either taken by the artist in Hamburg or collected from a wide range of media between 1974 and 1977, including advertisements, films, news reports, and historical publications. From this initial corpus, Wex selected 2,037 images for publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis ambitious project originated from a personal enquiry into the ways in which patriarchy shapes the behaviour of bodies and their representation in the world. How, and why, are femininity and masculinity embodied differently across social, political, and artistic contexts? The book is carefully structured around themes that continue to resonate in contemporary discussions of gender (and beyond) in both art history and broader social discourse: \u003c\/span\u003e\u003cspan\u003eMan's Struggle Against Womanpower and the Effects Upon Body Language Throughout the Course of History\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eHow the Men of Christianity Took Over an Old Goddess Gesture\u003c\/span\u003e\u003cspan\u003e; and \u003c\/span\u003e\u003cspan\u003eFeminine and Masculine Body Forms in Today's Patriarchy\u003c\/span\u003e\u003cspan\u003e. Wex concludes her iconographic investigation with two empirical accounts: a reflection on her own bodily experience in the world and a personal observational narrative describing bodies and gestures encountered during a train journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs stated on the back cover, the project was first presented in 1977 as a photographic exhibition at the Neue Gesellschaft für Bildende Kunst in Berlin, in conjunction with the exhibition \u003c\/span\u003e\u003cspan\u003eWomen Artists International, 1877–1977\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141754310995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LetsTakeBack.png?v=1782811614"},{"product_id":"untitled-1","title":"[Untitled, Paulo Bruscky]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54142391779667,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Brusky.png?v=1782820065"},{"product_id":"kunst-diebstahl-als-totalkunst-demonstration","title":"kunst-diebstahl als totalkunst-demonstration","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSelf-proclaimed a \"total artist,\" Timm Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confronted the rituals of death. One of these bears the inscription, \"Always remember to forget me.\" Yet Ulrichs is far from forgotten in our artists' books collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGathered by Dutch Fluxus collector Tjeerd Deelstra shortly after Ulrichs’ first “Total Art retrospective”, this scarce and provocative collection of documents and ephemera brings together manifestos, artist's texts and expenses lists. The collection culminates in the extremely rare publication accompanying Ulrichs' notorious \"art theft\" exhibition in 1971, a project documented by Dagmar Voss and broadcast on German television that embodied the artist's conviction that art theft was a logical extension of the readymade. Loosely translated as “Art Theft as a Total Art Demonstration”, this publication documents the theft of Gerhard Altenbourg's “Girl with a Star” (1949) from Galerie Brusberg, its subsequent display by Timm Ulrichs for three days at the Total Art Room Gallery in Hanover, and the artistic and legal repercussions that followed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReinforcing its meditation on mortality, the publication also reproduces an image of a funerary urn inscribed: “TIMM ULRICHS ASCHE VERBRANNTER KUNSTWERKE 1969\/70\"(Ashes of Timm Ulrichs' Burnt Works of Art 1969\/70). The same year, John Baldessari similarly consigned all paintings in his possession dating from 1953–66 to a crematorium, transforming their destruction into the artwork in itself: \u003c\/span\u003e\u003cspan\u003eCremation Project\u003c\/span\u003e\u003cspan\u003e (1970).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUlrichs died in April 2026. In the end, his epitaph was destined to fail. Rather than being \"remembered to forget,\" he is remembered as one of Germany's leading conceptual and action artists.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187852464467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Timm.png?v=1783083492"},{"product_id":"100-this-way-brouwn-problems-for-computer-i-b-m-360-model-95","title":"100 this-way-brouwn-problems for computer I. B. M. 360 model 95","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the earliest artist's books to engage with artificial intelligence, this publication extends stanley brouwn's investigation of measurement. Produced in 1970 with the assistance of an IBM computer, \u003c\/span\u003e\u003cspan\u003e100 this-way-brouwn problems for computer IBM 360 model 95\u003c\/span\u003e\u003cspan\u003e marks a radical development in the artist's exploration of spatial perception, particularly when considered alongside his earlier performative project in Amsterdam, to which the title explicitly refers. In that work, brouwn invited passers-by to draw or describe directions to locations within the city. Whether the response took the form of a sketch or a verbal description, the resulting document was authenticated with the stamp \"This way Brouwn,\" transforming everyday acts of navigation into conceptual artworks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book, by contrast, consists of one hundred problems addressed to the IBM 360 Model 95, including requests such as: \"show brouwn the way in all cities, villages, etc., on earth from point x to all other points in those cities, villages, etc.\" Far exceeding the computational capabilities of the period, these instructions were never intended to produce practical solutions. Instead, they expand the conceptual scope of brouwn's \u003cem\u003eThis Way Brouwn\u003c\/em\u003e project by positioning the computer as a speculative interlocutor. The work thus anticipates later artistic explorations of human–machine dialogue, proposing a mode of inquiry in which the value lies in the question rather than its resolution.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188502876499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/IBM.png?v=1783089223"},{"product_id":"afghanistan-zambia","title":"Afghanistan - Zambia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eStanley Brouwn's conceptual practice revolved around themes of distance, movement, and measurement, using physical mapping to move beyond abstract representation towards radically simple forms of depiction. Published in conjunction with the exhibition held at the Gegenverkehr e. V. Zentrum für aktuelle Kunst in Aachen in May 1971, this volume records the artist's \"total number of steps\" in a series of countries, from \"Afghanistan\" to \"Zambia\", transforming numerical data into a performative act of journaling. Through this deliberate redundancy, Brouwn offers a conceptual and poetic way of representing the world: not through images or maps, but through the thousands of steps he literally took.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54206650024275,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Afghanistan-Zambia.png?v=1783244594"},{"product_id":"collected-works","title":"Collected Works","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207426953555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Hamilton_smallweb.jpg?v=1783253625"},{"product_id":"linguaggio-e-guerra","title":"Linguaggio è guerra","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Linguaggio è guerra” (Language is War) is an artist’s book comprising a selection of photographs sourced by Fabio Mauri from English and German war magazines. Each photograph is stamped with the words “Language is war” and arranged in compositions that deliberately attenuate its emotional charge. Through this process of appropriation and recontextualization, Mauri investigates the ideological uses of language, revealing its capacity to function as a weapon. The artist explains the logic behind his visual semantics in an unpublished typescript, preserved by Studio Fabio Mauri in Rome:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“These are details from war magazines. Stamped, they acquire an added meaning. An act of appropriation takes place. First taken by photographers present at the events, reproduced in contexts of propaganda as partisan communications, then collected in the more neutral form of history, once again removed from their archaeological contexts, cut – that is, edited according to a new thesis – equally divided between the signs of language and the person who bears those signs, and presented anew in sequences that express an interpretive idea in a linguistic mode, the use of photographs only apparently peaceful. Language is War discusses language in a state of war.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince 1975, these photographs have also been presented as a wall-based installation in various exhibitions, extending the work’s investigation of the relationship between image, language and ideological representation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54213817860435,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Linguagio.png?v=1783338349"},{"product_id":"a-prisoner","title":"A Prisoner","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54214116114771,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DieterRothMultiple1.png?v=1783340113"},{"product_id":"untitled-2","title":"[Untitled, wood envelope to Tjeerd Deelstra, Delft]","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAn untreated piece of wood, affixed with postage stamps and mailed directly — no packaging, no envelope — to Fluxus collector Tjeerd Deelstra in Delft, the Netherlands. Deelstra, a professor at Delft University of Technology, ran a major private Fluxus and mail-art archive there, and later collaborated with Friedman to establish Fluxus West Europa. The piece collapses the distinction between artwork, mail, and freight: consistent with Fluxus mail art practice, it treats the postal system itself as an active medium, and an ordinary material as a sufficient vehicle for artistic intent.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54215270629715,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KentoTjeerd1.png?v=1783345818"},{"product_id":"svolgere-la-propria-pelle","title":"Svolgere la propria pelle","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for \u003c\/span\u003e\u003cspan\u003eEven\u003c\/span\u003e\u003cspan\u003e (Spring 2018):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePenone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat same year, Penone carried out a related photographic investigation of his dog, Moretto, in \"\u003c\/span\u003e\u003cspan\u003eSvolgere la propria pelle – Cane\" (To Unroll One’s Skin – Dog)\u003c\/span\u003e\u003cspan\u003e, extending his exploration of the skin as both a boundary and a surface of inscription.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54216391852371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Penone.png?v=1783356711"},{"product_id":"book-17","title":"Book #17","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBorn in 1943 and educated at Princeton and Yale Universities, Aaron Marcus is a graphic artist best known for his computer-science-based design and experimental proto-AI compositions. Combining handwork with coding, he anticipated forms of computer-assisted practice that have since become widespread among contemporary artists and designers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn an interview with Kate Long for the Letterform Archive in San Francisco, Marcus traces the arc of his lifelong fascination with typography:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have been interested in the history and transformation of alphabets since childhood. I recall a full-page table in the Funk and Wagnall’s Encyclopedia that my parents had obtained as a give-away. We couldn’t afford the full set, but I had access to the ‘Aa-Az’ volume. I loved looking at the changes of Egyptian (hieroglyphics to hieratics to demotics), Hebrew, and our own Graeco-Roman alphabet. I learned at an early age to read Hebrew as well as English languages, and later learned enough Greek to read signs in Greece and some Russian signs. As a graphic design student, I was introduced to the formal study of letter shapes, their counters, their contours, their history of transformations, and became fascinated with specific fonts in which I had interest, like Helvetica and Times Roman. Along the way, I designed alphabets based on the circle, and I explored letterforms that had lateral symmetry, like E, B, H, etc. and produced small, short books about them.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is an early graphic experiment. It announces Marcus’s ongoing exploration of scientific chart papers, letterform landscapes, and visual and concrete poetry.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54234439516499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Star_bib.png?v=1783514537"},{"product_id":"parables-on-dropping-out","title":"Parables on Dropping Out","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBorn in 1943 and educated at Princeton and Yale Universities, Aaron Marcus is a graphic artist best known for his computer-science-based design and experimental proto-AI compositions. Combining handwork with coding, he anticipated forms of computer-assisted practice that have since become widespread among contemporary artists and designers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn an interview with Kate Long for the Letterform Archive in San Francisco, Marcus traces the arc of his lifelong fascination with typography:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have been interested in the history and transformation of alphabets since childhood. I recall a full-page table in the Funk and Wagnall’s Encyclopedia that my parents had obtained as a give-away. We couldn’t afford the full set, but I had access to the ‘Aa-Az’ volume. I loved looking at the changes of Egyptian (hieroglyphics to hieratics to demotics), Hebrew, and our own Graeco-Roman alphabet. 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Executed in black and white and uniform in format and dimensions, the portraits depict heads symmetrically oriented towards the centre, forming a visually cohesive, slightly patriarchal, intellectual pantheon: Max Planck, Paul Valéry, Albert Einstein, Giacomo Puccini, José Ortega y Gasset, Gustav Mahler, among many others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRichter first exhibited “48 Portraits” at the 1972 Venice Biennale, where he represented Germany, situating the project within the complex and troubled historical legacy of the Pavilion and its architecture. The installation is now held permanently at Museum Ludwig in Cologne. 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Designed by Gary Krueger, who also took the photographs, this spare artist’s book is characteristic of Ruppersberg’s minimal practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn dialogue with Ruppersberg’s earlier “23 Pieces”, this publication offers a psychogeographical perspective on Los Angeles at a defining moment in the history of Conceptual art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54244968923475,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/24pieces.png?v=1783599649"},{"product_id":"bilder","title":"Bilder","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTogether with Gerhard Richter’s “Atlas”, Hans-Peter Feldmann’s “Bilder” represents one of the most remarkable collections of images organised through affinities since Aby Warburg’s seminal “Mnemosyne Atlas”. An original thinker and iconographer, Feldmann is one of the most influential German conceptual artists of his generation. He regarded both high and vernacular photography as part of a shared democratic cultural heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBeginning in the late 1960s, Feldmann became an avid collector of images and stories, producing a series of artist’s books titled “Bilder” (\u003c\/span\u003e\u003cspan\u003ePictures\u003c\/span\u003e\u003cspan\u003e), which would become a central component of his practice. Today, these works are regarded as “one of the most important bodies of bookworks in the twentieth century” (Martin Parr and Gerry Badger).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe contents of these folders vary. 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