{"title":"COUNTERCULTURE","description":"","products":[{"product_id":"mansmag-homage-to-werkman-and-cavalcade","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \"\u003c\/span\u003e\u003cspan\u003eMANSMAG: Homage to Werkman and Cavalcade\"\u003c\/span\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \"\u003c\/span\u003e\u003cspan\u003eCavalcade\"\u003c\/span\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In his homage, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801284567379,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag_a69e4e5b-1949-4e91-823d-39764daacbc8.png?v=1789196808"},{"product_id":"lolitadzioz","title":"Lolitadzioz","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJonathan Meese’s artistic practice is propelled by a playful yet grotesque sensibility, constructing a personal microcosm shaped by his enduring obsessions with both high and low culture. Pornographic imagery coexists with figures as diverse as the Marquis de Sade, Richard Wagner, Stanley Kubrick, Francis Bacon, and John Wayne, all absorbed into a sprawling mythology that collapses distinctions between history, popular culture, fiction, and ideology. At once irreverent and deeply informed, Meese’s imaginary universe shares affinities with Mike Kelley’s exploration of the Freudian uncanny, where familiar icons return in unsettling and often absurd forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his anarchic and wide-ranging oeuvre, Meese continually expands this mythology through painting, performance, drawing, and installation, appropriating historical, mythical, and cinematic protagonists to interrogate systems of power, authorship, and belief. In this self-published stapled booklet, from an edition of 40 (each unique), he brings together his deliberately naïve drawings of heroes and nemeses with two original photographs, magazine clippings, and loose illustrations, weaving them into a fragmented visual narrative. Oscillating between parody and provocation, the publication extends Meese’s investigations into ideology and what he famously calls the \"dictatorship of art.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027731009875,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/100_cover.png?v=1781772166"},{"product_id":"guevara-shashin-shu-che","title":"Guevara Shashin Shu Che","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal publication from 1969 was assembled by two founding members of \u003c\/span\u003e\u003cspan\u003eProvoke\u003c\/span\u003e\u003cspan\u003e, the underground Japanese photography magazine that, despite its brief existence, transformed the visual landscape of the late 1960s through its radical photographic language and critical writings, guided by the motto: \u003c\/span\u003e\u003cspan\u003e“Provocative documents for the sake of thought.”\u003c\/span\u003e\u003cspan\u003e Published by Kōji Taki and Takuma Nakahira (both Spanish speakers) under the pseudonym \u003c\/span\u003e\u003cspan\u003eBuenos no Hi \u003c\/span\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cspan\u003eThe Light of Buenos\u003c\/span\u003e\u003cspan\u003e), the volume gathers newspaper articles from Latin America and Spain to trace the Cuban Revolution through the life, actions, and death of Che Guevara. Fragments of text and image are brought together across different papers and graphic styles, creating a layered visual narrative suspended between political reflection and an act of remembrance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA book-homage, the project documents the turbulent political atmosphere of the late 1960s, when many Japanese artists and intellectuals were drawn to anti-imperialist and revolutionary ideals. The interplay of photographic reproduction, journalism, and visual experimentation transforms the publication into more than a historical account. Today, it stands as one of the most relevant examples of politically engaged Japanese photobook design.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029962182995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Che_b13d3746-45be-4cec-b87b-aacae2aefb42.png?v=1789196345"},{"product_id":"mansmag-homage-to-werkman-and-cavalcade-1","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \"\u003c\/span\u003e\u003cspan\u003eMANSMAG: Homage to Werkman and Cavalcade\"\u003c\/span\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \"\u003c\/span\u003e\u003cspan\u003eCavalcade\"\u003c\/span\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his own studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In doing so, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055472988499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag2.png?v=1782024445"},{"product_id":"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":"untitled","title":"[Untitled, feet]","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eUnique artist's book consisting of an original newspaper clipping depicting a close-up photograph of chained feet, accompanied by sixteen successive photocopies of the image. Produced by the Mexican collective Grupo Suma (active 1976–1982), the work illustrates the group's politically engaged conceptual practice, which challenged the commodification of art through inexpensive, reproducible media and interventions rooted in everyday urban life. Emerging in the aftermath of the 1968 student protests and subsequent state repression, Grupo Suma used the visual language of mass media to address issues of political violence, censorship, poverty, and social inequality, positioning artistic production as a form of collective resistance and social activation. This unique copy belonged to Mexican painter René Freire.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141251977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Suma.png?v=1782808495"},{"product_id":"staatsterrorismussys","title":"Staatsterrorismussys","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJonathan Meese’s artistic practice is propelled by a playful yet grotesque sensibility, constructing a personal microcosm shaped by his enduring obsessions with both high and low culture. Pornographic imagery coexists with figures as diverse as the Marquis de Sade, Richard Wagner, Stanley Kubrick, John Wayne, and Egyptian pharaohs, all absorbed into a sprawling mythology that collapses distinctions between history, popular culture, fiction, and ideology. At once irreverent and deeply informed, Meese’s imaginary universe shares affinities with Mike Kelley’s exploration of the Freudian uncanny, where familiar icons return in unsettling and often absurd forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his anarchic and wide-ranging oeuvre, Meese continually expands this mythology through painting, performance, drawing, and installation, appropriating historical, mythical, and cinematic protagonists to interrogate systems of power, authorship, and belief. In this self-published stapled booklet, from an edition of 40 (each unique), he brings together his deliberately naïve drawings, syncopated poetry, and personal notes with two original photographs (portraits of himself), Japanese illustrations, and pin-ups, weaving them into a fragmented visual and textual narrative. Oscillating between parody and provocation, the publication extends Meese’s investigations into ideology and what he famously calls the \"dictatorship of art.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54215709524307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Meese25_40.png?v=1783349232"},{"product_id":"gang-bang-at-ground-zero","title":"Gang Bang at Ground Zero","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245534531923,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DashSnowBang.png?v=1783602675"},{"product_id":"id-rather-drink-muddy-water-and-sleep-in-a-hollow-log","title":"I'd Rather Drink Muddy Water and Sleep in a Hollow Log","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54275428614483,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/IdRather.png?v=1783779683"},{"product_id":"movie-list","title":"Movie List","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54275656679763,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/MovieList.png?v=1783782361"},{"product_id":"action-fete","title":"Action Fête","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54283705123155,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ActionFete.png?v=1783859321"},{"product_id":"das-neue-programm-der-cdu-csu-aka-flug-fluxblattzeitung-18","title":"Das Neue Programm der CDU\/CSU [aka flug\/fluxBLATTzeitung 18]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54424927502675,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/dasneueprogramm.png?v=1785242224"},{"product_id":"de-la-misere-en-milieu-etudiant","title":"De la misère en milieu étudiant","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Nous pouvons affirmer, sans grand risque de nous tromper, que l’étudiant en France est, après le policier et le prêtre, l’être le plus universellement méprisé.” [We can say, without much risk of being mistaken, that the student in France is, after the policeman and the priest, the most universally despised being]. Thus begins the militant Situationist pamphlet distributed on 22 November 1966 at the official inauguration of the University Palace in Strasbourg. Written by social critic Mustapha Khayati, titled by philosopher Guy Debord, and published under the auspices of the Situationist International, “De la misère en milieu étudiant” [On the Poverty of Student Life] delivered a radical critique of the university and of student organizations, trade unions, political institutions, and consumer society at large. In their place, it advocated revolutionary action, the abolition of hierarchical relations, and democracy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe first edition was published in Strasbourg in 1966 after five pro-Situationist students used university funds to finance its production and distribution. The ensuing scandal led to their suspension and expulsion. Widely reprinted in 1967, the pamphlet circulated far beyond Strasbourg and became an important precursor to the ideas and practices that shaped the events of May 1968. Halfway through the book, this edition features a double-page comic spread that distills the pamphlet in eleven graphic vignettes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425680380243,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/delamisere.png?v=1785247986"},{"product_id":"die-poesie-der-politischen-wirklichkeit","title":"Die Poesie der Politischen Wirklichkeit","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425767412051,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Peter_Below.png?v=1785249171"},{"product_id":"flug-flux-blattzeitung-11","title":"flug\/flux BLATTzeitung 11","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54432415056211,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Flug_Flux.png?v=1785317142"},{"product_id":"reflection-press-nr-27-individuelle-mythologien","title":"Reflection Press nr. 27: Individuelle mythologien","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54433234714963,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/reflectionpress27.png?v=1785328145"},{"product_id":"reflection-press-nr-24-picasso-das-politische-engagement-im-spiegel-der-presse","title":"Reflection Press nr. 24: Picasso – das politische engagement im spiegel der presse","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54433256145235,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/reflectionPress24.png?v=1785328578"},{"product_id":"paso-de-peatones-2","title":"Paso de Peatones [2]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54578383683923,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4381.png?v=1786625128"},{"product_id":"violence-permanente","title":"Violence Permanente","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54594001371475,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4431.png?v=1786782366"},{"product_id":"collage-geklebtes-mix-1975-1985","title":"Collage\/Geklebtes\/Mix 1975-1985","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54595700031827,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4429.png?v=1786802258"},{"product_id":"time-1st-group-the-democrats-after-chicago","title":"Time. 1st Group (The Democrats After Chicago) [14\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn\u003cem\u003e Time\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis variation of \u003c\/span\u003e\u003cspan\u003eTime\u003c\/span\u003e\u003cspan\u003e was made using the September 6, 1968 issue. Heinecken retained the original cover, titled “The Democrats after Chicago”, featuring stylized portraits of Hubert Humphrey and Edmund Muskie in the aftermath of the 1968 Democratic National Convention. Each work in the series is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 14 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638855717203,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4499_07bef564-eab0-49c1-b663-004c16614fa3.png?v=1789311052"},{"product_id":"time-1st-group-raquel-welch","title":"Time. 1st Group (Raquel Welch) [12\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \u003cem\u003eTime\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation for her role as Myra Breckinridge, the transgender protagonist of the film adaptation of Gore Vidal’s eponymous novel. Each variation is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 12 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638887469395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4503_38d7d798-3802-46ed-96d0-066ec8761703.png?v=1789310920"},{"product_id":"time-1st-group-raquel-welch-4-16","title":"Time. 1st Group (Raquel Welch) [4\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \u003cem\u003eTime\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation for her role as Myra Breckinridge, the transgender protagonist of the film adaptation of Gore Vidal’s eponymous novel. Each variation is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 4 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638924923219,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4501_fec371b7-d1f2-4a88-b7f5-ee29b8dd1e3c.png?v=1789310881"},{"product_id":"destruktion-af-rsg-6-danger-official-secret-destruction-of-the-rsg-6","title":"Destruktion af RSG-6 [Danger! Official Secret, destruction of the RSG-6)]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eDestruktion af RSG-6\u003c\/em\u003e was a collective avant-garde exhibition organized by the Situationist International (SI) at Galerie EXI in Odense, Denmark, from June 22 to July 7, 1963. Curated by J.V. Martin in collaboration with Guy Debord and Michèle Bernstein, the project took its title from a British anti-nuclear pamphlet and was conceived through three metaphorical environments: shelter, revolt, and exhibition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe principal manifesto, “The Situationists and the New Forms of Action in Politics and Art”, was translated into several languages and articulated the SI’s insistence on an inseparable relationship between social transformation and cultural practice, while affirming the capacity of art to confront and contest political structures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The situationist movement comprises three things: it is an artistic avant-garde, it seeks through experimentation to find the way to the human being's free arrangement of his daily life, and finally, it cooperates with the practical and theoretical erection of a new revolutionary contest.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe manifesto further argues that cultural creativity and social transformation must advance together, while explicitly rejecting the subordination of art to political doctrine. As the Situationists stated, their call for a unified conception of art and politics “absolutely does not mean that we recommend conformity of art to politics.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe importance of this publication lies in its exceptional status within the history of the Situationist International: it is associated with what is generally regarded as the SI’s only collective exhibition staged in a conventional gallery context. The present copy, bearing a Copenhagen postmark, was sent to the Dutch collector Tjeerd Deelstra in 1963.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639149318483,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4481.png?v=1787231056"},{"product_id":"periodical-6-2nd-group-glamour","title":"Periodical #6. 2nd Group (Glamour)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this second group of\u003cem\u003e Periodicals\u003c\/em\u003e, Heinecken cut pages from Glamour magazine, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory sequence. The resulting juxtapositions of erotic imagery with beauty, fashion, and popular-culture journalism unsettle the conventions through which mass media constructs and circulates images of femininity. By superimposing anonymous erotic silhouettes onto the magazine’s representations of beauty and glamour, Heinecken exposes the objectification of the female body and shifts attention from the consumption of images to the mechanisms through which they are produced and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis variation was made using the July 1969 issue of Glamour (US edition). Heinecken retained the original cover, featuring actress Cybill Shepherd, who would be cast two years later by Peter Bogdanovich in \u003cem\u003eThe Last Picture Show\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \u003c\/em\u003e\u003cspan\u003e(1971), and seven years later by Martin Scorsese in \u003cem\u003eTaxi Driver \u003c\/em\u003e(1976). Each Periodical is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 4 of 9.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54649778045267,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4497_4d446aad-4786-4c3f-8ead-25e097407d45.png?v=1789311182"},{"product_id":"you-can-t-drink-it-if-it-s-frozen-the-dash-snow-purple-book","title":"You can’t drink it if it’s frozen. The Dash Snow Purple Book","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54737282498899,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4550.png?v=1787755187"},{"product_id":"the-nycs-weekly-breeder-vol-3-no-5","title":"The NYCS Weekly Breeder. Vol. 3, no. 5","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54737301012819,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4558.png?v=1787755475"},{"product_id":"the-nycs-weekly-breeder-vol-3-no-3","title":"The NYCS Weekly Breeder. Vol. 3, no. 3","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54737344594259,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4559.png?v=1787755814"},{"product_id":"nitrous-oxide-1","title":"Nitrous Oxide #1","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54745728188755,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4556.png?v=1787820472"},{"product_id":"bulletin-maximal-art-new-tendencies-critic-note-information-few-pieces-of-mail-art","title":"Bulletin Maximal Art: New Tendencies, Critic Note Information, Few Pieces of Mail Art","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54750274126163,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4555.png?v=1787838302"},{"product_id":"guerilla-handboek","title":"! Guerilla Handboek !","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis booklet was published by Jan F. van Opstal, a Dutch artist and radical counter-cultural activist about whom little information is available, with the support of the Philosophical Circle of Ghent University. Its contents were primarily derived from \u003cem\u003eThe Anarchist Cookbook\u003c\/em\u003e, first published in 1971, a controversial manual containing instructions for explosives, rudimentary telecommunications and phreaking devices, and other forms of weaponry. Its author, William Powell, wrote the book amid the anti-Vietnam War movement of the early 1970s, but later expressed regret over having produced what became a notorious vademecum of clandestine warfare. Nevertheless, the book endured as a seminal manual of underground and guerrilla struggle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVan Opstal’s variation on Powell’s anarchist manual, falsely marked with the stamp of the “Ministère de la Justice”, was designed to resemble a raw, clandestine handbook. Its contents, however, merge practical instructions with political philosophy, activist concepts, and gestures of artistic rebellion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis shorter reworking of Powell’s anarchist manual is also considerably milder. It opens with a Foreword stressing that “anarchism is essentially nonviolent”, the importance of directing actions against institutions rather than individuals, and, among other references, a quotation attributed to Malcolm X: “It is a criminal act not to teach people how to defend themselves when they are constantly exposed to brutality.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn the disclaimer, Van Opstal further states that the book is by no means intended for children or the mentally disabled. In keeping with this warning, METABOOKS will exceptionally present the accompanying video at fast-forward speed.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778397557075,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4527.png?v=1787992705"},{"product_id":"aktual-schmuck-no-4","title":"Aktual Schmuck [No. 4]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn its relatively short run, from 1972 to 1976, \u003cem\u003eSchmuck\u003c\/em\u003e magazine produced eight international issues: No. 1, \u003c\/span\u003e\u003cspan\u003eSchmuck Presents Real Schmuck\u003c\/span\u003e\u003cspan\u003e (1972); No. 2, \u003c\/span\u003e\u003cspan\u003eIcelandic Schmuck\u003c\/span\u003e\u003cspan\u003e (1972); No. 3, \u003c\/span\u003e\u003cspan\u003eHungarian Schmuck\u003c\/span\u003e\u003cspan\u003e (1973); No. 4, \u003c\/span\u003e\u003cspan\u003eAktual Czechoslovakia Schmuck\u003c\/span\u003e\u003cspan\u003e (1974); No. 5, \u003c\/span\u003e\u003cspan\u003eTeutonic Schmuck\u003c\/span\u003e\u003cspan\u003e (1975); No. 6, \u003c\/span\u003e\u003cspan\u003eFrench Schmuck\u003c\/span\u003e\u003cspan\u003e (1974); No. 7, \u003c\/span\u003e\u003cspan\u003eGeneral Schmuck\u003c\/span\u003e\u003cspan\u003e (1976); and No. 8, \u003c\/span\u003e\u003cspan\u003eJapanese Schmuck\u003c\/span\u003e\u003cspan\u003e (1976). Edited by the three core members of Beau Geste Press – Felipe Ehrenberg, Martha Hellion, and David Mayor – the magazine was conceived as a cooperative “assemblage” project, bringing together dozens of pioneering avant-garde, Fluxus, and conceptual artists from around the world, including Robert Filliou, Dick Higgins, Carolee Schneemann, Marcel Broodthaers, Christian Boltanski, and Mieko Shiomi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Czechoslovakian issue was coordinated by Milan Knížák, leader of the Aktual Group, who smuggled out documentation of radical street performances and other experimental work. Under strict government censorship, artists behind the Iron Curtain turned to \u003cem\u003eSchmuck\u003c\/em\u003e and the wider Mail Art networks as clandestine channels for circulating and publishing their work. Through ingenious strategies of concealment, they disguised radical visual poetry and politically sensitive material as apparently meaningless doodles, sketches, or typewriter exercises.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe conception of this particular issue can thus be understood as a form of cultural survival. Knížák himself was brought before a Prague court and charged with discrediting the image of Czechoslovakia. He was ultimately acquitted, and the issue he had conceived as early as 1972 travelled safely to Devon, where it was published intact by Beau Geste Press two years later. Curated by Knížák, it brings together texts, drawings, photographs, and ideas by Soňa Švecová, Helena Pospíšilová, Robert Wittmann, J. Patočka, P. Tichý, Zdenka Žižková, Jan Maria Mach, V. Korejs, M. Marik, and Knížák himself.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778549797203,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4548.png?v=1787995132"},{"product_id":"the-paranoid-style","title":"The Paranoid Style","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInspired by the influential political theory of American historian Richard Hofstadter, who introduced the phrase “the paranoid style” in his seminal 1964 essay “The Paranoid Style in American Politics” (\u003cem\u003eHarper’s Magazine\u003c\/em\u003e, November 1964), German artist Kerstin Brätsch constructs an experimental compendium of the absurd. \u003cmeta charset=\"utf-8\"\u003eAfter gathering hundreds of conspiratorial headlines from the print media, the artist scans and assembles them into an artist’s book in which form and subject are inseparable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe fragmentary succession of headlines produces a peculiar narrative, revealing both the poetry and the rhetoric of media-driven anxiety: “Strange rituals unfold in a strange room”, “Hundreds disappear into the black hole”, “Women in prison with zombies”, “Long-awaited medical study questions the power of prayer”, “Masters of the universe, unite!”, “A Talking Head Meets His Comic Doppelganger, and Sparks Fail to Fly”, “Life Imitates an Imitation”, and so on. Detached from their original contexts and brought into proximity, these fragments form a surreal pantheon in which fact and fiction, evidence and speculation, become increasingly difficult to distinguish.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough hyperbole, sensationalism, and an atmosphere of heightened suspicion, the accumulation of headlines reveals the mechanism through which media narratives can amplify uncertainty and transform isolated events into seemingly interconnected signs. In this constellation of the absurd, Brätsch does not simply illustrate conspiracy culture; she renders visible its overwhelming and obsessive logic, in which the incessant production and circulation of information becomes itself a source of paranoia.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54847647187283,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4586.png?v=1788446538"},{"product_id":"self-portraits-from-cracow-autoportrety-z-krakowa","title":"Self portraits from Cracow \/ Autoportrety z Krakowa","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54911152882003,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4593.png?v=1789049677"},{"product_id":"reve-zs","title":"REVE\/ZS","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTrained in printmaking and painting in his native Bogotá, Santiago Rebolledo moved to Mexico right after his studies, where he developed a politically engaged practice as a member of Grupo Suma (active 1976–1982). The group was a militant artistic collective whose activities included printmaking, urban art, graffiti, stencil and other critical interventions in public space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare publication dates from 1978 and consists of only six handmade copies. It combines collage, montage, stamp art, mimeography, and xerography. A photocopied image of a woman is repeated throughout the publication. The same image also exists as a single loose xeroxed sheet on Toluca’s website, where it is titled \u003cem\u003eLa desaparecida\u003c\/em\u003e. The identity of the woman depicted has not been established. The image appears to relate to the political repression and enforced disappearances carried out during Mexico’s so-called \u003cem\u003eDirty War\u003c\/em\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis particular copy belonged to Lourdes Grobet. A handwritten note in the publication records that other copies were sent to Felipe Ehrenberg, Guadalupe Sobarzo, and Santiago Rebolledo. A typed text on a small paper bag inserted into the publication states that this \u003cem\u003eMesa de Madera\u003c\/em\u003e publication was produced in collaboration with Sobarzo Lupe (Guadalupe Sobarzo), another member of Grupo Suma.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54911180538195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4578.png?v=1789050052"}],"url":"https:\/\/metabooks.art\/collections\/counterculture.oembed","provider":"Metabooks","version":"1.0","type":"link"}