{"title":"DESIGN","description":"","products":[{"product_id":"que-calor-ii-25-2-53-carteles","title":"Que calor II: 25-2-53. Carteles","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is not only an exhibition catalogue for the solo show at the Museo de Arte Contemporáneo de Sevilla, gathering Kippenberger’s posters up to 1983, but also a double act of appropriation at its most incisive: of his own catalogue raisonné published the same year by Walther König, and of Stanley Brouwn’s seminal artist’s book cover “This Way Brouwn”, issued by the same  König in 1971. Whereas Brouwn’s cover records the dates of his two-day performative intervention in Amsterdam, Kippenberger replaces them with his own birth date, rendered in the same concise format: 25.2.53. This double appropriation encapsulates his characteristic practice of recontextualizing his own work while paying homage to an important artistic precedent.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53681143513427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/QueCalorII.png?v=1778110020"},{"product_id":"kippenbergerweg-25-2-53-plakate-1","title":"Kippenbergerweg: 25-2-53. Plakate 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is not only a catalogue raisonné of Martin Kippenberger’s posters up to 1983, but also a subtle act of appropriation at its most incisive, with a “clin d’œil” to Stanley Brouwn’s seminal artist’s book “This Way Brouwn”, published by Walther König eighteen years earlier. Whereas Brouwn’s cover records the dates of his two-day performative intervention in Amsterdam in February 1971, Kippenberger replaces them with his own birth date, written in the same concise format: 25.2.53. This playful gesture encapsulates Kippenberger’s practice of recontextualisation while paying homage to an important artistic precedent.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801277260115,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Kippenbergerweg_5785226e-a035-4597-a948-16cd7697c96e.png?v=1779270600"},{"product_id":"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":"vita-morte-e-miracoli-dell-architettura","title":"Vita, morte e miracoli dell’architettura","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eActive between 1968 and 1972, Gruppo 9999 was among the most visionary protagonists of the Italian neo-avant-garde, challenging the formal and institutional frameworks that defined architectural practice at the time. Founded by Giorgio Birelli, Carlo Caldini, Paolo Galli, and Fabrizio Fiumi, the group was based in Florence at Space Electronic, an experimental venue near the Santa Maria Novella station that transformed, within the same space, from an architecture school by day into a psychedelic club by night. A laboratory for exchange and experimentation, Space Electronic became the stage for Gruppo 9999’s radical exploration of architecture as a cultural, ecological, and ethical practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their work, the group questioned the mechanisms of mass media, the acceleration of consumer culture, and the conventions of architectural production, proposing instead new forms of spatial and social imagination. Their research contributed to the intellectual climate that would soon be identified by Germano Celant, in 1972, as “radical architecture”: an anti-establishment movement that shifted attention away from the profession of architecture itself and toward a critical investigation of its foundations, possibilities, and limits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1971, this rare volume remains one of the most compelling documents of Gruppo 9999’s visionary universe. Richly illustrated with photographs, photomontages, drawings, and comics, it gathers images of projects, installations, and speculative environments that embody the group’s experimental approach. Produced in collaboration with Superstudio and featuring contributions by Ant Farm, Ugo La Pietra, G. Chiari, Portola Institute, G. Pettena, UFO, and others, the publication served as the general catalogue for \u003c\/span\u003e\u003cspan\u003eCatalog Festival n.1\u003c\/span\u003e\u003cspan\u003e, issued on the occasion of the design event \u003c\/span\u003e\u003cspan\u003eS-Space Mondial Festival N.1\u003c\/span\u003e\u003cspan\u003e, held at Space Electronic in Florence from 9 to 11 November 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication’s pages unfold as a visual manifesto, bringing together alternative modes of representation. This dynamic and technologically charged imagery is set against the unexpected serenity of its bucolic cover, designed by Gruppo 9999, whose title (\u003c\/span\u003e\u003cspan\u003eVita, morte e miracoli dell’architettura\u003c\/span\u003e\u003cspan\u003e) suggests the cyclical, transformative vision of architecture that animated the group’s practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027774656851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/999smaller600.png?v=1781881510"},{"product_id":"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\u003cspan\u003eView\u003c\/span\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\u003cspan\u003eSpare Parts\u003c\/span\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":"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\u003cspan\u003eClea Rsky”\u003c\/span\u003e\u003cspan\u003e and “\u003c\/span\u003e\u003cspan\u003eLA AIR”\u003c\/span\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\u003eClea Rsky,\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\u003cspan\u003eClea Rsky\u003c\/span\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\u003cspan\u003eLA Air\u003c\/span\u003e\u003cspan\u003e was the same idea, but it was also a response to \u003c\/span\u003e\u003cspan\u003eClea Rsky\u003c\/span\u003e\u003cspan\u003e using polluted colors instead.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough these works, Bruce Nauman transforms the book into a cartography of perception and uncertainty, in which the boundaries between image and object, representation and reality, are continually unsettled.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030110425427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/CLEARSKYnew.png?v=1781880939"},{"product_id":"l-a-air","title":"L A AIR","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBruce Nauman’s artist’s books often appear deceptively simple, yet they are meticulously constructed around carefully orchestrated mysteries and ambiguities. As Robert Storr writes in his introduction to Nauman’s 1995 retrospective at the Museum of Modern Art, “at times cryptic, at times funny, and always intellectually and emotionally challenging, Nauman touches the raw nerves of contemporary life while making private feelings and hidden doubt publicly accessible.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Clea Rsky” and “LA Air” are among his most enigmatic publications as they operate less as illustrated books than as conceptual mechanisms. These works are built around fundamental inquiries that reveal the concerns of conceptual art: What constitutes an image? What transforms something into a picture? How much meaning can reside in a title, a color, or the physical structure of a book itself?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften discussed together, \u003c\/span\u003e\u003cspan\u003eClea Rsky\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eLA Air\u003c\/span\u003e\u003cspan\u003e are para-photographic experiments that reconsider the relationship between perception and representation. The images they present are “photographs” of the sky produced without a camera. Each publication consists entirely of printed colored pages that evoke the experience of looking upward while simultaneously revealing the constructed nature of that experience. As Nauman explained in an interview, \"Clear Sky was a way to have a book that had only coloured pages- pictures of the sky. I like the idea that you were looking into an image of the sky, but it is just a page: you're not really looking into anything - you're looking at a flat page. LA Air was the same idea, but it was also a response to Clear Sky using polluted colours instead.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough these works, Nauman transforms the book into a cartography of perception and uncertainty, inviting the viewer to question the fluid boundaries between seeing and believing.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030120649043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LAAIR_6de34c3f-4e83-4fa7-a395-2e9acaf47719.png?v=1782396127"},{"product_id":"fin-de-copenhague","title":"Fin de Copenhague","description":"\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eInspired by the Dadaist figure of the flâneur, the Marxist philosopher Guy Debord coined the term “psychogeography” to describe how different environments influence our emotions, perceptions, and behaviour. As Debord wrote in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIntroduction to a Critique of Urban Geography\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1955): “Psychogeography could set for itself the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eIt is said that Guy Debord and Asger Jorn created\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein less than twenty-four hours, dripping paint over thirty-two collages they had previously assembled. These collages followed the logic of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003edétournement\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand combined clippings from French newspapers with pages from the Danish daily\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePolitiken\u003c\/em\u003e, allegedly stolen from a kiosk upon Debord’s arrival in Copenhagen.\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e, the purely psychogeographical pages are relatively few compared with Debord’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGuide psychogéographique de Paris\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1957). Yet this exuberant collaboration between the French philosopher and Jorn \u003cmeta charset=\"utf-8\"\u003e– which continued in 1958 with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMémoires \u003cmeta charset=\"utf-8\"\u003e– \u003c\/em\u003eis an important example of how Situationist artists reimagined the urban myth of the flâneur.\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e\u003cem\u003eFin de Copenhague\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas exhibited in 2023 as part of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFOLDED CITIES\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat Studio 454 in Venice, alongside other twentieth-century urban “radiographies”, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVenezia. Il Canal Grande\u003c\/em\u003e, a curious publication produced by\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIl Gazzettino Illustrato\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1931; Edward Ruscha’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEvery Building on the Sunset Strip\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1966); Shohachi Kimura, Yoshikazu Suzuki, \u003cem\u003eGinza Kaiwai \/ Ginza Haccho \u003c\/em\u003e(1954); \u003cmeta charset=\"utf-8\"\u003eand Jan Henderikse’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBroadway\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1983).\u003c\/p\u003e\n\u003cdiv class=\"metafield-row\"\u003e\u003c\/div\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030134575443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/FindeCopenhagen_1daa7c07-534a-4b77-a5f9-c837247c0a01.png?v=1781783492"},{"product_id":"this-way-brouwn-25-2-61-26-2-61-zeichnungen-1","title":"This way Brouwn: 25-2-61 \/ 26-2-61,  Zeichnungen 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSoon after arriving in Amsterdam in 1957, Stanley Brouwn became associated with the Dutch Nul group, closely related to the German Zero movement, which sought to establish new relationships between art and reality, before later transitioning to a practice more closely aligned with Fluxus and conceptual art. In this playful exercise and original reimagining of psychogeography, Brouwn collected maps and routes drawn by passersby whom he had asked for directions, then rubber-stamped them “This way brouwn”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived over two days in 1961 but not published until a decade later, “This Way Brouwn” remains one of his most performative artist's books. He literally transformed the everyday act of walking into art, in parallel with contemporaries who likewise adopted walking as an artistic medium, from the Situationists' explorations of psychogeography to Richard Long's “A Line Made by Walking” and Robert Smithson's “A Tour of the Monuments of Passaic,” among others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This Way Brouwn” is a walkscape in its own right, carrying both poetic and political resonance. As Francesco Careri writes in his seminal text Walkscapes: Walking as an Aesthetic Practice: \"\u003c\/span\u003e\u003cspan\u003eYou have to learn how to lose time, not always seeking the shortest route, letting yourself get detoured by events, heading towards more impenetrable paths where it is possible to ‘stumble,’ maybe even to get stuck, talking with the people you meet or knowing how to stop, forgetting that you were supposed to proceed; to know how to achieve unintentional walking, indeterminate walking.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54031039856979,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ThisWayBrouwn.png?v=1781792883"},{"product_id":"watch","title":"Watch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"WATCH\"\u003c\/span\u003e\u003cspan\u003e stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSophisticated in form and concept, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e forms an unexpected dialogue with Christian Marclay’s \"\u003c\/span\u003e\u003cspan\u003eThe Clock\"\u003c\/span\u003e\u003cspan\u003e (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040441389395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Watch.png?v=1781855650"},{"product_id":"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":"oracles-artists-calling-cards","title":"Oracles: Artists' Calling Cards","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnimated by 123 artists' business cards from painters, sculptors, photographers, architects, graphic designers, and art historians spanning the eighteenth century to the present day, this materially abundant book is the culmination of a monumental research project. Accompanied by an interactive platform on Patrick Frey's website\u003c\/span\u003e\u003cspan\u003e, it invites readers to explore the rich history and visual language of these ephemeral objects in greater depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than mere professional identifiers, these calling cards reveal how artists chose to present themselves to the world, offering insights into both their public personas and their distinctive modes of simply “being-in-the-world.” Several facsimile cards are loosely inserted throughout the volume, transforming it into a copious \"oracle\" that traces not only the graphic evolution of artists' calling cards but also, more broadly, the history of art itself, from Francesco Goya to Richard Prince.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057206415699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oracles.png?v=1782055024"},{"product_id":"cafe-du-reve","title":"Café du rêve","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “\u003c\/span\u003e\u003cspan\u003evoyage épistolaire”\u003c\/span\u003e\u003cspan\u003e, Lise Lerichomme remarks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “\u003c\/span\u003e\u003cspan\u003eApproach Road”\u003c\/span\u003e\u003cspan\u003e) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (\u003c\/span\u003e\u003cspan\u003eCorrespondances d’artistes : du brouillon à la lettre ouverte\u003c\/span\u003e\u003cspan\u003e, 2012)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExtending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057283977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cafe.png?v=1782056567"},{"product_id":"jmxmage","title":"JMXMAGE","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJMXMAGE is a collaborative art project combining the work of artist Jean-Michel Wicker and the Swiss graphic design studio Maximage, notably presented in an exhibition at Galerie Kamm in Berlin. The title itself is an elliptical abbreviation derived from the names of the artist and the studio. Evoking the text-based paintings of Ed Ruscha as well as the visual poetry of Hansjörg Mayer, the book encodes a complex and sophisticated system of typographic numerals set against chromatic backgrounds distilled into imaginary landscapes. These atmospheric compositions are the result of manual interventions, colour modulations, and mathematical experimentations involving offset plates and grids.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057301213523,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/untitled.png?v=1782056924"},{"product_id":"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":"voda","title":"Voda","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144538476883,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Voda.png?v=1782829761"},{"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“\u003c\/span\u003e\u003cspan\u003efutura” 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":"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“\u003c\/span\u003e\u003cspan\u003efutura” 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":"a-prisoner","title":"A Prisoner","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54214116114771,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DieterRothMultiple1.png?v=1783340113"},{"product_id":"book-17","title":"Book #17","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. 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. 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His Life, His Art, His Films and His Death” by Felix Dennis and Don Atyeo. Originally published by Straight Arrow Books, San Francisco, in 1974, the book was subsequently facsimilised in Arabic by the Modern Library, Beirut, in 1975. For this entirely visual re-publication, Dimitri Bruni and Manuel Krebs (also known as the Swiss graphic-design duo Norm) appropriated the Lebanese edition, whose pages carelessly reproduced newspaper and magazine clippings, unevenly printed in varying shades of grey and scattered across the pages without a fixed layout. When the duo encountered this impoverished edition, the impulse to give it a second life became evident:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The brutalist attitude behind this book design inspired us to re-publish it. Our aim was to achieve the best possible reproduction of these already degraded images. 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