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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. 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Associated with the ZERO movement and its international counterparts – including the Nul group in the Netherlands, the Nouveaux Réalistes in France, Azimuth in Italy, and the Gutai group in Japan – the exhibition featured works by Robert Breer, Pol Bury, Yves Klein, Heinz Mack, Enzo Mari, Bruno Munari, Günther Uecker (whose name appears as “Necker” on the cover), Otto Piene, Dieter Roth, Jesús Rafael Soto, Daniel Spoerri, Jean Tinguely, and Paul Van Hoeydonck.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his curatorial statement, Marc Callewaert emphasizes the centrality of movement within the visual arts and advocates embracing science and new media as essential forces in artistic work:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Throughout the ages, the artist has sought to make perceptible what Henri Michaux calls ‘the inner movements for which there exist no limbs’. From the grandiloquent, pathos-driven gestures of Baroque art, through trompe-l'œil and Futurist illusionism, there has been but one and the same concern to go beyond, the same need to break the static order, to ‘displace the lines’. The advent of cinema, while demonstrating henceforth the arbitrariness of any clear demarcation between technical discovery and artistic creation, came to prove that all real movement implies duration, and that duration presupposes space. If the artist does not wish to endanger either the vital rhythm or the very integrity of the work, it is these two dimensions – duration and space – that the artist will strive to conquer. Quite naturally, he will thus be led to create new media. And we shall witness, with the research of spatio-dynamism, a great questioning of the plastic language. Responding to the scientific propositions of his time while transcending them, the artist affirms his central position and his spiritual function. Less than ever can he live on the margins of his era. For him, more than for anyone, science is a terrain of inspiration, the machine a friend. Recalling Moholy-Nagy’s wish for ‘a broader, more general view of the inter-relatedness of art and life,’ his works tend toward a new unity and a new poetry: one in which not only the emotional content of a century may express itself through its mechanical conquests, but where sensibility will awaken to the beauty, the magic, and the very message of these conquests. May this international gathering, assembled for the first time in Antwerp, at the Hessenhuis, reveal some of the infinite possibilities that remain to be explored in this field.” (loosely translated from the French.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKinetic art is incorporated into the catalogue itself through unique contributions (mostly cut-outs and fold-out texts) by Mack, Piene, Roth, Bury, Tinguely, and guest artist Emmett Williams. The exhibition and catalogue represent seminal documents in the international dissemination of their work, presenting their artistic research to an international audience for the first time.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54570819256659,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4349.png?v=1786543864"},{"product_id":"pussywillow-a-journal-of-conditions","title":"Pussywillow: A Journal of Conditions","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJust like Cecilia Vicuña’s \u003cem\u003eSabor a mí\u003c\/em\u003e, Felipe Ehrenberg’s book was published in the immediate aftermath of the Pinochet coup in Chile. Despite its title, the publication has little to do with the early-spring tree, except perhaps metaphorically. We learn from the book’s colophon that the project was originally intended for publication by Unity Press, California, as a sort of homage to its founder, the countercultural writer Stephen Levine, “but something must have happened, and the project wasn’t undertaken.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEhrenberg himself describes this gathering of findings, clippings, journal entries, newspaper scraps, and erotic imagery as “a wild shot in the dark”. This ambiguity follows the reader through the pages of a fragmentary “journal of conditions.” The political, social, cultural, corporeal, and personal interweave across its pages, marking the crystallization of an embodied poetics of graphic matter linked to radical social objectives. Guided by Ehrenberg’s handwritten motto at the beginning of the publication (“Tell me what you collect and I’ll tell you who you are, who we are”), this elliptical publication becomes an act of introspection, bringing together materials collected by the artist over the course of two years.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54577657971027,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4379.png?v=1786623490"},{"product_id":"haz-de-gis","title":"Haz De Gis","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe textured publications of Yani Pecanins embody the feminist experimentation that defined Mexico's golden age of independent publishing, from the early 1970s through the 1990s: Beau Geste Press, La Flor de Otro Día, etc.. Born to German and Catalan immigrant parents, Pecanins studied linotype and bookbinding. In 1977, she co-founded Cocina Ediciones to support the work of lesser-known artists and to create new circuits for its dissemination; in early 1990s, she co-founded the bookstore El Archivero, dedicated to artists' books. Cocina Ediciones' publications combined photography, calligraphy, rubber stamps, collage, tactile materials, and found objects to explore themes of intimacy, isolation, memory, and loss.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this haptic mimeographed book, Pecanins challenges clichés surrounding representations of women in Mexico through eight cardboard leaves housed in a handmade folder. Incorporating staples, stitching, and stickers bearing phrases such as “Mamacita, tus hijos te adoran” the opening collages depict women engaged in domestic activities: cleaning house, cooking, weaving on a loom. The final images, by contrast, suggest liberation from these stereotypes, culminating in a woman pressing ink onto a mimeograph to make her own art. This subtle transition captures the understated character of Pecanins' feminism, which engages with both Mexican popular culture and the contemporary experimental art scene through poetry, wit, and material play.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54580117930323,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4341.png?v=1786628506"},{"product_id":"dix-fresques-confuses-a-cinq-voyelles","title":"Dix fresques confuses à cinq voyelles","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54580347797843,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4351.png?v=1786631055"},{"product_id":"auf-ein-blatt-eine-spielanleitung","title":"Auf ein Blatt \u0026 eine Spielanleitung","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54595622109523,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4411.png?v=1786800528"},{"product_id":"an-anthology-of-chance-operations","title":"An Anthology of Chance Operations","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe seminal Fluxus compilation \u003c\/span\u003e\u003cem\u003eAn Anthology\u003c\/em\u003e\u003cspan\u003e, edited by La Monte Young and Jackson Mac Low, and designed by George Maciunas, was published in two editions beginning in 1963.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSlightly larger than the scarce first edition, the second edition was published by Heiner Friedrich in 1970. It revisited and expanded the original content while reflecting the evolving constellation of Fluxus artists: George Brecht, Claus Bremer, Earle Brown, Joseph Byrd, John Cage, David Degener, Walter De Maria, Henry Flynt, Yoko Ono, Dick Higgins, Toshi Ichiyanagi, Terry Jennings, Dennis, Ding Dong, Ray Johnson, Jackson Mac Low, Richard Maxfield, Robert Morris, Simone Forti, Nam June Paik, Terry Riley, Dieter Rot, James Waring, Emmett Williams, Christian Wolff, and La Monte Young. Whereas Simone Forti appears in relation to Robert Morris in the first edition, the second reflects the period following their divorce, presenting her contribution as an untitled dance construction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe nature of these artists’ exercises in style helps define the logic of Fluxus, a logic encoded by Maciunas in the rotated typographic pages at the beginning of the volume: chance operations, concept, anti-art, indeterminacy, improvisation, meaningless work, natural disaster, essays, poetry, and plays.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Getty Research Institute holds a preliminary edition of \u003c\/span\u003e\u003cem\u003eAn Anthology of Chance Operations\u003c\/em\u003e\u003cspan\u003e, a unique handbound example that predates the standard 1963 edition edited by La Monte Young.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54595779264851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4386.png?v=1786803143"},{"product_id":"de-coll-age-7-elektronischer-happening-raum","title":"dé-coll\/age 7: Elektronischer Happening Raum","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54601206202707,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4458.png?v=1786888192"},{"product_id":"parts-of-a-body-house-book","title":"Parts of a Body House Book","description":"\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCarolee Schneemann’s production of artists’ books is relatively limited yet significant, comprising \u003c\/span\u003e\u003cem\u003eParts of a Body House Book\u003c\/em\u003e\u003cspan\u003e (1972), \u003c\/span\u003e\u003cem\u003eCézanne, She Was a Great Painter\u003c\/em\u003e\u003cspan\u003e (1975), and \u003c\/span\u003e\u003cem\u003eVulva’s Morphia\u003c\/em\u003e\u003cspan\u003e (2002), among other works. These transgressive publications extend her performative scripts into the tactile and the “flippable”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInfluenced by Simone de Beauvoir’s feminist philosophy,\u003cem\u003e Parts of a Body House\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewas developed through two distinct editorial iterations. An initial, condensed version appeared in 1970 in \u003cem\u003eFantastic Architecture\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e, published by Something Else Press, while a more expansive and materially textured version was published by Beau Geste Press in 1972.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRevolving around themes of gender, sexuality, and creativity, this mythopoetic feminist book assembles a profusion of original materials including: a comic strip derived from the artist's Fluxus Fluxorum performance, critical observations on Wilhelm Reich and Dusan Makavejev's soft-erotic film \u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eW.R.: Mysteries of the Organism\u003c\/em\u003e (1971), notes and drawings related to her \u003cem\u003ekinetic theater\u003c\/em\u003e works, and a manifesto-script for \u003cem\u003eParts of a Body House \u003c\/em\u003e(originally written in 1967). The book also incorporates traces of the body itself, including a tissue-paper insert blotted with menstrual blood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy anchoring female corporeality to the architectural metaphor of the house, Schneemann transforms the traditionally domestic space into a site of liberation. The book thus becomes an embodied object that challenges stereotypical representations of women by making the female body both its subject and its material.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639480373587,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4484.png?v=1787233149"},{"product_id":"debricollages","title":"Débricollages","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668735086931,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4476.png?v=1787488358"},{"product_id":"bloomsday-64-actions-agit-pop-de-coll-age-happening-texte-ausstellung","title":"Bloomsday 64: Actions\/Agit Pop\/Dé-coll\/Age-Happening\/Texte\/Ausstellung","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of \u003cem\u003eUlysses\u003c\/em\u003e take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s\u003cem\u003e Symphony No. 5\u003c\/em\u003e, and décollages by Wolf Vostell.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668828377427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4486.png?v=1787490211"},{"product_id":"voyelles-mysteres-et-boules-de-gomme","title":"Voyelles mystères et boules de gomme","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668846629203,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4518.png?v=1787490701"},{"product_id":"views","title":"Views","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRobin Crozier was an artist whose engagement with mail art helped him overcome his relative isolation in the provincial city of Sunderland, UK, where he was teaching at the local university. Following his first artist’s book, \u003c\/span\u003e\u003cem\u003ePages\u003c\/em\u003e\u003cspan\u003e (1970), his drawings, collages, and concrete poetry “travelled” around the world through various assemblages. In 1975, he began producing mail art assemblages himself as soon as he had gathered 50 original contributions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis particular collection features works by Geoffrey Young, Ben Vautier, Mieko Shiomi, Maurizio Nannucci, Paulo Bruscky, Bill Gaglione, and many others. This pantheon of artists, listed at the beginning of the assemblage, is followed by a short but moving dedication to the artists Clemente Padín and Jorge Caraballo, who did not respond to the call for submissions because they had been imprisoned by the Uruguayan dictatorship in 1977, following their participation in the first Mail Art show in Latin America:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I dedicate this edition to our friends Clemente Padin and Jorge Caraballo who were imprisoned in September 1977 by the Uruguayan government. Are they still there? What is the view from their window?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1978, Crozier invited Anna Banana and Bill Gaglione, then based in San Francisco, to visit Sunderland, where they performed their European touring show \u003c\/span\u003e\u003cem\u003eFuture Sound\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54737361207635,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4562.png?v=1787756031"},{"product_id":"classified-magazine","title":"Classified Magazine","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, \u003cem\u003eClassified Magazine\u003c\/em\u003e was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). \u003cem\u003eClassified Magazine\u003c\/em\u003e assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778466730323,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4547.png?v=1787993621"}],"url":"https:\/\/metabooks.art\/collections\/fluxus.oembed?page=3","provider":"Metabooks","version":"1.0","type":"link"}