{"title":"COLLECTION","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA collection of artists' books \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003espanning the 1950s to the present.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"shashin-tokkyubin-tokyo-photo-mail-tokyo","title":"Shashin Tokkyubin Tokyo (Photo-mail Tokyo)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReminiscent of the \u003c\/span\u003e\u003cspan\u003eProvoke\u003c\/span\u003e\u003cspan\u003e aesthetic in its grainy and experimental sensibility, this almost oneiric documentation of Shinjuku's nightlife alternates black-and-white photographs with exuberant bursts of colour, capturing one of Tokyo's most glamorous and enigmatic districts. A student of Daido Moriyama at Workshop (1974–1976), Kitajima emerged as one of the defining figures in Japanese street photography of the 1970s and 1980s. His visual narrative is syncopated like a free jazz suite, its rhythm shaped by nocturnal characters who appear less as flesh-and-blood people than as fleeting epiphanies. Provocative and untamed, his photographs render visible the city's underground worlds—the hedonistic, the decadent, and the neon-lit. Moriyama himself praised Kitajima's extraordinary instinct as a photographer, calling him a street killer in broad daylight.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679715156307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Kitajima.png?v=1778104566"},{"product_id":"war-primer-2","title":"War Primer 2","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the defining artist's books of the twenty-first century, \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e sees Adam Broomberg and Oliver Chanarin revisit Bertolt Brecht's landmark \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e (1955) for the age of digital media. Brecht's original paired press photographs from the Second World War with sharp four-line poems, revealing how images shape public understanding of war and teaching readers to look beyond their apparent documentary truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than simply updating Brecht's project, Broomberg and Chanarin shift their focus to the so-called \"War on Terror.\" They overlay the pages of \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e with photographs and video stills drawn from the internet (produced by soldiers, journalists, propagandists, and civilians) to create a dialogue between two eras of conflict. Images of the Twin Towers attacks, the execution of Saddam Hussein, and the presidency of George W. Bush intersect with Brecht's poems and wartime photographs, revealing enduring patterns in the circulation and political use of violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoth books question the authority of photographic images. If Brecht saw the press photograph as something to be deciphered, \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e asks what happens when images (instantly shared and endlessly reproduced) shape history as much as they record it. First published in 2011, the work remains a compelling reflection on the power of images in an age of digital media, misinformation, and fake news.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679744745811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/WarPrimer.png?v=1781706729"},{"product_id":"que-calor-ii-25-2-53-carteles","title":"Que calor II: 25-2-53. Carteles","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is not only an exhibition catalogue for the solo show at the Museo de Arte Contemporáneo de Sevilla, gathering Kippenberger’s posters up to 1983, but also a double act of appropriation at its most incisive: of his own catalogue raisonné published the same year by Walther König, and of Stanley Brouwn’s seminal artist’s book cover “This Way Brouwn”, issued by the same  König in 1971. Whereas Brouwn’s cover records the dates of his two-day performative intervention in Amsterdam, Kippenberger replaces them with his own birth date, rendered in the same concise format: 25.2.53. This double appropriation encapsulates his characteristic practice of recontextualizing his own work while paying homage to an important artistic precedent.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53681143513427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/QueCalorII.png?v=1778110020"},{"product_id":"heavy-burschi","title":"Heavy Burschi","description":"\u003cp dir=\"ltr\"\u003e\u003cem\u003eHeavy Burschi\u003c\/em\u003e\u003cspan\u003e (\"Heavy Guy\" or \"Heavy Lad\") is one of Martin Kippenberger's most disruptive bodies of work, developed between 1989 and 1990. It was first presented as an installation at the Kölnischer Kunstverein, Cologne (10 November–22 December 1991), comprising a large metal refuse container filled with destroyed paintings, accompanied by thirty-three framed colour photographs documenting their destruction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work's origin, however, is more complex than the installation itself, evoking Kippenberger's interest in self-mythology and institutional critique. The discarded paintings were not originals but copies of Kippenberger's own works, executed by his assistant (Merlin Carpenter) at the artist's request. Judged by Kippenberger to be \"too well done\", the canvases were slashed, dismantled, and thrown into the refuse container, but only after being meticulously photographed. The resulting installation is a complex gesture of vandalism in which originality and authorship are simultaneously negated and reaffirmed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication accompanying the exhibition concludes with a reproduction of Kristine McKenna's critical review of Kippenberger's previous exhibition at Luhring Augustine Hetzler Gallery in Santa Monica, originally published in the \u003c\/span\u003e\u003cspan\u003eLos Angeles Reader\u003c\/span\u003e\u003cspan\u003e. While dismissing the paintings as derivative and insufficiently considered, McKenna nevertheless acknowledged the artist's riotous attempt:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"A social critic who transforms the trash of a corrupted culture into ironic commentary on the personality crisis of the human race, Kippenberger isn't venturing on any new turf in pointing out our collective failures as a society; beneath its veneer of flashy provocation, his work isn't terribly original and is often poorly thought out.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than any of Kippenberger's projects, \u003c\/span\u003e\u003cem\u003eHeavy Burschi\u003c\/em\u003e\u003cspan\u003e reveals the artist simultaneously embracing and undermining the logic of the art market. Through the destruction of commissioned copies of his own work, he erases the distinction between original and reproduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 2026, \u003c\/span\u003e\u003cem\u003eHeavy Burschi\u003c\/em\u003e\u003cspan\u003e was re-staged by curators Jean de Loisy and Margaux Bonopera for the exhibition \u003c\/span\u003e\u003cem\u003eSUSPECTS – Van Gogh, Tricksters \u0026amp; Co.\u003c\/em\u003e\u003cspan\u003e at the Fondation Vincent van Gogh in Arles.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53799099695443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Heavy.png?v=1779232265"},{"product_id":"la-veranda","title":"La Véranda","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLa Véranda\u003c\/em\u003e is Rodney Graham’s conceptual reinterpretation of Herman Melville's short story \u003cem\u003eThe Piazza\u003c\/em\u003e. Presented as two identical French editions bound together by a printed sleeve, the work combines literature, photography, and a very subtle artistic intervention. By adding an imaginary architectural detail (a porch) into Melville's house depicted on the sleeve, Graham blurs the boundaries between reality and fiction. Through repetition, extension, and displacement, he transforms the book into a sculptural object and a meditation on memory and authorship. \u003cem\u003eLa Véranda\u003c\/em\u003e is part of a larger series of artistic works reflecting Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801202909523,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Veranda_e7016fb9-bbe8-4dfd-8067-594070ed0ae8.png?v=1779270775"},{"product_id":"james-bond-dr-no","title":"James Bond. Dr No","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGraham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801219490131,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/JamesBond_f4080abe-d4e0-4922-938b-95ba92d82b39.png?v=1779270792"},{"product_id":"the-holy-bible-old-testament","title":"The Holy Bible: Old Testament","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this limited-edition artist’s book, David Hammons revisits Arturo Schwarz’s seminal catalogue raisonné, \u003cem\u003eThe Complete Works of Marcel Duchamp\u003c\/em\u003e, by simply rebinding it to resemble a Bible. The result is an object that combines reverence with irony. The intervention draws attention to the almost religious status Marcel Duchamp has acquired in postmodern art and questions the process of his canonization. The designation \u003cem\u003eOld Testament\u003c\/em\u003e adds a wry suggestion that new artistic revelations may yet follow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCharacteristic of Hammons’s practice, the work combines homage and critique through appropriation, alteration, and conceptual play. By transforming an existing book, Hammons raises questions about authorship and artistic authority. His name is absent from the cover and appears only as a signature, highlighting his interest in the logic of the readymade, as well as in the relationship between the copy and the original.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801234563411,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBible_9f412f77-1d21-4709-975f-74d82f3fa0cd.png?v=1779270704"},{"product_id":"the-catcher-in-the-rye-1","title":"The Catcher in the Rye","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis literary and literal appropriation of \u003cem\u003eThe Catcher in the Rye\u003c\/em\u003e, issued in a limited edition of 500 copies, reproduces the first edition of Salinger's coming-of-age novel. \u003cmeta charset=\"UTF-8\"\u003ePrince’s intriguing facsimile is nearly identical to the original, with one telling exception: the artist’s own name replaces Salinger’s on both the dust jacket and the title page. On the first page, an edgy disclaimer reads: “This is an artwork by Richard Prince. Any similarity to a book is coincidental and not intended by the artist.”\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eShortly after its release, Prince sold copies for just a handful of dollars from a sidewalk in Central Park. That same year, his altered publication made its first appearance at Printed Matter’s New York Art Book Fair. Since then, it has become a genuine “catch” for book collectors and Prince aficionados alike.\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801239904595,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Catcher_Cover.png?v=1789195654"},{"product_id":"rot-a-prints-1","title":"Rot a Prints","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then one of the school’s most influential professors, used the machine as a tool to develop systematic investigations into colour and compositional structure. Across its sequence, the work articulates a sustained inquiry into abstraction as process. Colour and form unfold through accumulation and variation, generating a rhythm of shifting visual propositions. The result is a structured yet fluid progression in which drawings and printed images interweave, evoking imaginary landscapes while fixing the material logic of print.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication includes a title page and two printed text pages that situate the work within a collaborative environment shaped by experimentation and exchange. In a dedication acknowledging the parallel presence of Dieter Roth at the school and his engagement with the Rotaprint press, Schmidt writes: “In January 1968 a new person and a new machine appeared at Watford. Both worked badly (well). I learned some new words: beauties, refreshing, \u003c\/span\u003e\u003cspan\u003everfänglichkeit\u003c\/span\u003e\u003cspan\u003e [meaning something like ‘trickiness’ or ‘awkwardness\/precariousness’], and was advised not to worry. This book is the result of these new acquaintances. PS.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHansjorg Mayer was also invited as a visiting professor, working directly with the Rotaprint process and extending its experimental possibilities. The publication was issued by Mayer himself in a very limited edition of 36 copies.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801252356435,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/RotaprintsCover.png?v=1781704149"},{"product_id":"eden-is-a-magic-world","title":"Eden is a Magic World","description":"","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801270870355,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eden.png?v=1779270641"},{"product_id":"kippenbergerweg-25-2-53-plakate-1","title":"Kippenbergerweg: 25-2-53. Plakate 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is not only a catalogue raisonné of Martin Kippenberger’s posters up to 1983, but also a subtle act of appropriation at its most incisive, with a “clin d’œil” to Stanley Brouwn’s seminal artist’s book “This Way Brouwn”, published by Walther König eighteen years earlier. Whereas Brouwn’s cover records the dates of his two-day performative intervention in Amsterdam in February 1971, Kippenberger replaces them with his own birth date, written in the same concise format: 25.2.53. This playful gesture encapsulates Kippenberger’s practice of recontextualisation while paying homage to an important artistic precedent.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801277260115,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Kippenbergerweg_5785226e-a035-4597-a948-16cd7697c96e.png?v=1779270600"},{"product_id":"mansmag-homage-to-werkman-and-cavalcade","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \u003c\/span\u003e\u003cem\u003eMANSMAG: Homage to Werkman and Cavalcade\u003c\/em\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \u003c\/span\u003e\u003cem\u003eCavalcade\u003c\/em\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In his homage, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801284567379,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag_a69e4e5b-1949-4e91-823d-39764daacbc8.png?v=1789196808"},{"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":"100-000-minutes","title":"100,000 minutes","description":"\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs readers turn the opening pages of \u003c\/span\u003e\u003cspan\u003e100,000 Minutes\u003c\/span\u003e\u003cspan\u003e, they encounter a succession of alternative titles James Lee Byars considered for the work: \u003c\/span\u003e\u003cspan\u003eor The Big Sample of Byars\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eor 1\/2 an Autobiography\u003c\/span\u003e\u003cspan\u003e (a reference to the artist's age of thirty-seven, then considered the statistical midpoint of an American lifespan); and \u003c\/span\u003e\u003cspan\u003eor The First Paper of Philosophy\u003c\/span\u003e\u003cspan\u003e. The publication originated in Byars's first European exhibition at the Wide White Space Gallery in Antwerp, which consisted of three performances. During the final week, the artist sat behind an opening cut into a gallery wall, painted the same distinctive pink as the book's pages, and wrote in public. The texts reproduced in this volume were composed during this performance. Some recount episodes from his life, while others take the form of short and witty philosophical aphorisms:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"At first sight, do you perceive the full potential of a circumstance?\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"I went to Oxford just to find out what questions existed in the philosophy department.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"If you ask for something that doesn't exist, you deserve it on the intelligence of the request.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"I wear a black leather suit and like clear light bulbs; do you think I'm Wittgenstein's ghost, too?\"\u003c\/span\u003e\u003cspan\u003e\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\u003eIn a 1969 interview with Geert Bekaert and Walter Van Dijk (\u003c\/span\u003e\u003cspan\u003eStreven\u003c\/span\u003e\u003cspan\u003e, vol. 22), Byars described the book as \"a sample\" rather than the story of an entire life. Influenced by Ludwig Wittgenstein, he conceived of philosophy as an ongoing process of inquiry rather than a means of arriving at fixed conclusions. The title reflects his fascination with numbers (particularly large, rounded figures), which he valued less for their mathematical precision than for their poetic and symbolic resonance. For Byars, \u003c\/span\u003e\u003cspan\u003e100,000 Minutes\u003c\/span\u003e\u003cspan\u003e signified possibility rather than measurement, just as his imagined possession of the complete 1-million-word \u003c\/span\u003e\u003cspan\u003eOxford English Dictionary\u003c\/span\u003e\u003cspan\u003e—a dream he shared in the same interview—expressed a desire to inhabit the totality of language rather than to master it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":53801304097107,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Byars.png?v=1779269873"},{"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":"gustave-flaubert-un-coeur-simple","title":"Gustave Flaubert. Un cœur simple","description":"\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eProduced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54018623635795,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Levine.png?v=1781683606"},{"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":"buch-7-quadratschnitte","title":"Buch 7 Quadratschnitte","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWolfgang Schmidt’s interactive book continues his long-running exploration of the square as a formal and conceptual framework. Built as a sequence of die-cut pages, each sheet is silkscreened in either red or black over a shifting white ground, creating a rhythm of contrast and variation as the book is turned. The result is a playful yet sculptural object in which squares and angular cuts constantly reconfigure the page. These rhomboid and geometric incisions evoke a sense of constructed space that is both precise and unstable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn dialogue with the legacy of Malevich’s \u003c\/span\u003e\u003cspan\u003eBlack Square\u003c\/span\u003e\u003cspan\u003e, Schmidt’s work revisits the idea of non-objective reality, not as a fixed abstraction but as something mutable and perceptual. The shifting forms suggest a visual system that is repeatedly reset and reactivated. Within Schmidt’s broader series \u003c\/span\u003e\u003cspan\u003eLebenszeichen\u003c\/span\u003e\u003cspan\u003e (“signs of life”), this volume marks another iteration of his ongoing investigation into visual systems, where typography and form converge into a self-referential field that is at once conceptual and materially present.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027534008659,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Schmidt.png?v=1781769837"},{"product_id":"reconstructed-history","title":"Reconstructed History","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA collection of fifty ink drawings in which Mike Kelley intervenes on reproductions from American school textbooks—illustrations, photographs, engravings, and cartoons depicting idealised figures and events from American history. Working directly on the printed page, he introduces a note of iconoclasm through loose but well-considered doodles, echoing the vandalism of a schoolchild’s textbook. The drawings are bound in the format of a high-school yearbook, bringing reverence and disruption into the same object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Here we have a collection of grotesqueries, defacements of some of the most cherished images of our American past. Who could be responsible for such defilements?” writes the artist in his preface, “what could be the purpose in tarnishing the heroic figures and events we hold so dear? These are questions one is compelled to ask; yet might questions be better put to the images themselves? We might instead ask, why do these pictures provoke addition? What has been subtracted from them?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKelley’s introduction shifts attention from authorship to omission, asking not who altered the images, but what they already exclude. \u003c\/span\u003e\u003cspan\u003eReconstructed History\u003c\/span\u003e\u003cspan\u003e treats the schoolbook as an ideological construct rather than a neutral record, and its interventions as a form of counter-history that exposes the fragility of national narratives. The heroic image, in this reading, sustains its authority through what it leaves out.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work strikingly resonates with Chris Marker’s meditation in \u003c\/span\u003e\u003cem\u003eSans Soleil\u003c\/em\u003e\u003cspan\u003e (1983), where memory is described not as the opposite of forgetting but as “its lining”: we do not remember, but rewrite, much as history itself is rewritten.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027555930451,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KelleyCover_b091cc5f-a662-4271-8625-e006aa2749a2.png?v=1789370959"},{"product_id":"lolitadzioz","title":"Lolitadzioz","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJonathan Meese’s artistic practice is propelled by a playful yet grotesque sensibility, constructing a personal microcosm shaped by his enduring obsessions with both high and low culture. Pornographic imagery coexists with figures as diverse as the Marquis de Sade, Richard Wagner, Stanley Kubrick, Francis Bacon, and John Wayne, all absorbed into a sprawling mythology that collapses distinctions between history, popular culture, fiction, and ideology. At once irreverent and deeply informed, Meese’s imaginary universe shares affinities with Mike Kelley’s exploration of the Freudian uncanny, where familiar icons return in unsettling and often absurd forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his anarchic and wide-ranging oeuvre, Meese continually expands this mythology through painting, performance, drawing, and installation, appropriating historical, mythical, and cinematic protagonists to interrogate systems of power, authorship, and belief. In this self-published stapled booklet, from an edition of 40 (each unique), he brings together his deliberately naïve drawings of heroes and nemeses with two original photographs, magazine clippings, and loose illustrations, weaving them into a fragmented visual narrative. Oscillating between parody and provocation, the publication extends Meese’s investigations into ideology and what he famously calls the \"dictatorship of art.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027731009875,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/100_cover.png?v=1781772166"},{"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":"111","title":"111","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than using the photocopy as a way to create identical copies, Alighiero Boetti saw it as a tool for exploring the relationship between human ideas and technology. Artist’s books such as this one, as well as the expanded version \u003c\/span\u003e\u003cem\u003eI quindici libri rossi – 111\u003c\/em\u003e\u003cspan\u003e, reflect his ongoing interest in systems and the balance between order and chance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Already in ’69, in Turin, when I used to go to the Rank Xerox showroom with my little coins in my pocket, I had so many ideas”, Boetti stated in 1991. “I would say: the photocopier is not just an office machine; by the year 2000 we’ll all have one in our living rooms! Give me one, and I’ll document some of its creative applications. I didn’t mean manipulating the mechanism or the ink, as some people had done, from Munari onward. No, what interested me was the standard application. But, for instance, I would have put it out on the balcony when it starts to rain: one drop, ten drops, a thousand drops…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoetti was fascinated that a photocopier could transform a simple, mechanical action into a process open to variation and surprise. In \u003c\/span\u003e\u003cem\u003e111\u003c\/em\u003e\u003cspan\u003e, each of the 111 photocopies reproduces a different newspaper clipping, turning fragments of everyday information into a serial composition. The title \u003c\/span\u003e\u003cem\u003e111\u003c\/em\u003e\u003cspan\u003e is both a palindrome and the principle behind the work’s method of production: through repetition, a simple structure can generate countless possibilities. It suggests a kind of “contained infinity”, where endless variations unfold within a fixed system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs in other works made with photocopying technologies such as \u003c\/span\u003e\u003cem\u003eNove Xerox Anne Marie\u003c\/em\u003e\u003cspan\u003e (1969), \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eDossier Postale\u003c\/em\u003e \u003c\/span\u003e\u003cspan\u003e(1969–1971), and \u003c\/span\u003e\u003cem\u003eAutoritratto\u003c\/em\u003e\u003cspan\u003e (1971), Boetti questioned the traditional role of the artist as the sole creator. Instead, he allowed the machine, the process, and chance to become active participants in the making of the work.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027795366227,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/111_4d34f598-e891-4950-8206-01fa3b1290a2.png?v=1789195806"},{"product_id":"spare-parts","title":"Spare Parts","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCharles Henri Ford was a Surrealist writer, editor, filmmaker, photographer, and collage artist. A central figure of the twentieth-century avant-garde, he belonged to Gertrude Stein's Paris circle in the 1930s and later became an important influence on Andy Warhol in the 1960s. He is best known as the co-founder, editor, and publisher of \u003c\/span\u003e\u003cem\u003eView\u003c\/em\u003e\u003cspan\u003e, the influential Surrealist art magazine. A true \u003c\/span\u003e\u003cspan\u003eflâneur\u003c\/span\u003e\u003cspan\u003e in the richest sense of the term, Ford lived and worked in places including Paris, Morocco, Kathmandu, Crete, and New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was in Athens, in the workshop of the master printer Vassily Papachrysanthou, that Ford produced one of the most original bodies of work of his career. Between 1964 and 1965, he created the series \u003c\/span\u003e\u003cspan\u003ePoem Posters\u003c\/span\u003e\u003cspan\u003e, followed in 1966 by his landmark artist's book \u003c\/span\u003e\u003cem\u003eSpare Parts\u003c\/em\u003e\u003cspan\u003e, published in a limited edition on richly textured paper, with each copy distinguished by a unique dust jacket. Conceived as visual poems (or, in Ford's words, \"poem posters\"), these works move fluidly between collage, concrete poetry, and printmaking techniques. Fragments of language clipped from magazines intermingle with photographs, graphic forms, and Ford's own paste-up poems to create layered compositions that draw equally on the visual language of Pop and the oneiric logic of Surrealism, all infused with his characteristic wit and queer sensibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduced through an experimental industrial photo-offset lithographic process, many of the posters are effectively monotypes. Working in close collaboration with Papachrysanthou, Ford’s book embodies his notion of “ideas in the air\": spontaneous constellations of words and images that are at once psychedelic and materially resonant.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029695844691,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/SpareParts.png?v=1781781005"},{"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 \u003cem\u003eSaborami\u003c\/em\u003e. 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. \u003cem\u003eSaborami\u003c\/em\u003e 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, \u003cem\u003eSaborami\u003c\/em\u003e 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":"ausstellung-mit-6-filmprojektoren-nach-buchern-uber-1968","title":"Ausstellung Mit 6 Filmprojektoren Nach Büchern Über 1968","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTime is central to Hanne Darboven's work. Writer and curator Okwui Enwezor argued that her archival practice is not simply a repository of information but a structure of historical consciousness. \u003c\/span\u003e\u003cspan\u003eAusstellung mit 6 Filmprojektoren nach 6 Büchern über 1968\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003eExhibition with 6 Film Projectors after 6 Books on 1968\u003c\/span\u003e\u003cspan\u003e) embodies this precise idea.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn essential work within Darboven's corpus of printed matter, this publication accompanied the eponymous exhibition at the Städtisches Museum Mönchengladbach (now Museum Abteiberg), held from 25 February to 7 April 1969 and curated by Johannes Cladders. More than an exhibition catalogue, it established a working method that Darboven would continue to develop over the following decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exhibition consisted of six silent 16 mm film projections recording Darboven's six handwritten books devoted to the year 1968. The publication was conceived as an integral part of the project rather than as its documentation. Presented as a boxed set, it comprises an eight-page booklet with a text by Johannes Cladders, six loose sheets reproducing pages from Darboven's manuscripts, and a blank graph-paper notebook. Together, these elements extend her serial, number-based system beyond the exhibition itself, inviting the reader into its open-ended temporal continuum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication anticipates Darboven's later large-scale installations, in which historical records and chronological systems became the primary vehicles for her long-term exploration of time and memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029878788435,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Darboven_93c850cc-b96f-44ea-8e38-ce01d3144856.png?v=1781781771"},{"product_id":"guevara-shashin-shu-che","title":"Guevara Shashin Shu Che","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal publication from 1969 was assembled by two founding members of \u003c\/span\u003e\u003cem\u003eProvoke\u003c\/em\u003e\u003cspan\u003e, the underground Japanese photography magazine that, despite its brief existence, transformed the visual landscape of the late 1960s through its radical photographic language and critical writings, guided by the motto: \u003c\/span\u003e\u003cspan\u003e“Provocative documents for the sake of thought.”\u003c\/span\u003e\u003cspan\u003e Published by Kōji Taki and Takuma Nakahira (both Spanish speakers) under the pseudonym \u003c\/span\u003e\u003cspan\u003eBuenos no Hi \u003c\/span\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cspan\u003eThe Light of Buenos\u003c\/span\u003e\u003cspan\u003e), the volume gathers newspaper articles from Latin America and Spain to trace the Cuban Revolution through the life, actions, and death of Che Guevara. Fragments of text and image are brought together across different papers and graphic styles, creating a layered visual narrative suspended between political reflection and an act of remembrance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA book-homage, the project documents the turbulent political atmosphere of the late 1960s, when many Japanese artists and intellectuals were drawn to anti-imperialist and revolutionary ideals. The interplay of photographic reproduction, journalism, and visual experimentation transforms the publication into more than a historical account. Today, it stands as one of the most relevant examples of politically engaged Japanese photobook design.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029962182995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Che_b13d3746-45be-4cec-b87b-aacae2aefb42.png?v=1789196345"},{"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\u003cem\u003eClassifying the Thousand Longest Rivers in the World\u003c\/em\u003e\u003cspan\u003e is among the most remarkable artists’ books ever created: “one of the greatest artists’ books of all time” (\u003c\/span\u003e\u003cem\u003eTate Etc.\u003c\/em\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":"clea-rsky-clear-sky","title":"Clea Rsky [Clear Sky]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBruce Nauman’s artist’s books often appear deceptively simple, yet they are constructed around carefully orchestrated mysteries and ambiguities. “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,” writes Robert Storr in his introduction to the artist’s 1995 retrospective at the Museum of Modern Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmong Nauman’s most enigmatic publications of the 1960s, \u003c\/span\u003e\u003cem\u003eClea Rsky\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003eLA AIR\u003c\/em\u003e\u003cspan\u003e function less as illustrated books than as conceptual machines: works whose structures themselves generate questions and provoke reflection. These publications are organized around fundamental inquiries that anticipate the logic of conceptual art: What is an image? What transforms something into a picture? How much meaning can be contained within a title, a color, or the physical form of a book?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften described as containing ten photographs of the sky above Los Angeles, \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eClea Rsky\u003c\/em\u003e,\u003c\/span\u003e\u003cspan\u003e in fact, contains no photographs and was produced without the use of a camera. Instead, the publication consists entirely of printed blue pages designed to evoke the experience of looking at the sky while simultaneously exposing the illusion of that perception. As Nauman explained in an interview: “\u003c\/span\u003e\u003cem\u003eClea Rsky\u003c\/em\u003e\u003cspan\u003e was a way to have a book that only had colored pages—pictures of the sky. I like the idea that you are looking into an image of the sky, but it is just a page; you are not really looking into anything … \u003c\/span\u003e\u003cem\u003eLA Air\u003c\/em\u003e\u003cspan\u003e was the same idea, but it was also a response to \u003c\/span\u003e\u003cspan\u003eClea Rsky\u003c\/span\u003e\u003cspan\u003e using polluted colors instead.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough these works, Bruce Nauman transforms the book into a cartography of perception and uncertainty, in which the boundaries between image and object, representation and reality, are continually unsettled.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030110425427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/CLEARSKYnew.png?v=1781880939"},{"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":"fin-de-copenhague","title":"Fin de Copenhague","description":"\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eInspired by the Dadaist figure of the flâneur, the Marxist philosopher Guy Debord coined the term “psychogeography” to describe how different environments influence our emotions, perceptions, and behaviour. As Debord wrote in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIntroduction to a Critique of Urban Geography\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1955): “Psychogeography could set for itself the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eIt is said that Guy Debord and Asger Jorn created\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003edétournement\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand combined clippings from French newspapers with pages from the Danish daily\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePolitiken\u003c\/em\u003e, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e, the purely psychogeographical pages are relatively few compared with Debord’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGuide psychogéographique de Paris\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1957). Yet this exuberant collaboration between the French philosopher and Jorn \u003cmeta charset=\"utf-8\"\u003e– which continued in 1958 with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMémoires \u003cmeta charset=\"utf-8\"\u003e– \u003c\/em\u003eis an important example of how Situationist artists reimagined the urban myth of the flâneur.\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas exhibited in 2023 as part of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFOLDED CITIES\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVenezia. Il Canal Grande\u003c\/em\u003e, a curious publication produced by\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIl Gazzettino Illustrato\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1931; Edward Ruscha’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEvery Building on the Sunset Strip\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1966); Shohachi Kimura, Yoshikazu Suzuki, \u003cem\u003eGinza Kaiwai \/ Ginza Haccho \u003c\/em\u003e(1954); \u003cmeta charset=\"utf-8\"\u003eand Jan Henderikse’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBroadway\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1983).\u003c\/p\u003e\n\u003cdiv class=\"metafield-row\"\u003e\u003c\/div\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030134575443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/FindeCopenhagen_1daa7c07-534a-4b77-a5f9-c837247c0a01.png?v=1781783492"},{"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":"watch","title":"Watch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"WATCH\"\u003c\/span\u003e\u003cspan\u003e stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSophisticated in form and concept, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e forms an unexpected dialogue with Christian Marclay’s \"\u003c\/span\u003e\u003cspan\u003eThe Clock\"\u003c\/span\u003e\u003cspan\u003e (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040441389395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Watch.png?v=1781855650"},{"product_id":"playboy-braille-edition-part-2-of-5-parts-may-1983","title":"Playboy. Braille Edition. Part 2 of 5 Parts. May 1983","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Braille edition of \u003c\/span\u003e\u003cspan\u003ePlayboy\u003c\/span\u003e\u003cspan\u003e feels closer to a conceptual work of art than to the magazine itself. For decades, \u003c\/span\u003e\u003cspan\u003ePlayboy \u003c\/span\u003e\u003cspan\u003epublished a Braille edition for blind and visually impaired readers. Funded by the U.S. Library of Congress through its National Library Service for the Blind and Physically Handicapped, this edition omitted the nude photographs and instead reproduced only the magazine's textual content.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe project became the subject of controversy in the 1980s when Chalmers Wylie, a Republican congressman from Ohio, sought to withdraw public funding. A court subsequently ordered the funding to be restored, ruling that its withdrawal constituted an infringement on access to information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDespite its popular reputation, \u003c\/span\u003e\u003cspan\u003ePlayboy\u003c\/span\u003e\u003cspan\u003e also played a significant role as a political, cultural, and literary magazine. It published early discussions of gay rights, women's rights, freedom of expression, and First Amendment issues, while featuring contributions by acclaimed authors including Truman Capote, Haruki Murakami, Anaïs Nin, and Margaret Atwood, alongside artwork by Andy Warhol, Tom Wesselmann, and Ellen Lanyon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040517050707,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Playboy600.png?v=1781881294"},{"product_id":"pull-glue","title":"Pull\/Glue","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54047520883027,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/PullGlue.png?v=1781942026"},{"product_id":"bilder-verwischungen-happening-notationen-1961-1966","title":"Bilder Verwischungen. Happening-Notationen 1961-1966","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055379861843,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Vostel.png?v=1782021796"},{"product_id":"mansmag-homage-to-werkman-and-cavalcade-1","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \u003c\/span\u003e\u003cem\u003eMANSMAG: Homage to Werkman and Cavalcade\u003c\/em\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \u003c\/span\u003e\u003cem\u003eCavalcade\u003c\/em\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his own studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In doing so, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055472988499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag2.png?v=1782024445"},{"product_id":"angola-to-vietnam","title":"Angola to Vietnam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhat initially appear to be herbarium photographs of rare flowers are, on closer inspection, images of glass botanical models made to scale by the Czech father-and-son glass artists Leopold Blaschka (1822–1895) and Rudolf Blaschka (1857–1939). Their renowned collection of glass flowers preserved at Harvard Museum of Natural History is among the institution’s most celebrated treasures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing from Harvard’s sculptural plants, Christopher Williams reorders the collection’s botanical classification according to national origin, selecting twenty-seven specimens corresponding to countries identified by Amnesty International as sites where enforced disappearance was used as a tool of political repression. Each photograph is accompanied by a label combining taxonomic descriptions of the plant with information about the photographic composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy replacing botanical taxonomy with geopolitical classification, Williams introduces a sociopolitical dimension into the representation of nature. “From Angola to Vietnam” examines how systems of knowledge and classification can reveal histories of violence and state control. The book concludes with a twenty-eighth plate: an uncanny reproduction of the cover of the French edition of \u003c\/span\u003e\u003cspan\u003eElle\u003c\/span\u003e\u003cspan\u003e, dated 15 August 1988. Depicting models from around the world arranged like a bouquet of national identities, each figure is marked by a sailor-style hat bearing their country of origin. The image extends Williams’s interrogation of classification, representation, and the relationship between national identity and visual culture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055554449747,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AngolaToVietnam.png?v=1782028375"},{"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":"just-ice","title":"Just Ice","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHansjörg Mayer, an artist, printer, teacher, and publisher was a central figure in Concrete Poetry and the experimental scene of the 1960s. Through his innovative approaches to typography and printing technology, as well as his influential edition \u003c\/span\u003e\u003cspan\u003ehansjörg mayer\u003c\/span\u003e\u003cspan\u003e, he expanded the conceptual horizons of the artist’s book as a medium in its own right. In this work, Mayer transforms printing into a process of gradual disappearance, inviting the viewer to witness the complete erosion of an alphabet. The final relief-printed page appears to preserve the accidental arrangement of the overturned letters, capturing the moment when the alphabet collapsed into silence—or, as Mayer suggests in his title, melted “just [like] ice.” Printed until the final letter fell, the book concludes with a complete blank page, turning the act of printing itself into a meditation on the dissolution of all traces and signs. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055587348819,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/JustIce.png?v=1782029193"},{"product_id":"the-life-and-opinions-of-tristram-shandy-gentleman","title":"The Life and Opinions of Tristram Shandy, Gentleman","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew conceptual artists possess the wit and playful edge to respond with such irony to Laurence Sterne's celebrated novel, whose episodic structure and playful reflexivity remain among the most distinctive achievements of eighteenth-century literature. \u003c\/span\u003e\u003cspan\u003eThe Life and Opinions of Tristram Shandy, Gentleman\u003c\/span\u003e\u003cspan\u003e was originally published between 1759 and 1767 in nine volumes. In 1988, John Baldessari was invited by Andrew Hoyem of the Arion Press, San Francisco, to contribute to a new deluxe edition of Sterne's masterpiece. Baldessari responded with a contemporary visual intervention: a sequence of deliberately disjointed photocollages that mirrors Sterne's playful disregard for linear narrative, conventional punctuation, and literary decorum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe three-volume set comprises a facsimile of Sterne's original text sophisticatedly bound; a smaller tome consisting of a critical essay by the Sterne scholar Melvyn New; and an accordion-fold artist's book of Baldessari's photocollages, interspersed with Shandean aphorisms. Among the most memorable are his iconic dot portraits, placed in dialogue with a celebrated passage from Book III, Chapter XII (p. 173):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"—And did you step in, to take a look at the grand picture, in your way back?——'Tis a melancholy daub! my Lord; not one principle of the pyramid in any one group!——and what a price!——for there is nothing of the colouring of Titian,——the expression of Rubens,—the grace of Raphael,——the purity of Dominichino,—the corregiescity of Corregio,—the learning of Poussin,—the airs of Guido,—the taste of the Carrachi's,—or the grand contour of Angelo.——Grant me patience, just heaven!——Of all the cants which are canted in this canting world,——though the cant of hypocrites may be the worst,—the cant of criticism is the most tormenting!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA witty visual rediscovery of Laurence Sterne's caustic satire, Baldessari's contribution demonstrates how the novel's experimental spirit continues to resonate more than two centuries after its first publication.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055610319187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tristram.png?v=1782029534"},{"product_id":"spirit-is-a-bone","title":"Spirit is a Bone","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAdam Broomberg and Oliver Chanarin’s project is inspired in both form and concept by \u003c\/span\u003e\u003cspan\u003eCitizens of the Twentieth Century: 1892–1952\u003c\/span\u003e\u003cspan\u003e, August Sander’s monumental typology of twentieth-century German society, comprising 431 portraits arranged according to social class and profession. Sander’s book is a seminal photographic inquiry that, tacitly and almost inadvertently, came to trace, among others, the rise of fascism in Germany.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt a moment marked by constant political upheaval and the resurgence of imperialist ideologies, Broomberg \u0026amp; Chanarin created a collection of portraits using a Moscow-developed facial recognition system originally designed for surveillance and border control. Rather than producing conventional photographs, the technology generates digital \"life masks.\" Echoing Sander’s project, the artists organized contemporary Russian subjects according to their professions, while allowing the machine to produce the images. The resulting portraits are low-resolution and fragmented, their appearance determined by the system’s own ability to map facial features such as the nose, eyes, and chin. Despite this automated process, the portraits still reveal the people behind the images and their complex relationship with state power. For instance, recognisable figures such as Pussy Riot member Yekaterina Samutsevich\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCommissioned by GRAIN with support from Arts Council England, the book is the outcome of artists’ engagement with the Library of Birmingham’s photography collections.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055669465427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Spirit.png?v=1782030028"},{"product_id":"oracles-artists-calling-cards","title":"Oracles: Artists' Calling Cards","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, \u003cem\u003eThe Generous Gambler\u003c\/em\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnimated by 123 artists' business cards from painters, sculptors, photographers, architects, graphic designers, and art historians spanning the eighteenth century to the present day, this materially abundant book is the culmination of a monumental research project. 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":"looking-for-looking-for-love","title":"Looking for Looking for Love","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA tribute to one of the seminal photobooks of the 1980s, \u003c\/span\u003e\u003cspan\u003eLooking for Looking for Love\u003c\/span\u003e\u003cspan\u003e reworks Tom Wood’s \u003c\/span\u003e\u003cspan\u003eLooking for Love\u003c\/span\u003e\u003cspan\u003e (1989), which documented the clientele of the Chelsea Reach Nightclub in New Brighton, Merseyside, between 1984 and 1987. Wood’s original publication could only include a fraction of the thousands of photographs he made at the club; to honour his subjects and convey the scale of the project, he created a large collage from the images, later reproduced as a double-page spread. McConnell’s book takes this lost collage as its point of departure, faithfully recreating its forms while transforming their scale and sequence. Scanned from McConnell’s own copy of Wood’s book and printed in vibrant risograph, the fragmented, enlarged images escape the confines of the photographic frame, generating a dynamic flow of exuberance, nostalgia, desire, and nightlife energy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057232073043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Looking.png?v=1782055440"},{"product_id":"2nd-hand-reading","title":"2nd Hand Reading","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSecond-Hand Reading\u003c\/span\u003e\u003cspan\u003e explores history, memory, and the production of knowledge through the obsolete form of the flip book. Created from a 1936 edition of \u003c\/span\u003e\u003cspan\u003eThe Shorter Oxford English Dictionary on Historical Principles\u003c\/span\u003e\u003cspan\u003e, the work unfolds through charcoal, ink, and watercolor drawings of the artist's pacing figure, Johannesburg landscapes, dancing figures, and poetic aphorisms. Transforming an outdated reference book into a moving image, Kentridge reflects on the materiality of the book and the provisional nature of historical knowledge. An accompanying film \u003c\/span\u003e\u003cspan\u003efeatures an original score by Neo Muyanga.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057260777811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/2ndHand.png?v=1782055930"},{"product_id":"be-bold-with-bananas","title":"Be Bold With Bananas","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the wittiest books in the collection, Martin Parr’s \u003c\/span\u003e\u003cspan\u003eBe Bold with Bananas\u003c\/span\u003e\u003cspan\u003e unfolds as a suite of exuberant recipes in which vernacular design, food photography, and advertising converge in a veritable salad of visual excess. Parr reworks a 64-page book published in 1972 by Fruit Distributors Limited for Banana Importers of Wellington, New Zealand. Printed in Cape Town and distributed in Australia by the Banana Growers Association, it promoted Pacific Island bananas as an ideal food for any time of day. Reflecting on his discovery of the original publication, Parr wrote: “I was immediately struck when I saw \u003c\/span\u003e\u003cspan\u003eBe Bold with Bananas\u003c\/span\u003e\u003cspan\u003e. It had some wonderful sexual undertones, and was just plain surreal. The title is also very ambivalent.” His intervention replaces the original cover and inserts a small photographic print depicting bananas, transforming the publication into a contemporary exercise in the visual pleasures of food porn.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057267659091,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BeBold.png?v=1782056261"},{"product_id":"cafe-du-reve","title":"Café du rêve","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “\u003c\/span\u003e\u003cspan\u003evoyage épistolaire”\u003c\/span\u003e\u003cspan\u003e, Lise Lerichomme remarks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “\u003c\/span\u003e\u003cspan\u003eApproach Road”\u003c\/span\u003e\u003cspan\u003e) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (\u003c\/span\u003e\u003cspan\u003eCorrespondances d’artistes : du brouillon à la lettre ouverte\u003c\/span\u003e\u003cspan\u003e, 2012)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExtending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057283977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cafe.png?v=1782056567"},{"product_id":"jmxmage","title":"JMXMAGE","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJMXMAGE is a collaborative art project combining the work of artist Jean-Michel Wicker and the Swiss graphic design studio Maximage, notably presented in an exhibition at Galerie Kamm in Berlin. The title itself is an elliptical abbreviation derived from the names of the artist and the studio. Evoking the text-based paintings of Ed Ruscha as well as the visual poetry of Hansjörg Mayer, the book encodes a complex and sophisticated system of typographic numerals set against chromatic backgrounds distilled into imaginary landscapes. These atmospheric compositions are the result of manual interventions, colour modulations, and mathematical experimentations involving offset plates and grids.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057301213523,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/untitled.png?v=1782056924"},{"product_id":"you-havent-seen-their-faces","title":"You Haven't Seen Their Faces","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057314910547,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheseAre.png?v=1782057284"},{"product_id":"quartett-88","title":"Quartett 88","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTime is central to Hanne Darboven's work. Historical records and chronological systems are the primary vehicles in her career-long exploration of time and memory. Writer and curator Okwui Enwezor argued that her archival practice is not simply a repository of information but a structure of historical consciousness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished to accompany Darboven's exhibition at Portikus, Frankfurt am Main (1990), this artist's book structures its numerical timepieces around four women who marked history: Marie Curie, Rosa Luxemburg, Gertrude Stein, and Virginia Woolf. In other words, Darboven’s feminine pantheon. These figures provide historical points of reference, yet the true subject of the work is the structure of time itself. Their individual lives become structural elements within a larger temporal system, where personal history is situated alongside scientific discovery, political transformation, and cultural production.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the centre of Darboven's complex mathematical operations lies the year 1988, when she started to “orchestrate” this intellectual quartet of women. Interspersed with portraits sourced from encyclopaedias and excerpts from journals, the intricate calendars unfolding across more than 700 pages resist narrative in favour of a rigorous conceptual system. The result reveals an artist whose philosophical understanding of time and analytical engagement with feminism are at once mystifying and deeply structuring.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061174620499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Quartett88.png?v=1782112653"}],"url":"https:\/\/metabooks.art\/collections\/collection.oembed?page=13","provider":"Metabooks","version":"1.0","type":"link"}