{"title":"ART HISTORY AND THEORY","description":"","products":[{"product_id":"instructions-istruzioni-anleitung-mode-d-emploi-instrucciones-手順","title":"Instructions \/ Istruzioni \/ Anleitung \/ Mode d’emploi \/ Instrucciones \/ 手順","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published \u003c\/span\u003e\u003cspan\u003eInstructions\u003c\/span\u003e\u003cspan\u003e, an illustrated vademecum explaining how to recreate the paintings on display. By providing step-by-step instructions, Stingel humorously debunked the myth of the genius artist and invited viewers to participate in the creative process. Paintings produced using the technique described in the book were later exhibited alongside mirrored floors, further emphasising his ironic exploration of process, repetition, and the role of the viewer.\u003c\/span\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-8b784fd0-7fff-60bf-b5ee-346ca81ed30f\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801298493779,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Stingel_3473ba85-59f2-4472-bd7e-ac510a81c779.png?v=1789195935"},{"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? 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Accompanied by an interactive platform on Patrick Frey's website\u003c\/span\u003e\u003cspan\u003e, it invites readers to explore the rich history and visual language of these ephemeral objects in greater depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than mere professional identifiers, these calling cards reveal how artists chose to present themselves to the world, offering insights into both their public personas and their distinctive modes of simply “being-in-the-world.” Several facsimile cards are loosely inserted throughout the volume, transforming it into a copious \"oracle\" that traces not only the graphic evolution of artists' calling cards but also, more broadly, the history of art itself, from Francesco Goya to Richard Prince.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057206415699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oracles.png?v=1782055024"},{"product_id":"albert-vs-history","title":"albert vs. history","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived on the occasion of Albert Oehlen’s solo exhibition at Kunsthalle Basel in 1997, this publication enacts Oehlen’s anachronistic dialogue with art history. His work is brought into dialogue with an expansive range of references, spanning Old Masters such as Johannes Vermeer and Pieter Bruegel the Elder to contemporaries including Gerhard Richter and Julian Schnabel. This index of names appears at the end of the publication as well as on the covers, where it is juxtaposed with an illustration of a medieval knight in full armour bearing a lance emblazoned with the initial \"O\". The armour closely resembles those depicted in the 16th-century \u003c\/span\u003e\u003cspan\u003eFreydal\u003c\/span\u003e\u003cspan\u003e tournament book, perhaps suggesting Oehlen’s characteristically understated challenge to the authority of art history. 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The volume brings together more than 100 reproductions of postmodern artworks selected from the institution’s exhibition catalogues.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIts final assemblage evokes the visual language of other periodical projects edited by Cattelan, including “Permanent Food”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eand “Toilet Paper”. Structured as a meta-catalogue—a catalogue of catalogues—the book operates simultaneously as a pantheon of contemporary art and as a fictional museum exhibition transposed into the format of an artist’s book. Through an accumulation of images and references, artists such as Mike Kelley, Cindy Sherman, Nan Goldin, John Baldessari, and Richard Prince are brought into spontaneous dialogues, creating a fragmented, yet well curated, portrait of postmodern art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062196588883,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Lupetto_0.png?v=1782119042"},{"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. 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