{"title":"HISTORY AND POLITICS","description":"","products":[{"product_id":"war-primer-2","title":"War Primer 2","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the defining artist's books of the twenty-first century, \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e sees Adam Broomberg and Oliver Chanarin revisit Bertolt Brecht's landmark \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e (1955) for the age of digital media. Brecht's original paired press photographs from the Second World War with sharp four-line poems, revealing how images shape public understanding of war and teaching readers to look beyond their apparent documentary truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than simply updating Brecht's project, Broomberg and Chanarin shift their focus to the so-called \"War on Terror.\" They overlay the pages of \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e with photographs and video stills drawn from the internet (produced by soldiers, journalists, propagandists, and civilians) to create a dialogue between two eras of conflict. Images of the Twin Towers attacks, the execution of Saddam Hussein, and the presidency of George W. Bush intersect with Brecht's poems and wartime photographs, revealing enduring patterns in the circulation and political use of violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoth books question the authority of photographic images. If Brecht saw the press photograph as something to be deciphered, \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e asks what happens when images (instantly shared and endlessly reproduced) shape history as much as they record it. First published in 2011, the work remains a compelling reflection on the power of images in an age of digital media, misinformation, and fake news.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679744745811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/WarPrimer.png?v=1781706729"},{"product_id":"eden-is-a-magic-world","title":"Eden is a Magic World","description":"","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801270870355,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eden.png?v=1779270641"},{"product_id":"mansmag-homage-to-werkman-and-cavalcade","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \u003c\/span\u003e\u003cem\u003eMANSMAG: Homage to Werkman and Cavalcade\u003c\/em\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \u003c\/span\u003e\u003cem\u003eCavalcade\u003c\/em\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In his homage, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801284567379,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag_a69e4e5b-1949-4e91-823d-39764daacbc8.png?v=1789196808"},{"product_id":"reconstructed-history","title":"Reconstructed History","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA collection of fifty ink drawings in which Mike Kelley intervenes on reproductions from American school textbooks—illustrations, photographs, engravings, and cartoons depicting idealised figures and events from American history. Working directly on the printed page, he introduces a note of iconoclasm through loose but well-considered doodles, echoing the vandalism of a schoolchild’s textbook. The drawings are bound in the format of a high-school yearbook, bringing reverence and disruption into the same object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Here we have a collection of grotesqueries, defacements of some of the most cherished images of our American past. Who could be responsible for such defilements?” writes the artist in his preface, “what could be the purpose in tarnishing the heroic figures and events we hold so dear? These are questions one is compelled to ask; yet might questions be better put to the images themselves? We might instead ask, why do these pictures provoke addition? What has been subtracted from them?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKelley’s introduction shifts attention from authorship to omission, asking not who altered the images, but what they already exclude. \u003c\/span\u003e\u003cspan\u003eReconstructed History\u003c\/span\u003e\u003cspan\u003e treats the schoolbook as an ideological construct rather than a neutral record, and its interventions as a form of counter-history that exposes the fragility of national narratives. The heroic image, in this reading, sustains its authority through what it leaves out.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work strikingly resonates with Chris Marker’s meditation in \u003c\/span\u003e\u003cem\u003eSans Soleil\u003c\/em\u003e\u003cspan\u003e (1983), where memory is described not as the opposite of forgetting but as “its lining”: we do not remember, but rewrite, much as history itself is rewritten.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027555930451,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KelleyCover_b091cc5f-a662-4271-8625-e006aa2749a2.png?v=1789370959"},{"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":"111","title":"111","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than using the photocopy as a way to create identical copies, Alighiero Boetti saw it as a tool for exploring the relationship between human ideas and technology. Artist’s books such as this one, as well as the expanded version \u003c\/span\u003e\u003cem\u003eI quindici libri rossi – 111\u003c\/em\u003e\u003cspan\u003e, reflect his ongoing interest in systems and the balance between order and chance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Already in ’69, in Turin, when I used to go to the Rank Xerox showroom with my little coins in my pocket, I had so many ideas”, Boetti stated in 1991. “I would say: the photocopier is not just an office machine; by the year 2000 we’ll all have one in our living rooms! Give me one, and I’ll document some of its creative applications. I didn’t mean manipulating the mechanism or the ink, as some people had done, from Munari onward. No, what interested me was the standard application. But, for instance, I would have put it out on the balcony when it starts to rain: one drop, ten drops, a thousand drops…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoetti was fascinated that a photocopier could transform a simple, mechanical action into a process open to variation and surprise. In \u003c\/span\u003e\u003cem\u003e111\u003c\/em\u003e\u003cspan\u003e, each of the 111 photocopies reproduces a different newspaper clipping, turning fragments of everyday information into a serial composition. The title \u003c\/span\u003e\u003cem\u003e111\u003c\/em\u003e\u003cspan\u003e is both a palindrome and the principle behind the work’s method of production: through repetition, a simple structure can generate countless possibilities. It suggests a kind of “contained infinity”, where endless variations unfold within a fixed system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs in other works made with photocopying technologies such as \u003c\/span\u003e\u003cem\u003eNove Xerox Anne Marie\u003c\/em\u003e\u003cspan\u003e (1969), \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eDossier Postale\u003c\/em\u003e \u003c\/span\u003e\u003cspan\u003e(1969–1971), and \u003c\/span\u003e\u003cem\u003eAutoritratto\u003c\/em\u003e\u003cspan\u003e (1971), Boetti questioned the traditional role of the artist as the sole creator. Instead, he allowed the machine, the process, and chance to become active participants in the making of the work.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027795366227,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/111_4d34f598-e891-4950-8206-01fa3b1290a2.png?v=1789195806"},{"product_id":"sabor-a-mi","title":"Sabor A Mi","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew artists' books have achieved such a disturbing synthesis of poetry and politics as \u003cem\u003eSaborami\u003c\/em\u003e. Created in the aftermath of the September 1973 military coup in Chile, it gathers poems, journal entries, drawings, references to Georges Bataille and Mircea Eliade, insects, dried plants, fragments of cloth, and other found materials into an evocative work in which politics and intimacy become inseparable. The result is a meditation on violence, exile, memory, and survival that lies at the heart of Cecilia Vicuña's practice. Her body of work gives form to the gradual disappearance of Andean knowledge and Indigenous traditions under the pressures of colonialism and modernity. At this threshold, Vicuña's credo takes shape: “Today's task is to arm the minds.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhen Vicuña coined the term \"precarious art\" in the 1960s, she envisaged works fashioned from fragile, ephemeral materials. \u003cem\u003eSaborami\u003c\/em\u003e is among its most compelling realizations. Here, fragility becomes a source of strength, as the provisional and the handmade are transformed into a language of remembrance and resistance. At once militant and ritualistic, the book challenges established histories while affirming the enduring presence of Indigenous memory and culture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublis\u003c\/span\u003e\u003cspan\u003ehed in Devon, England, by the artist-run Beau Geste Press in an edition of just 250 handmade copies, \u003cem\u003eSaborami\u003c\/em\u003e was produced through mimeograph and offset printing, with each copy assembled by hand by the artist. Its modest means of production are inseparable from its meaning: the book itself embodies the precarious aesthetic that has come to define Vicuña's work. This volume remains a landmark in her career and stands among the defining artists' books of twentieth-century Latin America. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029794083155,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Vicuna.png?v=1781781415"},{"product_id":"guevara-shashin-shu-che","title":"Guevara Shashin Shu Che","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal publication from 1969 was assembled by two founding members of \u003c\/span\u003e\u003cem\u003eProvoke\u003c\/em\u003e\u003cspan\u003e, the underground Japanese photography magazine that, despite its brief existence, transformed the visual landscape of the late 1960s through its radical photographic language and critical writings, guided by the motto: \u003c\/span\u003e\u003cspan\u003e“Provocative documents for the sake of thought.”\u003c\/span\u003e\u003cspan\u003e Published by Kōji Taki and Takuma Nakahira (both Spanish speakers) under the pseudonym \u003c\/span\u003e\u003cspan\u003eBuenos no Hi \u003c\/span\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cspan\u003eThe Light of Buenos\u003c\/span\u003e\u003cspan\u003e), the volume gathers newspaper articles from Latin America and Spain to trace the Cuban Revolution through the life, actions, and death of Che Guevara. Fragments of text and image are brought together across different papers and graphic styles, creating a layered visual narrative suspended between political reflection and an act of remembrance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA book-homage, the project documents the turbulent political atmosphere of the late 1960s, when many Japanese artists and intellectuals were drawn to anti-imperialist and revolutionary ideals. The interplay of photographic reproduction, journalism, and visual experimentation transforms the publication into more than a historical account. Today, it stands as one of the most relevant examples of politically engaged Japanese photobook design.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029962182995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Che_b13d3746-45be-4cec-b87b-aacae2aefb42.png?v=1789196345"},{"product_id":"classifying-the-thousand-longest-rivers-in-the-world","title":"Classifying the Thousand Longest Rivers in the World","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor Hans Ulrich Obrist, \u003c\/span\u003e\u003cem\u003eClassifying the Thousand Longest Rivers in the World\u003c\/em\u003e\u003cspan\u003e is among the most remarkable artists’ books ever created: “one of the greatest artists’ books of all time” (\u003c\/span\u003e\u003cem\u003eTate Etc.\u003c\/em\u003e\u003cspan\u003e, 2012). Invoking Heraclitus’s famous observation — “No man ever steps in the same river twice, for it’s not the same river, and he’s not the same man” — the Swiss curator recalls a reading of Boetti’s work in Turin several years ago, during which he recited every river’s name and length as an act of homage: “I learnt more from Boetti than I had in the previous years of studying”, he adds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCo-authored by Boetti with his wife and collaborator, the writer and art critic Anne-Marie Sauzeau, this 1,016-page volume transforms a systematic index of the world’s longest rivers into an extraordinary meditation on the world and its flowing arteries. Through its rigorous classification, this vast conceptual cartography unfolds, in the end, as a poetic reflection, functioning simultaneously as a catalogue, a prose work, and an extended haiku distilling the ever-changing nature of memory and imagination.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54030023983443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Classifying_cover.png?v=1781782426"},{"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":"playboy-braille-edition-part-2-of-5-parts-may-1983","title":"Playboy. Braille Edition. Part 2 of 5 Parts. May 1983","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Braille edition of \u003c\/span\u003e\u003cspan\u003ePlayboy\u003c\/span\u003e\u003cspan\u003e feels closer to a conceptual work of art than to the magazine itself. For decades, \u003c\/span\u003e\u003cspan\u003ePlayboy \u003c\/span\u003e\u003cspan\u003epublished a Braille edition for blind and visually impaired readers. Funded by the U.S. Library of Congress through its National Library Service for the Blind and Physically Handicapped, this edition omitted the nude photographs and instead reproduced only the magazine's textual content.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe project became the subject of controversy in the 1980s when Chalmers Wylie, a Republican congressman from Ohio, sought to withdraw public funding. A court subsequently ordered the funding to be restored, ruling that its withdrawal constituted an infringement on access to information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDespite its popular reputation, \u003c\/span\u003e\u003cspan\u003ePlayboy\u003c\/span\u003e\u003cspan\u003e also played a significant role as a political, cultural, and literary magazine. It published early discussions of gay rights, women's rights, freedom of expression, and First Amendment issues, while featuring contributions by acclaimed authors including Truman Capote, Haruki Murakami, Anaïs Nin, and Margaret Atwood, alongside artwork by Andy Warhol, Tom Wesselmann, and Ellen Lanyon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040517050707,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Playboy600.png?v=1781881294"},{"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":"mansmag-homage-to-werkman-and-cavalcade-1","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \u003c\/span\u003e\u003cem\u003eMANSMAG: Homage to Werkman and Cavalcade\u003c\/em\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \u003c\/span\u003e\u003cem\u003eCavalcade\u003c\/em\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his own studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In doing so, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055472988499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag2.png?v=1782024445"},{"product_id":"angola-to-vietnam","title":"Angola to Vietnam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhat initially appear to be herbarium photographs of rare flowers are, on closer inspection, images of glass botanical models made to scale by the Czech father-and-son glass artists Leopold Blaschka (1822–1895) and Rudolf Blaschka (1857–1939). Their renowned collection of glass flowers preserved at Harvard Museum of Natural History is among the institution’s most celebrated treasures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing from Harvard’s sculptural plants, Christopher Williams reorders the collection’s botanical classification according to national origin, selecting twenty-seven specimens corresponding to countries identified by Amnesty International as sites where enforced disappearance was used as a tool of political repression. Each photograph is accompanied by a label combining taxonomic descriptions of the plant with information about the photographic composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy replacing botanical taxonomy with geopolitical classification, Williams introduces a sociopolitical dimension into the representation of nature. “From Angola to Vietnam” examines how systems of knowledge and classification can reveal histories of violence and state control. The book concludes with a twenty-eighth plate: an uncanny reproduction of the cover of the French edition of \u003c\/span\u003e\u003cspan\u003eElle\u003c\/span\u003e\u003cspan\u003e, dated 15 August 1988. Depicting models from around the world arranged like a bouquet of national identities, each figure is marked by a sailor-style hat bearing their country of origin. The image extends Williams’s interrogation of classification, representation, and the relationship between national identity and visual culture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055554449747,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AngolaToVietnam.png?v=1782028375"},{"product_id":"spirit-is-a-bone","title":"Spirit is a Bone","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAdam Broomberg and Oliver Chanarin’s project is inspired in both form and concept by \u003c\/span\u003e\u003cspan\u003eCitizens of the Twentieth Century: 1892–1952\u003c\/span\u003e\u003cspan\u003e, August Sander’s monumental typology of twentieth-century German society, comprising 431 portraits arranged according to social class and profession. Sander’s book is a seminal photographic inquiry that, tacitly and almost inadvertently, came to trace, among others, the rise of fascism in Germany.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt a moment marked by constant political upheaval and the resurgence of imperialist ideologies, Broomberg \u0026amp; Chanarin created a collection of portraits using a Moscow-developed facial recognition system originally designed for surveillance and border control. Rather than producing conventional photographs, the technology generates digital \"life masks.\" Echoing Sander’s project, the artists organized contemporary Russian subjects according to their professions, while allowing the machine to produce the images. The resulting portraits are low-resolution and fragmented, their appearance determined by the system’s own ability to map facial features such as the nose, eyes, and chin. Despite this automated process, the portraits still reveal the people behind the images and their complex relationship with state power. For instance, recognisable figures such as Pussy Riot member Yekaterina Samutsevich\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCommissioned by GRAIN with support from Arts Council England, the book is the outcome of artists’ engagement with the Library of Birmingham’s photography collections.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055669465427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Spirit.png?v=1782030028"},{"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, \u003cem\u003eThe Generous Gambler\u003c\/em\u003e)\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":"you-havent-seen-their-faces","title":"You Haven't Seen Their Faces","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057314910547,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheseAre.png?v=1782057284"},{"product_id":"quartett-88","title":"Quartett 88","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTime is central to Hanne Darboven's work. Historical records and chronological systems are the primary vehicles in her career-long exploration of time and memory. Writer and curator Okwui Enwezor argued that her archival practice is not simply a repository of information but a structure of historical consciousness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished to accompany Darboven's exhibition at Portikus, Frankfurt am Main (1990), this artist's book structures its numerical timepieces around four women who marked history: Marie Curie, Rosa Luxemburg, Gertrude Stein, and Virginia Woolf. In other words, Darboven’s feminine pantheon. These figures provide historical points of reference, yet the true subject of the work is the structure of time itself. Their individual lives become structural elements within a larger temporal system, where personal history is situated alongside scientific discovery, political transformation, and cultural production.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the centre of Darboven's complex mathematical operations lies the year 1988, when she started to “orchestrate” this intellectual quartet of women. Interspersed with portraits sourced from encyclopaedias and excerpts from journals, the intricate calendars unfolding across more than 700 pages resist narrative in favour of a rigorous conceptual system. The result reveals an artist whose philosophical understanding of time and analytical engagement with feminism are at once mystifying and deeply structuring.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061174620499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Quartett88.png?v=1782112653"},{"product_id":"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":"observations","title":"Observations","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061211746643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Observations.png?v=1782113360"},{"product_id":"holy-crap","title":"Holy Crap","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRob Pruitt's practice spans painting, installation, and sculpture, and is defined by its wit, institutional critique and serious playfulness. As the artist writes in the book's prologue: \"I love multitasking, like driving and having a religious experience at the same time. I love jokes. I love advertising and billboards. I love Jenny Holzer. I love advice and rules and adages and reminders and lists, like the 10 Commandments. I love big bold larger-than-life characters like God and Satan. I love horror movies and stories of the supernatural and high drama narratives distilled into a handful of words, like 'He died for your sins.' But what follows is a whole New Testament.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHoly Crap\u003c\/span\u003e\u003cspan\u003e can indeed be read as a New Testament, but a resolutely postmodern one. Bridging the sacred and the profane, the volume assembles photographs of church marquees bearing motivational aphorisms alongside biblical quotations, revealing the fluid boundaries between religious messaging, popular culture, and conceptual art. 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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":"200-fotografias-polaroid","title":"200 Fotografias Polaroid","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063981199699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Bigas.png?v=1782132848"},{"product_id":"all-the-world-s-fighter-planes","title":"All The World’s Fighter Planes","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137222889811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AllTheWorld.png?v=1782736044"},{"product_id":"criminals","title":"Criminals","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAd Gerritsen (1940–2015) devoted his artistic practice to those on the margins of society, from notorious criminals to vulnerable figures such as traumatised children. Throughout his career, he explored the aesthetics of the grotesque, the abject, and the undesirable, producing works that confront the viewer with unsettling imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis uncommon artist's book is illustrated with photocopied drawings by the artist, occasionally supplemented with handwritten annotations. It presents Gerritsen's idiosyncratic examination of a select group of historical criminals whose deeds marked the collective imagination during the first half of the twentieth century. Rather than offering a documentary account, the publication reflects on the place of violence in cultural memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137274204499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Criminals.png?v=1782736605"},{"product_id":"eterografia","title":"Eterografia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe title in Italian,\u003c\/span\u003e\u003cspan\u003e eterografia\u003c\/span\u003e\u003cspan\u003e derives from the Greek roots \u003c\/span\u003e\u003cspan\u003eheteros\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003eother, different\u003c\/span\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cspan\u003egraphia\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003ewriting, inscription\u003c\/span\u003e\u003cspan\u003e), literally meaning \"other writing\" or \"different writing.\" In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn incisive critique on media manipulation and the instability of meaning, the book reconnects with the “\u003c\/span\u003e\u003cspan\u003eeterografia”\u003c\/span\u003e\u003cspan\u003e explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141177004371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eterografia.png?v=1782808101"},{"product_id":"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. 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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. 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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":"sjalvbiografi","title":"Självbiografi","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eÅke Hodell (1919–2000) was a Swedish poet, visual artist, composer, and former fighter pilot. His aviation career came to an abrupt end in 1941 when he crashed during a training exercise at an airfield in Skåne. Following a lengthy hospitalization, he turned his attention to the arts, merging writing and collage with music, theatre, and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived in 1967, this autobiographical work comprises 37 collages assembled from photographs, cartoons, found images, handwritten and typewritten texts, and printed fragments from a wide range of sources, punctuated throughout by black dots evoking bullet holes. The iconography of this self-portrait ranges from the personal and photographic (most notably a portrait of Hodell as a pilot) to the mythological (the fall of Icarus), anatomical (military medical illustrations), spiritual (a sculpture of the fasting Buddha), graphic (aviation comics), cartographic (historical maps), and graphological (journal entries).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA major retrospective devoted to Hodell's exploration of resistance through art was presented at Malmö Konsthall in 2022.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144968950099,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ake.png?v=1782832518"},{"product_id":"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. 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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. The ancient union of horse \u0026amp; rider, fused into a composite creature with an unruly character of its own, always potentially anarchic \u0026amp; fearsome, never entirely predictable, was symbolised in the myth of the centaur. The new union of man \u0026amp; machine possesses as positive a composite character and liberates a deeper, more fearsome human impulse. 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":"holy-bible","title":"Holy Bible","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the most remarkable acts of appropriation of the 2010s, this publication finds an uncanny resonance in the troubled times in which we live. Adam Broomberg and Oliver Chanarin’s “Holy Bible” is at once historical and prophetic, narrative and absurd, iconophilic and iconoclastic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy pairing the “Book of Books” with images drawn from the Archive of Modern Conflict (a major London-based photographic collection documenting war and disaster), the artists expose the mechanisms of violence in the age of mechanical and digital reproduction. The selected photographs pierce the veil of the sacred text, infusing it with an unsettling contemporary afterlife. Faithfully mirroring the format of the King James Version, the publication interweaves biblical passages with carefully selected images to interrogate authorship, the evidentiary status of photographs, and the persistence of visual clichés. Inspired by Bertolt Brecht’s annotated Bible, it also reproduces, at intervals, underlined passages, extending the dialogue between religion, history, and the politics of representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207927943507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBibleAdam.png?v=1783259687"},{"product_id":"linguaggio-e-guerra","title":"Linguaggio è guerra","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eLinguaggio è guerra\u003c\/em\u003e (Language is War) is an artist’s book comprising a selection of photographs sourced by Fabio Mauri from English and German war magazines. Each photograph is stamped with the words “Language is war” and arranged in compositions that deliberately attenuate its emotional charge. Through this process of appropriation and recontextualization, Mauri investigates the ideological uses of language, revealing its capacity to function as a weapon. The artist explains the logic behind his visual semantics in an unpublished typescript, preserved by Studio Fabio Mauri in Rome:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“These are details from war magazines. Stamped, they acquire an added meaning. An act of appropriation takes place. First taken by photographers present at the events, reproduced in contexts of propaganda as partisan communications, then collected in the more neutral form of history, once again removed from their archaeological contexts, cut – that is, edited according to a new thesis – equally divided between the signs of language and the person who bears those signs, and presented anew in sequences that express an interpretive idea in a linguistic mode, the use of photographs only apparently peaceful. Language is War discusses language in a state of war.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince 1975, these photographs have also been presented as a wall-based installation in various exhibitions, extending the work’s investigation of the relationship between image, language and ideological representation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54213817860435,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Linguagio.png?v=1783338349"},{"product_id":"gang-bang-at-ground-zero","title":"Gang Bang at Ground Zero","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245534531923,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DashSnowBang.png?v=1783602675"},{"product_id":"action-fete","title":"Action Fête","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54283705123155,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ActionFete.png?v=1783859321"},{"product_id":"ginza-kaiwai-ginza-haccho","title":"Ginza Kaiwai \/ Ginza Haccho","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1954, this early leporello anticipated Edward Ruscha’s “Every Building on the Sunset Strip” by twelve years. A simple coincidence, the collective unconscious, or perhaps Ruscha being inspired by a copy encountered in Los Angeles’s historic Little Tokyo neighbourhood? Whatever the connection, or absence thereof, “Ginza Haccho” has been the subject of much discussion among photography-book aficionados in recent years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis accordion-folded publication conceals within its folds photographs of every building along Tokyo’s Ginza Street. Precious in its original cardboard slipcase, the edition was co-authored by Shohachi Kimura and Yoshikazu Suzuki and comprises a map of the district, a leporello presenting a panoramic view of Ginza Street, and a separate volume reconstructing, visually and textually, the history of the neighbourhood. The publication offers a vivid record of a city in perpetual reconstruction and remodelling, preserving buildings and streetscapes that have long since disappeared from Tokyo’s urban fabric.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare publication was exhibited in 2023 during the \"Folded Cities\" \u003c\/span\u003e\u003cspan\u003eexhibition at Studio 454 in Venice, alongside other urban “radiographies” of the twentieth century, including “Venezia. Il Canal Grande,” a curious publication produced by Il Gazzettino Illustrato in 1931; Edward Ruscha’s “Every Building on the Sunset Strip” (1966); and Jan Henderikse’s “Broadway” (1983), among others.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54284651823443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ginza.png?v=1783865157"},{"product_id":"guantanamo-bay-song-book","title":"Guantanamo Bay Song Book","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJennifer Allora and Guillermo Calzadilla have collaborated since 1995, developing an experimental practice that reflects on political and social questions through sculpture, installation, performance, video, sound, and artist’s books. In 2011, they represented the United States at the 54th Venice Biennale with \u003c\/span\u003e\u003cspan\u003eGloria\u003c\/span\u003e\u003cspan\u003e, a project combining live athletic performances and sculpture to examine competition, nationalism, militarism, and the military-industrial complex.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Guantanamo Bay Song Book”, published by CCA Kitakyushu in 2009, takes the form of a deliberately raw volume. Conceived as a visual and conceptual translation of sound, it reproduces the lyrics of songs reportedly used by CIA interrogators during the torture of prisoners at the U.S.-operated Guantánamo Bay detention camp. The book exposes the use of loud, repetitive music as a psychological torture technique associated with acoustic bombardment, extreme stress, and sleep deprivation. Its eclectic repertoire ranges from Metallica’s “Enter Sandman” and Rage Against the Machine’s “Killing in the Name” to Christina Aguilera’s “Dirrty” and the children’s song “Sunny Day” from Sesame Street.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy stripping these songs of their sound and presenting their lyrics as printed matter, Allora and Calzadilla transform an ostensibly familiar cultural archive into a stark political document. The book is a powerful example of how the artists use absence and silence to evoke violence: a publication that, paradoxically, seems to make more noise through silence than an audiobook could. Published as part of the CCA Artists’ Book Series in 2009, it followed the artists’ 2007 project “Unrealizable Goals” at the CCA Kitakyushu Project Gallery, a video work addressing Japan’s pacifist constitution, Article 9, and the tensions between national sovereignty and militarisation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54285962674515,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/CCA_cover.png?v=1783867817"},{"product_id":"an-archive-for-current-issues","title":"An Archive for Current Issues","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54317348684115,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Iver_cover.png?v=1784129052"},{"product_id":"periodical-5","title":"Periodical #5","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from \u003c\/span\u003e\u003cem\u003ePeriodical #5\u003c\/em\u003e\u003cspan\u003e, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s rare printed matter is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing a major body of work that explored contemporary imagery. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they operated as acts of infiltration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series \u003c\/span\u003e\u003cem\u003eBringing the War Home\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \u003c\/em\u003e(1967–72), as both reveal the ideological mechanisms through which violence is mediated and consumed.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54402495414611,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Heinecken_periodical5.png?v=1784982355"},{"product_id":"une-livre","title":"Une Livre","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54408589705555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/UneLivre.png?v=1785066881"},{"product_id":"all-of-ted-joans-and-no-more-beat-generation-jazz-poems","title":"All of Ted Joans and no more. Beat generation jazz poems","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425144787283,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TedJoans.png?v=1785243980"},{"product_id":"de-la-misere-en-milieu-etudiant","title":"De la misère en milieu étudiant","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Nous pouvons affirmer, sans grand risque de nous tromper, que l’étudiant en France est, après le policier et le prêtre, l’être le plus universellement méprisé.” [We can say, without much risk of being mistaken, that the student in France is, after the policeman and the priest, the most universally despised being]. Thus begins the militant Situationist pamphlet distributed on 22 November 1966 at the official inauguration of the University Palace in Strasbourg. Written by social critic Mustapha Khayati, titled by philosopher Guy Debord, and published under the auspices of the Situationist International, “De la misère en milieu étudiant” [On the Poverty of Student Life] delivered a radical critique of the university and of student organizations, trade unions, political institutions, and consumer society at large. In their place, it advocated revolutionary action, the abolition of hierarchical relations, and democracy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe first edition was published in Strasbourg in 1966 after five pro-Situationist students used university funds to finance its production and distribution. The ensuing scandal led to their suspension and expulsion. Widely reprinted in 1967, the pamphlet circulated far beyond Strasbourg and became an important precursor to the ideas and practices that shaped the events of May 1968. Halfway through the book, this edition features a double-page comic spread that distills the pamphlet in eleven graphic vignettes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425680380243,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/delamisere.png?v=1785247986"},{"product_id":"ca-36715-j","title":"CA 36715 (J)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eÅke Hodell (1919–2000) was a Swedish poet, visual artist, composer, and former fighter pilot. His aviation career came to an abrupt end in 1941 when he crashed during a training exercise at an airfield in Skåne. Following a lengthy hospitalization, he turned his attention to the arts, developing a multidisciplinary practice that combined writing and collage with music, theatre, and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften read in relation to \u003cem\u003eOrderbuch\u003c\/em\u003e, this text-as-image artist’s book takes the form of the fictional diary of a prisoner in a concentration camp. Published anonymously under the number assigned to the prisoner by the Nazis, it unfolds as an increasingly illegible account of the Holocaust. From page to page, the handwritten text takes the form of concrete poetry, progressively losing its legibility until it dissolves completely.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExcruciating in its stark minimalism, the book’s format also evokes the clandestine notebooks kept by prisoners in Nazi camps, where writing served to preserve traces of individual identity in the face of systematic erasure. Hodell’s artist’s book can thus be situated alongside the radical practices of Fabio Mauri and Christian Boltanski, whose works similarly confront the memory of the Holocaust.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA major retrospective devoted to Hodell’s exploration of resistance through art was presented at Malmö Konsthall in 2022.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54445023428947,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/CA36.png?v=1785489249"},{"product_id":"orderbuch","title":"Orderbuch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eÅke Hodell (1919–2000) was a Swedish poet, visual artist, composer, and former fighter pilot. His aviation career came to an abrupt end in 1941 when he crashed during a training exercise at an airfield in Skåne. Following a lengthy hospitalization, he turned his attention to the arts, developing a multidisciplinary practice that combined writing and collage with music, theatre, and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften read in relation to “CA 36715”, this text-based artist’s book serves as a memorial to the victims of the Holocaust. It presents a fictional yet plausible list of prisoners in Nazi concentration camps, reduced to numbers and categorized according to the uses made of their bodies after death: \u003c\/span\u003e\u003cspan\u003eseife, lampenschirm, grundausfüllung, unbrauchbar\u003c\/span\u003e\u003cspan\u003e (soap, lampshade, base fill, unusable). Excruciating in its stark minimalism, the enumeration transforms bureaucratic language into an indictment of the systematic dehumanization and annihilation carried out by the Nazi regime.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book’s austere format also evokes the clandestine notebooks kept by prisoners in Nazi camps, where writing served to preserve traces of individual identity in the face of systematic erasure. Hodell’s artist’s book can thus be situated alongside the radical practices of Fabio Mauri and Christian Boltanski, whose works similarly confront the memory of the Holocaust.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA major retrospective devoted to Hodell’s exploration of resistance through art was presented at Malmö Konsthall in 2022.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54446966767955,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Orderbuch.png?v=1785505530"},{"product_id":"sweet-wall-testimonials","title":"Sweet Wall Testimonials","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54447109046611,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/SweetWall.png?v=1785506069"}],"url":"https:\/\/metabooks.art\/collections\/history-and-politics.oembed?page=2","provider":"Metabooks","version":"1.0","type":"link"}