{"title":"CONCRETE AND VISUAL POETRY","description":"","products":[{"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"arlington-une-summer-66","title":"Arlington – Une. Summer ‘66","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141040623955,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Arlington.png?v=1782806395"},{"product_id":"eterografia","title":"Eterografia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe title in Italian,\u003c\/span\u003e\u003cspan\u003e eterografia\u003c\/span\u003e\u003cspan\u003e derives from the Greek roots \u003c\/span\u003e\u003cspan\u003eheteros\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003eother, different\u003c\/span\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cspan\u003egraphia\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003ewriting, inscription\u003c\/span\u003e\u003cspan\u003e), literally meaning \"other writing\" or \"different writing.\" In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn incisive critique on media manipulation and the instability of meaning, the book reconnects with the “\u003c\/span\u003e\u003cspan\u003eeterografia”\u003c\/span\u003e\u003cspan\u003e explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141177004371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eterografia.png?v=1782808101"},{"product_id":"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":"untitled-1","title":"[Untitled, Paulo Bruscky]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54142391779667,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Brusky.png?v=1782820065"},{"product_id":"futura-1-bis-13","title":"Futura 1 bis 13","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduced by poet and printer Hansjörg Mayer in Stuttgart between 1965 and 1968, the \u003c\/span\u003e\u003cspan\u003e\u003cem\u003efutura\u003c\/em\u003e series explored the poetic potential of typography through a sequence of 26 broadsides. Each issue featured an exercise in style by a different artist or poet, who was given complete freedom to experiment with the expressive possibilities of language-based art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe broadsides were subsequently issued in two collectible volumes, each comprising 13 works. The first volume brings together contributions by Mathias Goeritz, Klaus Burkhardt, Max Bense, Reinhard Döhl, Louis Zukofsky, Bohumila Grögerová, Josef Hiršal, Ian Hamilton Finlay, Claus Bremer, Augusto de Campos, Edward Lucie-Smith, Dieter Roth, Emmett Williams, and Frieder Nake, offering a remarkable survey of the international concrete and experimental poetry movement.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144732791123,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Futura1.png?v=1782830888"},{"product_id":"sjalvbiografi","title":"Självbiografi","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eÅke Hodell (1919–2000) was a Swedish poet, visual artist, composer, and former fighter pilot. His aviation career came to an abrupt end in 1941 when he crashed during a training exercise at an airfield in Skåne. Following a lengthy hospitalization, he turned his attention to the arts, merging writing and collage with music, theatre, and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived in 1967, this autobiographical work comprises 37 collages assembled from photographs, cartoons, found images, handwritten and typewritten texts, and printed fragments from a wide range of sources, punctuated throughout by black dots evoking bullet holes. The iconography of this self-portrait ranges from the personal and photographic (most notably a portrait of Hodell as a pilot) to the mythological (the fall of Icarus), anatomical (military medical illustrations), spiritual (a sculpture of the fasting Buddha), graphic (aviation comics), cartographic (historical maps), and graphological (journal entries).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA major retrospective devoted to Hodell's exploration of resistance through art was presented at Malmö Konsthall in 2022.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144968950099,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ake.png?v=1782832518"},{"product_id":"futura-14-bis-26","title":"Futura 14 bis 26","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduced by poet and printer Hansjörg Mayer in Stuttgart between 1965 and 1968, the \u003c\/span\u003e\u003cspan\u003e\u003cem\u003efutura\u003c\/em\u003e series explored the poetic potential of typography through a sequence of 26 broadsides. Each issue featured an exercise in style by a different artist or poet, who was given complete freedom to experiment with the expressive possibilities of language-based art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe broadsides were subsequently issued in two collectible volumes, each comprising 13 works. The second volume brings together contributions by Carlo Belloli, Jonathan Williams, Hiro Kamimura, Wolfgang Schmidt, Pierre Garnier, Bob Cobbing, Edwin Morgan, Dick Higgins, Wolf Vostell, Herman de Vries, Peter Schmidt, Andre Thomkins, and Robert Filliou, offering a remarkable survey of the international concrete and experimental poetry movement.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54150285066579,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Futura2.png?v=1782892872"},{"product_id":"kleine-billardschule","title":"Kleine Billardschule","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54156736430419,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/GerhardR.png?v=1782922922"},{"product_id":"lehrsatze-uber-das-weltall-mit-beweis-in-form-eines-offenen-briefes-an-professor-einstein","title":"Lehrsätze über das Weltall mit Beweis in Form eines offenen Briefes an Professor Einstein","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54156746850643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ruhm.png?v=1782923552"},{"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":"buch-6-zeichenfelder","title":"Buch 6. 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Combining handwork with coding, he anticipated forms of computer-assisted practice that have since become widespread among contemporary artists and designers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn an interview with Kate Long for the Letterform Archive in San Francisco, Marcus traces the arc of his lifelong fascination with typography:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have been interested in the history and transformation of alphabets since childhood. I recall a full-page table in the Funk and Wagnall’s Encyclopedia that my parents had obtained as a give-away. We couldn’t afford the full set, but I had access to the ‘Aa-Az’ volume. I loved looking at the changes of Egyptian (hieroglyphics to hieratics to demotics), Hebrew, and our own Graeco-Roman alphabet. I learned at an early age to read Hebrew as well as English languages, and later learned enough Greek to read signs in Greece and some Russian signs. As a graphic design student, I was introduced to the formal study of letter shapes, their counters, their contours, their history of transformations, and became fascinated with specific fonts in which I had interest, like Helvetica and Times Roman. Along the way, I designed alphabets based on the circle, and I explored letterforms that had lateral symmetry, like E, B, H, etc. and produced small, short books about them.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is an early graphic experiment. It announces Marcus’s ongoing exploration of scientific chart papers, letterform landscapes, and visual and concrete poetry.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54234439516499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Star_bib.png?v=1783514537"},{"product_id":"parables-on-dropping-out","title":"Parables on Dropping Out","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBorn in 1943 and educated at Princeton and Yale Universities, Aaron Marcus is a graphic artist best known for his computer-science-based design and experimental proto-AI compositions. Combining handwork with coding, he anticipated forms of computer-assisted practice that have since become widespread among contemporary artists and designers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn an interview with Kate Long for the Letterform Archive in San Francisco, Marcus traces the arc of his lifelong fascination with typography:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have been interested in the history and transformation of alphabets since childhood. I recall a full-page table in the Funk and Wagnall’s Encyclopedia that my parents had obtained as a give-away. We couldn’t afford the full set, but I had access to the ‘Aa-Az’ volume. I loved looking at the changes of Egyptian (hieroglyphics to hieratics to demotics), Hebrew, and our own Graeco-Roman alphabet. I learned at an early age to read Hebrew as well as English languages, and later learned enough Greek to read signs in Greece and some Russian signs. As a graphic design student, I was introduced to the formal study of letter shapes, their counters, their contours, their history of transformations, and became fascinated with specific fonts in which I had interest, like Helvetica and Times Roman. Along the way, I designed alphabets based on the circle, and I explored letterforms that had lateral symmetry, like E, B, H, etc. and produced small, short books about them.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is an early graphic experiment. 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A photograph of the book’s “co-author” (the Olivetti itself) adorns the cover of this special edition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54296954831187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Olivetti.png?v=1783955084"},{"product_id":"leggere","title":"Leggere","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGiovanni Anselmo’s first artist’s book is a conceptual tautology in the form of visual poetry. In this first edition, the word “leggere” (to read) is graphically articulated across the pages in progressively changing type sizes, appearing once per page until it gradually dissolves into the whiteness of the page. The sequence then reverses, with the word re-emerging and increasing in scale until the page is ultimately saturated by the black of the type.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA minimal novel of the absurd, the work collapses the distinction between the act of reading and the text being read, making reading itself both the subject and the material of the book. A French edition, “Lire”, followed in 1990, and a second Italian edition was published by Castello di Rivoli in 2016.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54317453934931,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Leggere.png?v=1784131304"},{"product_id":"36-in-the-beginning","title":"36. 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Aligning his \"objtexts\" to these definitions, Mario Diacono creates a constellation of political and aesthetic statements, reuniting typographical compositions from two distinct series: \"Objections Milano '67,\" focused mainly on sculptural object poems, and \"Architexture Berkeley 1968,\" consisting of visual poetry and collage. 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