{"title":"EXHIBITION CATALOGUE","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":"heavy-burschi","title":"Heavy Burschi","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeavy Burschi\u003c\/span\u003e\u003cspan\u003e (\"Heavy Guy\" or \"Heavy Lad\") is one of Martin Kippenberger's most disruptive bodies of work, developed between 1989 and 1990. It was first presented as an installation at the Kölnischer Kunstverein, Cologne (10 November–22 December 1991), comprising a large metal refuse container filled with destroyed paintings, accompanied by thirty-three framed colour photographs documenting their destruction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work's origin, however, is more complex than the installation itself, evoking Kippenberger's interest in self-mythology and institutional critique. The discarded paintings were not originals but copies of Kippenberger's own works, executed by his assistant (Merlin Carpenter) at the artist's request. Judged by Kippenberger to be \"too well done\", the canvases were slashed, dismantled, and thrown into the refuse container, but only after being meticulously photographed. The resulting installation is a complex gesture of vandalism in which originality and authorship are simultaneously negated and reaffirmed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication accompanying the exhibition concludes with a reproduction of Kristine McKenna's critical review of Kippenberger's previous exhibition at Luhring Augustine Hetzler Gallery in Santa Monica, originally published in the \u003c\/span\u003e\u003cspan\u003eLos Angeles Reader\u003c\/span\u003e\u003cspan\u003e. While dismissing the paintings as derivative and insufficiently considered, McKenna nevertheless acknowledged the artist's riotous attempt:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"A social critic who transforms the trash of a corrupted culture into ironic commentary on the personality crisis of the human race, Kippenberger isn't venturing on any new turf in pointing out our collective failures as a society; beneath its veneer of flashy provocation, his work isn't terribly original and is often poorly thought out.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than any of Kippenberger's projects, \u003c\/span\u003e\u003cspan\u003eHeavy Burschi\u003c\/span\u003e\u003cspan\u003e reveals the artist simultaneously embracing and undermining the logic of the art market. Through the destruction of commissioned copies of his own work, he erases the distinction between original and reproduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 2026, \u003c\/span\u003e\u003cspan\u003eHeavy Burschi\u003c\/span\u003e\u003cspan\u003e was re-staged by curators Jean de Loisy and Margaux Bonopera for the exhibition \u003c\/span\u003e\u003cspan\u003eSUSPECTS – Van Gogh, Tricksters \u0026amp; Co.\u003c\/span\u003e\u003cspan\u003e at the Fondation Vincent van Gogh in Arles.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53799099695443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Heavy.png?v=1779232265"},{"product_id":"bilder-verwischungen-happening-notationen-1961-1966","title":"Bilder Verwischungen. Happening-Notationen 1961-1966","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055379861843,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Vostel.png?v=1782021796"},{"product_id":"albert-vs-history","title":"albert vs. history","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived on the occasion of Albert Oehlen’s solo exhibition at Kunsthalle Basel in 1997, this publication enacts Oehlen’s anachronistic dialogue with art history. His work is brought into dialogue with an expansive range of references, spanning Old Masters such as Johannes Vermeer and Pieter Bruegel the Elder to contemporaries including Gerhard Richter and Julian Schnabel. This index of names appears at the end of the publication as well as on the covers, where it is juxtaposed with an illustration of a medieval knight in full armour bearing a lance emblazoned with the initial \"O\". The armour closely resembles those depicted in the 16th-century \u003c\/span\u003e\u003cspan\u003eFreydal\u003c\/span\u003e\u003cspan\u003e tournament book, perhaps suggesting Oehlen’s characteristically understated challenge to the authority of art history. As with many of his artistic projects, Oehlen dedicated this publication to his friend Martin Kippenberger.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061189398867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oehlen.png?v=1782112990"},{"product_id":"cardbirds","title":"Cardbirds","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062313832787,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cardboards.png?v=1782121032"},{"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":"photocollage","title":"Photocollage","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063024406867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Photocollage.png?v=1782128391"},{"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":"lets-take-back-our-space-female-and-male-body-language-as-a-result-of-patriarchal-structures","title":"‘Let's Take Back our Space’: “Female” and “Male” Body Language as a Result of Patriarchal  Structures","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal artist's book was conceived during the second wave of feminism in the 1970s, a period in which the concept of “\u003c\/span\u003e\u003cspan\u003ebody politics”\u003c\/span\u003e\u003cspan\u003e gained prominence through campaigns against domestic violence and the objectification of women, as well as movements advocating for abortion rights. Marianne Wex's thoughtful visual and textual survey of gendered body language is based on a corpus of more than 5,000 photographs of human gestures, either taken by the artist in Hamburg or collected from a wide range of media between 1974 and 1977, including advertisements, films, news reports, and historical publications. From this initial corpus, Wex selected 2,037 images for publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis ambitious project originated from a personal enquiry into the ways in which patriarchy shapes the behaviour of bodies and their representation in the world. How, and why, are femininity and masculinity embodied differently across social, political, and artistic contexts? The book is carefully structured around themes that continue to resonate in contemporary discussions of gender (and beyond) in both art history and broader social discourse: \u003c\/span\u003e\u003cspan\u003eMan's Struggle Against Womanpower and the Effects Upon Body Language Throughout the Course of History\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eHow the Men of Christianity Took Over an Old Goddess Gesture\u003c\/span\u003e\u003cspan\u003e; and \u003c\/span\u003e\u003cspan\u003eFeminine and Masculine Body Forms in Today's Patriarchy\u003c\/span\u003e\u003cspan\u003e. Wex concludes her iconographic investigation with two empirical accounts: a reflection on her own bodily experience in the world and a personal observational narrative describing bodies and gestures encountered during a train journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs stated on the back cover, the project was first presented in 1977 as a photographic exhibition at the Neue Gesellschaft für Bildende Kunst in Berlin, in conjunction with the exhibition \u003c\/span\u003e\u003cspan\u003eWomen Artists International, 1877–1977\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141754310995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LetsTakeBack.png?v=1782811614"},{"product_id":"the-uncanny","title":"The Uncanny","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The Uncanny” presents Mike Kelley as artist and curator, one year after his first major European exhibition at the ICA, London, in 1992. Organized by Sonsbeek 93 at the Gemeentemuseum Arnhem, Netherlands, in 1993, the curatorial project and its accompanying artist’s book represent the culmination of Kelley's long-term engagement with the Freudian concept of \u003c\/span\u003e\u003cspan\u003eDas Unheimliche\u003c\/span\u003e\u003cspan\u003e (1919), which describes the unsettling convergence of the familiar and the strange: \"The uncanny is in reality nothing new or alien, but something which is familiar and old-established in the mind and which has become alienated from it only through the process of repression.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExpanding on this notion, Kelley conceived an exhibition centred on memory, repression, anxiety, death, sexuality, and the grotesque. Prefaced by an original psychoanalytic and iconographic essay written by the artist, the exhibition brings together works by Robert Gober, Edward Kienholz, Martin Kippenberger, Sandy Skoglund, Cindy Sherman, and others, each exploring, in distinct ways, the disquieting nature of the ordinary. Through a carefully orchestrated juxtaposition of artworks and vernacular artefacts (including inflatable dolls, anatomical models, educational objects, and curiosities), Kelley stages an excavation of his own fears and obsessions, transforming the act of curating into one of psychological inquiry and liberation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144516489555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheUncanny.png?v=1782829088"},{"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":"zeichnungen-fur-ein-kleines-zimmer-grafisches-kabinett-secession-wien-27-mai-21-august-2011","title":"Zeichnungen für ein kleines Zimmer: Grafisches Kabinett-Secession, Wien 27.Mai - 21.August 2011","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Grafisches Kabinett - Secession in Vienna, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188178768211,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/27Mai21August2011.png?v=1783085122"},{"product_id":"zeichnungen-fur-ein-kleines-zimmer-vol-ii-punta-della-dogana-venezia-13-aprile-2014-31-dicembre-2014","title":"Zeichnungen für ein kleines Zimmer, Vol II: Punta della Dogana, Venezia 13.Aprile 2014 - 31.Dicembre 2014","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Punta della Dogana in Venice, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188241224019,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/13April31December2014.png?v=1783085845"},{"product_id":"zeichnungen-fur-ein-grosses-bild-museum-ludwig-koln-23-april-22-august-2010","title":"Zeichnungen für ein großes Bild: Museum Ludwig Köln 23.April - 22.August 2010","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Museum Ludwig, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188281921875,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/23April22August2010.png?v=1783086080"},{"product_id":"zeichnungen-von-drama-und-fruhstuck-im-atelier-museum-brandhorst-munchen-28-januar-30-april-2017","title":"Zeichnungen von Drama und Frühstück im Atelier: Museum Brandhorst, München 28.Januar - 30.April 2017","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Brandhorst Museum in Munich, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188319506771,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/28January30April2017.png?v=1783086260"},{"product_id":"zeichnungen-von-drama-und-fruhstuck-im-atelier-vol-ii-serpentine-gallery-london-29-september-2017-4-february-2018","title":"Zeichnungen von Drama und Frühstück im Atelier Vol. II: Serpentine Gallery, London 29.September 2017 - 4.February 2018","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. 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First presented at the Hatton Gallery in Newcastle and subsequently at the ICA (Institute of Contemporary Arts) in London, the exhibition and publication explored the mythopoetic relationship between man and the moving machine. Originally titled \u003cem\u003eHuman Motion in Relation to Adaptive Appliances\u003c\/em\u003e, the project offers an iconographic study of humanity’s fascination with movement, from Leonardo da Vinci’s drawings of mechanical inventions to photographs of racing cars. In the preface co-authored with Lawrence Gowing, the artist writes:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The relation between man \u0026amp; machine is a kind of union. The two act together like a single creature. 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This new affiliation, evoking much that is heroic and much that is terrible, is with us, not only in the sky, but in every street where a boy joins magically with his motor-bicycle, his face whipped by the wind and stiffened by a passion for which we have no name.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing primarily on images sourced from the King's College Library, Hamilton assembled a thematic study in which text and image trace not only the technological evolution of motion but also the fetishistic fascination it has inspired. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207808176467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Hamilton.png?v=1783258507"},{"product_id":"48-portraits","title":"48 Portraits","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“48 Portraits” is a series of photorealistic paintings by the German artist Gerhard Richter, created in 1971–72. The series comprises forty-eight portraits of prominent men from cultural history, selected from an initial group of 270 figures drawn from encyclopaedias and history books. Executed in black and white and uniform in format and dimensions, the portraits depict heads symmetrically oriented towards the centre, forming a visually cohesive, slightly patriarchal, intellectual pantheon: Max Planck, Paul Valéry, Albert Einstein, Giacomo Puccini, José Ortega y Gasset, Gustav Mahler, among many others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRichter first exhibited “48 Portraits” at the 1972 Venice Biennale, where he represented Germany, situating the project within the complex and troubled historical legacy of the Pavilion and its architecture. The installation is now held permanently at Museum Ludwig in Cologne. 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The publication unfolds as a sequence of screenshots (photographs taken directly from his TV) paired with 36 paintings, each reframed and enlarged by the artist until the image dissolves into grainy abstraction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived as an artist’s book, this simple yet sophisticated publication accompanied a comprehensive exhibition at the IVAM, Centre del Carme in Valencia, bringing together McCollum’s “Plastic Surrogates,” “Perfect Vehicles,” “Perpetual Photos,” “Individual Works,” and “Drawings”.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54305210827091,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AllanMc.png?v=1784039048"},{"product_id":"les-images-stimuli","title":"Les Images Stimuli","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInvited by Laure Adler to her television program in May 1996, artist Christian Boltanski spoke of his artworks as a “stimulus”, explaining that the work is ultimately created by the person who looks at it. 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The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, bringing together critical texts by several art historians alongside writings by the artists themselves. Together, these contributions situate their work within a period marked by the collapse of Soviet communism and growing collective anxieties.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his introductory essay, curator Frank Wagner examines how Cady Noland and Félix González-Torres use different strategies to reflect on American social and political issues. Noland confronts these subjects through chaotic installations of meticulously chained objects (beer cans, handcuffs, walking aids, and flags) as well as metal plates depicting episodes of American violence, including the assassinations of Abraham Lincoln and John F. 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Centred on distance, movement, and physical mapping, his work replaced abstract visual representation with literal and radically minimal forms of depiction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished on the occasion of the eponymous exhibition at the Stedelijk Museum, this artist’s book distills Brouwn’s interest in walking as an artistic medium. A gesture in psychogeography, it consists of 21 instructions for short walks, ranging from “walk 95 m in the direction of la paz” to “walk 5 m in the direction of guatemala”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book’s spare structure alternates each instruction with a blank page, leaving the reader to envision a journey towards a distant destination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBrouwn’s propositions resonate with the work of Robert Smithson and Richard Long, whose practices similarly engaged with movement and space. 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