{"title":"CONCEPTUAL ART","description":"","products":[{"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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"},{"product_id":"albert-vs-history","title":"albert vs. history","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived on the occasion of Albert Oehlen’s solo exhibition at Kunsthalle Basel in 1997, this publication enacts Oehlen’s anachronistic dialogue with art history. His work is brought into dialogue with an expansive range of references, spanning Old Masters such as Johannes Vermeer and Pieter Bruegel the Elder to contemporaries including Gerhard Richter and Julian Schnabel. This index of names appears at the end of the publication as well as on the covers, where it is juxtaposed with an illustration of a medieval knight in full armour bearing a lance emblazoned with the initial \"O\". The armour closely resembles those depicted in the 16th-century \u003c\/span\u003e\u003cspan\u003eFreydal\u003c\/span\u003e\u003cspan\u003e tournament book, perhaps suggesting Oehlen’s characteristically understated challenge to the authority of art history. As with many of his artistic projects, Oehlen dedicated this publication to his friend Martin Kippenberger.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061189398867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oehlen.png?v=1782112990"},{"product_id":"observations","title":"Observations","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061211746643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Observations.png?v=1782113360"},{"product_id":"evidence","title":"Evidence","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA brilliantly orchestrated sequence of fifty-nine uncaptioned photographs, sourced from American government agencies, educational institutions, and corporations, forms the core of this seminal photobook by Larry Sultan and Mike Mandel. Preceded by a complete list of the contributing institutions and followed by an essay by Robert F. Forth, Dean of the California College of Arts and Crafts, reflecting on the relationship between the circumstantial and the evident, the volume stands as a landmark of paraphotographic and self-reflexive practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConstructed entirely from anonymous documentary images, \u003c\/span\u003e\u003cspan\u003eEvidence\u003c\/span\u003e\u003cspan\u003e generates a non-linear narrative that questions photography's capacity to record and authenticate truth. Each image carries an enigmatic charge, suggesting a \u003c\/span\u003e\u003cspan\u003epunctum \u003c\/span\u003e\u003cspan\u003ethat exists beyond the frame and opening onto a liminal zone between the real, the symbolic, and the imaginary. Although assembled from archival sources, \u003c\/span\u003e\u003cspan\u003eEvidence\u003c\/span\u003e\u003cspan\u003e resists the conventions of the archive, transforming found material into one of the most innovative and enduring photography-based projects of the 1970s. As Martin Parr observed in \u003c\/span\u003e\u003cspan\u003eThe Photobook: A History\u003c\/span\u003e\u003cspan\u003e, it is \"one of the most beautiful, dense and puzzling photobooks in existence, an endless visual box of tricks.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062254752083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Evidence.png?v=1782120209"},{"product_id":"date-paintings-1981-1983","title":"Date Paintings 1981-1983","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in conjunction with the exhibition “One Million Years” at Galerie Watari, Tokyo (27 October–30 November 1983), this volume was designed by Yoshira Nakamura and Masami Akiyama. It documents the ninety-five “Date Paintings” completed by On Kawara between 1 June 1981 and 31 August 1983, accompanied by a comprehensive index recording the place, date, and day of the week on which each work was executed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe “Date Paintings\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e” also known as the “Today” series, were initiated on 4 January 1966 and remained one of the defining projects of On Kawara's practice. Each canvas bears a single date, rendered according to the language and typographic conventions of the place in which it was painted. Every painting was housed by the artist in a custom-made cardboard box containing a newspaper clipping from the day of its execution. According to Guggenheim and Dia, Kawara usually produced a painting every day, and occasionally he completed two or even three. Like his telegrams, the “Date Paintings” function as both precise records of time and existential propositions, affirming the artist's presence in the here and now while fixing a singular moment in time through the act of painting. Elegantly conceived, this publication extends that logic by translating the paintings into a sequence of text-as-image abstractions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis copy includes the publisher's original supplementary materials: two postcards, a laid-in booklet of stickers, and a miniature paper facsimile of a “Date Painting” to be cut out and assembled.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062986887507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/June20.png?v=1782127897"},{"product_id":"funzione","title":"Funzione","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063011004755,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Funzione.png?v=1782128126"},{"product_id":"book","title":"Book","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063269740883,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tutle.png?v=1782129061"},{"product_id":"tatvan","title":"Tatvan","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eStanley Brouwn's conceptual practice was centred on themes of distance, movement, and physical mapping as means of moving beyond abstract visual representation towards literal and minimal forms of depiction. This volume, published by Aktionsraum 1 in Munich (one of the seminal German independent spaces for Conceptual art), distills Brouwn’s exploration of numerical representation to its essential form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe artist travelled to Tatvan, in eastern Turkey, in 1970. Known for being the terminus of an important railway line, the city set on the western \u003c\/span\u003e\u003cspan\u003eshore of Lake Van\u003c\/span\u003e\u003cspan\u003e is particularly scenic. After having photographed the landscape in the direction of the railway's imagined continuation, Brouwn decided to sublimate the imagery with the numerical. The book thus consists solely of a sequence of possible distances, one per page: \u003c\/span\u003e\u003cspan\u003ex – Tatvan 1 km\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003ex – Tatvan 1,000 km\u003c\/span\u003e\u003cspan\u003e; and so on, continuing “ad infinitum” into increasingly large numerical values. The work reduces the idea of place to numerical distance alone, proposing a conception of space that exists independently of visual description or pictorial and geographic representation. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063581954387,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Brouwn.png?v=1782129417"},{"product_id":"week-programma-amsterdam","title":"Week Programma Amsterdam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis cultural information booklet includes a contribution by Stanley Brouwn in the centre spread, featuring a street map of Amsterdam's Kinkerstraat neighbourhood with a printed arrow on Kinkerstraat pointing towards La Paz. A text on the lower right-hand page reads: \u003c\/span\u003e\u003cspan\u003e\"stanley brouwn. la paz. the section of Kinkerstraat between Nassaukade and Bilderdijkstraat points exactly in the direction of La Paz. On 6 December at 10 o'clock, at the above-mentioned location, stanley brouwn will walk 100 steps in the direction of La Paz.\"\u003c\/span\u003e\u003cspan\u003e [loosely translated from Dutch] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLa Paz\u003c\/span\u003e\u003cspan\u003e was both the title of Brouwn's conceptual art exhibition at the Stedelijk Museum Schiedam and of the accompanying publication. The project invited participants to follow directional arrows and walk prescribed distances aligned with cities around the world, transforming orientation and movement into conceptual gestures. Like many of Brouwn's works, this intervention reflects his obsession with numerical and directional systems in place of conventional visual representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eListed in Harry Ruhé's \u003c\/span\u003e\u003cspan\u003eStanley Brouwn: A Chronology\u003c\/span\u003e\u003cspan\u003e, this \u003c\/span\u003e\u003cspan\u003eWeekprogramma\u003c\/span\u003e\u003cspan\u003e leaflet is among the most elusive pieces of Brouwn's printed ephemera.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063953576275,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LaPaz.png?v=1782132290"},{"product_id":"open-the-door-an-incision","title":"Open the Door: An Incision","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBest known for his avant-garde filmmaking, Paul Sharits was a leading figure of the Structural Film movement, alongside artists such as Hollis Frampton, Tony Conrad, and Michael Snow. His work explored the material conditions of cinema itself. As Sharits declared:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"I wish to abandon imitation and illusion and enter directly into the higher drama of: celluloid, two-dimensional strips; individual rectangular frames; the nature of sprockets and emulsion; projector operations; the three-dimensional light beam; environmental illumination; the two-dimensional reflective screen surface; the retinal screen, optic nerve and individual psycho-physical subjectivities of consciousness.\" (Sharits in his statement \u003c\/span\u003e\u003cspan\u003efor the Fourth International Experimental Film Festival in Knokke-le-Zoute, 1967\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis accordion-folded publication translates Sharits's aesthetic and theoretical investigations into montage into book form. Here, the strip of film is replaced by blue crêpe paper that unfolds sequentially, evoking the temporal and spatial experience of projected film. The title and the book's physical structure explore ideas of cutting and interruption through folding and tearing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe striking electric blue may allude to Sharits's parallel investigations with colour as a structural element in cinema. In the same year, he published \"Red, Blue, Godard\" (\u003c\/span\u003e\u003cspan\u003eFilm Quarterly\u003c\/span\u003e\u003cspan\u003e, vol. 19, Summer 1966), one of his earliest essays devoted to the expressive and formal role of colour in the films of Jean-Luc Godard.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063960719699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/OpenTheDoor.png?v=1782132589"},{"product_id":"krishnamurti-freedom-from-the-known","title":"Krishnamurti. Freedom from the Known","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince 2001, Salon Verlag has invited more than thirty artists to transform existing publications of their choice into artist's books in the fullest sense of the term. These \"metabooks\" are published under the \u003c\/span\u003e\u003cspan\u003eEX LIBRIS\u003c\/span\u003e\u003cspan\u003e series, and include interventions by artists such as Louise Bourgeois, Thomas Ruff, Mark Dion, Albert Oehlen, Thomas Demand, Gregor Schneider, Peter Doig, Luc Tuymans, and Berlinde De Bruyckere. For each title, Salon Verlag has also produced a limited collector's edition accompanied by a limited-edition ex-libris (a print or a unique artwork).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor his “metabook” at Salon Verlag, Wolfgang Tillmans chose to intervene in an anthology of excerpts from Jiddu Krishnamurti, selected and edited by Mary Lutyens. In describing his intervention, the artist recalls the trajectory that led him to the philosopher's writings:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"I first came across the name Krishnamurti when studying at Bournemouth College in the early 1990s; my tutor Tony Maestri referred to him occasionally. Then Gilbert \u0026amp; George mentioned him to me when I portrayed them in 1997. In 2002 I then saw a notice in a Quaker meeting house announcing Krishnamurti video screenings. I went and bought some books and felt very at home and inspired by his writing and thinking. I often observe that it takes three cues until one acts on something. After the third time hearing his name, I acted upon it. \u003c\/span\u003e\u003cspan\u003eFreedom from the Known\u003c\/span\u003e\u003cspan\u003e is my favourite book of the few of his I own. It works as a whole but also particularly well when just opened up at any page and read for three or four pages. The design of the paperback cover seemed perfect as it was, so for the Ex Libris I didn’t want to take away the cover photographed by Cecil Beaton. Instead I designed a dust jacket for which I used my photograph paper drop (Krishnamurti) 2005.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy intervening only at the level of the cover, Tillmans preserves the original publication while introducing a new visual and conceptual layer through his own image. This gesture resonates with Krishnamurti's rejection of authority and inherited truths: rather than proposing a system of belief, he advocated direct experience in the pursuit of knowledge. Tillmans's \u003c\/span\u003e\u003cspan\u003eEX LIBRIS\u003c\/span\u003e\u003cspan\u003e contribution thus becomes a dialogue between two forms of attention: Krishnamurti's philosophical inquiry and the artist's own act of reading and distilling his words.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54064054894931,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Krishna.png?v=1782133186"},{"product_id":"all-the-world-s-fighter-planes","title":"All The World’s Fighter Planes","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137222889811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AllTheWorld.png?v=1782736044"},{"product_id":"criminals","title":"Criminals","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAd Gerritsen (1940–2015) devoted his artistic practice to those on the margins of society, from notorious criminals to vulnerable figures such as traumatised children. Throughout his career, he explored the aesthetics of the grotesque, the abject, and the undesirable, producing works that confront the viewer with unsettling imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis uncommon artist's book is illustrated with photocopied drawings by the artist, occasionally supplemented with handwritten annotations. It presents Gerritsen's idiosyncratic examination of a select group of historical criminals whose deeds marked the collective imagination during the first half of the twentieth century. Rather than offering a documentary account, the publication reflects on the place of violence in cultural memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137274204499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Criminals.png?v=1782736605"},{"product_id":"15-unedited-poems","title":"15 Unedited Poems","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue \u003c\/span\u003e\u003cspan\u003eItalian Visual Poetry \u003c\/span\u003e\u003cspan\u003e(Finch College Museum, New York, 1973):\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications...\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137615024467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/MarioDiacono.png?v=1782741055"},{"product_id":"iris-ich-bin-in-paris","title":"IRIS ICH BIN IN PARIS","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141702504787,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Iris.png?v=1782810664"},{"product_id":"opus-1966","title":"OPUS 1966","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eEric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His “Opus 1966” is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer. Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, “Opus 1966” embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media. As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. Reflecting this approach, he later reimagined \"Opus 1966\" as a performative choral composition with a computer singing songs.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54142237245779,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/EricAnderson.png?v=1782819357"},{"product_id":"the-clock","title":"The Clock","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA timepiece in its own right, Christian Marclay's 24-hour video \u003c\/span\u003e\u003cspan\u003eThe Clock\u003c\/span\u003e\u003cspan\u003e was first presented at White Cube, London, in 2010 and received the Golden Lion at the 2011 Venice Biennale. Composed from thousands of film and television clips featuring clocks and other references to time, the work finds a printed counterpart in this publication accompanying the original video installation. The sequence of film stills gives form to one of the most iconic contemporary explorations of time, unfolding with a rhythm that is as cinematic on page as it is on screen.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54142530879827,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheClock.png?v=1782820853"},{"product_id":"kunst-diebstahl-als-totalkunst-demonstration","title":"kunst-diebstahl als totalkunst-demonstration","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSelf-proclaimed a \"total artist,\" Timm Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confronted the rituals of death. One of these bears the inscription, \"Always remember to forget me.\" Yet Ulrichs is far from forgotten in our artists' books collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGathered by Dutch Fluxus collector Tjeerd Deelstra shortly after Ulrichs’ first “Total Art retrospective”, this scarce and provocative collection of documents and ephemera brings together manifestos, artist's texts and expenses lists. The collection culminates in the extremely rare publication accompanying Ulrichs' notorious \"art theft\" exhibition in 1971, a project documented by Dagmar Voss and broadcast on German television that embodied the artist's conviction that art theft was a logical extension of the readymade. Loosely translated as “Art Theft as a Total Art Demonstration”, this publication documents the theft of Gerhard Altenbourg's “Girl with a Star” (1949) from Galerie Brusberg, its subsequent display by Timm Ulrichs for three days at the Total Art Room Gallery in Hanover, and the artistic and legal repercussions that followed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReinforcing its meditation on mortality, the publication also reproduces an image of a funerary urn inscribed: “TIMM ULRICHS ASCHE VERBRANNTER KUNSTWERKE 1969\/70\"(Ashes of Timm Ulrichs' Burnt Works of Art 1969\/70). The same year, John Baldessari similarly consigned all paintings in his possession dating from 1953–66 to a crematorium, transforming their destruction into the artwork in itself: \u003c\/span\u003e\u003cspan\u003eCremation Project\u003c\/span\u003e\u003cspan\u003e (1970).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUlrichs died in April 2026. In the end, his epitaph was destined to fail. Rather than being \"remembered to forget,\" he is remembered as one of Germany's leading conceptual and action artists.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187852464467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Timm.png?v=1783083492"},{"product_id":"the-system-of-landor-s-cottage-a-pendant-to-poe-s-last-story","title":"The System of Landor’s Cottage. A Pendant to Poe’s Last Story","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRodney Graham’s “The System of Landor’s Cottage. A Pendant to Poe’s Last Story” (1987) is a 312-page artist’s book that extends Edgar Allan Poe’s “Landor’s Cottage” (1849) by introducing a narrative addition about a mysterious machine. Graham’s alteration is influenced by the French writer Raymond Roussel, whose literary techniques employed polysemy, pastiche, and mathematical systems. As Graham explains in the exhibition catalogue published by the Vancouver Art Gallery in 1988:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have taken over Poe’s first-person narrator’s voice and his viewpoint, describing in this voice and from this viewpoint a small room which houses a machine ... highly complex and of no apparent rational function, a machine which seems ‘out of place’ and which calls for an explanation. The explanation is subsequently provided by Mr Landor himself, the owner of the house and the narrator’s host who undertakes to describe the origin and history of the annex. The main body of my novel is taken up with Mr Landor’s account of the components of the annex-machine, and the relation of the apparatus to the cottage as a whole.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book also incorporates references to William Beckford’s Gothic novel \u003c\/span\u003e\u003cspan\u003eVathek\u003c\/span\u003e\u003cspan\u003e, which Poe originally quoted in “Landor’s Cottage”. Through this layered, “meta-meta” approach, Graham uses experimental structures and interconnected narratives to explore literary processes of appropriation and alteration. The back cover features a drawing by Graham’s friend and fellow artist Jeff Wall.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188001952083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheSystem.png?v=1783084747"},{"product_id":"100-this-way-brouwn-problems-for-computer-i-b-m-360-model-95","title":"100 this-way-brouwn-problems for computer I. B. M. 360 model 95","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the earliest artist's books to engage with artificial intelligence, this publication extends stanley brouwn's investigation of measurement. Produced in 1970 with the assistance of an IBM computer, \u003c\/span\u003e\u003cspan\u003e100 this-way-brouwn problems for computer IBM 360 model 95\u003c\/span\u003e\u003cspan\u003e marks a radical development in the artist's exploration of spatial perception, particularly when considered alongside his earlier performative project in Amsterdam, to which the title explicitly refers. In that work, brouwn invited passers-by to draw or describe directions to locations within the city. Whether the response took the form of a sketch or a verbal description, the resulting document was authenticated with the stamp \"This way Brouwn,\" transforming everyday acts of navigation into conceptual artworks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book, by contrast, consists of one hundred problems addressed to the IBM 360 Model 95, including requests such as: \"show brouwn the way in all cities, villages, etc., on earth from point x to all other points in those cities, villages, etc.\" Far exceeding the computational capabilities of the period, these instructions were never intended to produce practical solutions. Instead, they expand the conceptual scope of brouwn's \u003cem\u003eThis Way Brouwn\u003c\/em\u003e project by positioning the computer as a speculative interlocutor. The work thus anticipates later artistic explorations of human–machine dialogue, proposing a mode of inquiry in which the value lies in the question rather than its resolution.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188502876499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/IBM.png?v=1783089223"},{"product_id":"afghanistan-zambia","title":"Afghanistan - Zambia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eStanley Brouwn's conceptual practice revolved around themes of distance, movement, and measurement, using physical mapping to move beyond abstract representation towards radically simple forms of depiction. Published in conjunction with the exhibition held at the Gegenverkehr e. V. Zentrum für aktuelle Kunst in Aachen in May 1971, this volume records the artist's \"total number of steps\" in a series of countries, from \"Afghanistan\" to \"Zambia\", transforming numerical data into a performative act of journaling. Through this deliberate redundancy, Brouwn offers a conceptual and poetic way of representing the world: not through images or maps, but through the thousands of steps he literally took.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54206650024275,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Afghanistan-Zambia.png?v=1783244594"},{"product_id":"holy-bible","title":"Holy Bible","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the most remarkable acts of appropriation of the 2010s, this publication finds an uncanny resonance in the troubled times in which we live. Adam Broomberg and Oliver Chanarin’s “Holy Bible” is at once historical and prophetic, narrative and absurd, iconophilic and iconoclastic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy pairing the “Book of Books” with images drawn from the Archive of Modern Conflict (a major London-based photographic collection documenting war and disaster), the artists expose the mechanisms of violence in the age of mechanical and digital reproduction. The selected photographs pierce the veil of the sacred text, infusing it with an unsettling contemporary afterlife. Faithfully mirroring the format of the King James Version, the publication interweaves biblical passages with carefully selected images to interrogate authorship, the evidentiary status of photographs, and the persistence of visual clichés. Inspired by Bertolt Brecht’s annotated Bible, it also reproduces, at intervals, underlined passages, extending the dialogue between religion, history, and the politics of representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207927943507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBibleAdam.png?v=1783259687"},{"product_id":"svolgere-la-propria-pelle","title":"Svolgere la propria pelle","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for \u003c\/span\u003e\u003cem\u003eEven\u003c\/em\u003e\u003cspan\u003e (Spring 2018):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePenone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat same year, Penone carried out a related photographic investigation of his dog, Moretto, in \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eSvolgere la propria pelle – Cane\u003c\/em\u003e (To Unroll One’s Skin – Dog)\u003c\/span\u003e\u003cspan\u003e, extending his exploration of the skin as both a boundary and a surface of inscription.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54216391852371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Penone.png?v=1783356711"},{"product_id":"24-pieces","title":"24 Pieces","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike other prominent artists of his generation, including Noah Purifoy and Ed Ruscha, Allen Ruppersberg was trained at the Chouinard Art Institute. A pioneer of Conceptual art, he has divided his time between Los Angeles and New York, crystallizing a practice spanning painting, photography, sculpture, installation, and artists’ books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe second in a numerical series, “24 Pieces” is illustrated with twenty-four black-and-white photographs of hotel interiors in Los Angeles, most of them in Hollywood, paired with unexpected urban juxtapositions. Each photographic tandem is followed by a blank double-page spread, creating a visual rhythm throughout the book. Designed by Gary Krueger, who also took the photographs, this spare artist’s book is characteristic of Ruppersberg’s minimal practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn dialogue with Ruppersberg’s earlier “23 Pieces”, this publication offers a psychogeographical perspective on Los Angeles at a defining moment in the history of Conceptual art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54244968923475,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/24pieces.png?v=1783599649"},{"product_id":"purloined-a-novel","title":"Purloined: A Novel","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJoseph Kosuth’s conceptual practice is impregnated with Wittgenstein’s philosophy: The meaning of a word is its use in language, says the British thinker. Through intricate strategies of appropriation, Kosuth shifts the rules of semantics according to the context in which words are used. In this tautological exercise, Purloined\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e– a term meaning to steal, filch, or take something dishonestly, often through stealth or a breach of trust – becomes both the title and the method. Kosuth uses 60 sheets from 60 different books to “write” a new novel: a fluid and seemingly coherent narrative assembled entirely from pre-existing texts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis veritable work of para-literature constitutes an ultimate act of appropriation: a piece of literature written in rigorously conceptual terms. Displaced from their original contexts, the sparse pages become the new “words” of a Kosuthian language, in which meaning is neither fixed nor intrinsic, but produced through juxtaposition and context.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245005132115,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Purloined.png?v=1783600436"},{"product_id":"23-pieces","title":"23 Pieces","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFormed, like other prominent artists of his generation, including Noah Purifoy and Ed Ruscha, at the Chouinard Art Institute, Allen Ruppersberg has divided his time between Los Angeles and New York. A pioneer of Conceptual art, his practice spans painting, photography, sculpture, installation, and artists’ books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePart of a numerical series, “23 Pieces” gathers twenty-three black-and-white photographs of places in and around Los Angeles, including Griffith Park, the Century Plaza Hotel, the Los Angeles County Museum of Natural History, and the Hasty Tasty Sandwich Shop. Spiral-bound and without text, this minimal artist’s book is characteristic of Ruppersberg’s practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSlightly performative in nature, with the artist himself appearing intermittently throughout its pages, “23 Pieces” functions as a psychogeographical study of Los Angeles in 1969, a pivotal year for Conceptual art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245204525395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/23pieces.png?v=1783602289"}],"url":"https:\/\/metabooks.art\/collections\/conceptual-art.oembed?page=3","provider":"Metabooks","version":"1.0","type":"link"}