{"title":"IDENTITY","description":"","products":[{"product_id":"shashin-tokkyubin-tokyo-photo-mail-tokyo","title":"Shashin Tokkyubin Tokyo (Photo-mail Tokyo)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReminiscent of the \u003c\/span\u003e\u003cspan\u003eProvoke\u003c\/span\u003e\u003cspan\u003e aesthetic in its grainy and experimental sensibility, this almost oneiric documentation of Shinjuku's nightlife alternates black-and-white photographs with exuberant bursts of colour, capturing one of Tokyo's most glamorous and enigmatic districts. A student of Daido Moriyama at Workshop (1974–1976), Kitajima emerged as one of the defining figures in Japanese street photography of the 1970s and 1980s. His visual narrative is syncopated like a free jazz suite, its rhythm shaped by nocturnal characters who appear less as flesh-and-blood people than as fleeting epiphanies. Provocative and untamed, his photographs render visible the city's underground worlds—the hedonistic, the decadent, and the neon-lit. Moriyama himself praised Kitajima's extraordinary instinct as a photographer, calling him a street killer in broad daylight.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679715156307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Kitajima.png?v=1778104566"},{"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\u003cspan\u003eMANSMAG: Homage to Werkman and Cavalcade\"\u003c\/span\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \"\u003c\/span\u003e\u003cspan\u003eCavalcade\"\u003c\/span\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In his homage, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801284567379,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag_a69e4e5b-1949-4e91-823d-39764daacbc8.png?v=1789196808"},{"product_id":"an-exorcism","title":"An Exorcism","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePenny Slinger's feminist practice and exploration of feminine sexuality draw upon embodied experience, tantric philosophy, alchemy, psychology and archetypes. From her student years onward, she sought to move beyond the constraints of the male gaze, using collage to investigate and reconfigure the complexities of female subjectivity. As the artist writes in her introduction: “The images and accompanying captions present a record of the unraveling of the Self from dualistic limitations and the projections of others. It sets an example for psychic confrontation and transformation.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this spirit, “An Exorcism” follows a woman's journey of self-discovery through the decaying interiors of Lilford Hall in Northamptonshire, UK. Described by the artist as a “photo-roman,” the work unfolds as a sequence of symbolic passages, exploring desire, identity, and ultimately, liberation. Drawing on references ranging from religion and literature (particularly Georges Bataille) to the I Ching, Surrealism, and cinema (notably the films of Alejandro Jodorowsky and Alain Robbe-Grillet), Slinger constructs a postmodern feminist “bildungsroman” in visual form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross twenty-one chapters, the work interweaves primal fears, myth, ritual, eroticism and “exorcism” to confront patriarchal structures while tracing a movement toward autonomy through a series of psychological and symbolic rites of passage.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":53801311994195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AnExorcism_8a738fd3-dd4d-4383-818e-45cb21aec269.png?v=1781622405"},{"product_id":"ophelia-variacions-sobre-una-imatge","title":"Ophelia (variacions sobre una imatge)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOften misrepresented, the figure of Ophelia has been shaped for centuries by a predominantly male critical tradition: artists have portrayed her in romantic abandon (including John Everett Millais, Eugène Delacroix, Thomas Francis Dicksee, John William Waterhouse, and Arthur Hughes), while critics have recast her as a prototype of hysteria. Alongside other feminist reworkings by women artists of her generation—such as Ana Mendieta’s \u003c\/span\u003e\u003cspan\u003eCreek\u003c\/span\u003e\u003cspan\u003e (1974) and Clara Gibson Maxwell’s \u003c\/span\u003e\u003cspan\u003eOphelie Song\u003c\/span\u003e\u003cspan\u003e (1989)—Eugènia Balcells’s revisitation of this Shakespearean figure displaces reductive symbolism and invites a more attentive re-evaluation grounded in a critical interrogation of art history itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHer \u003c\/span\u003e\u003cspan\u003eOphelia\u003c\/span\u003e\u003cspan\u003e project consists of multiple variations derived from a postcard reproduction of Millais’ \u003c\/span\u003e\u003cspan\u003eOphelia \u003c\/span\u003e\u003cspan\u003e(Tate Britain), processed through a Xerox 9200. In total, 1,000 variations were produced. From this corpus, an installation and a publication of 125 copies were realised, each presenting a selection of 37 xerox prints. Within this field of near-infinite repetition, the work opens a set of unresolved questions: “Which one is Ophelia? Are all of them Ophelia? Or perhaps none of them is Ophelia?”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027516117331,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ophelia.png?v=1781769396"},{"product_id":"lolitadzioz","title":"Lolitadzioz","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJonathan Meese’s artistic practice is propelled by a playful yet grotesque sensibility, constructing a personal microcosm shaped by his enduring obsessions with both high and low culture. Pornographic imagery coexists with figures as diverse as the Marquis de Sade, Richard Wagner, Stanley Kubrick, Francis Bacon, and John Wayne, all absorbed into a sprawling mythology that collapses distinctions between history, popular culture, fiction, and ideology. At once irreverent and deeply informed, Meese’s imaginary universe shares affinities with Mike Kelley’s exploration of the Freudian uncanny, where familiar icons return in unsettling and often absurd forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his anarchic and wide-ranging oeuvre, Meese continually expands this mythology through painting, performance, drawing, and installation, appropriating historical, mythical, and cinematic protagonists to interrogate systems of power, authorship, and belief. In this self-published stapled booklet, from an edition of 40 (each unique), he brings together his deliberately naïve drawings of heroes and nemeses with two original photographs, magazine clippings, and loose illustrations, weaving them into a fragmented visual narrative. Oscillating between parody and provocation, the publication extends Meese’s investigations into ideology and what he famously calls the \"dictatorship of art.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027731009875,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/100_cover.png?v=1781772166"},{"product_id":"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 “Saborami.” 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. “Saborami” 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, “Saborami” 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":"this-way-brouwn-25-2-61-26-2-61-zeichnungen-1","title":"This way Brouwn: 25-2-61 \/ 26-2-61,  Zeichnungen 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSoon after arriving in Amsterdam in 1957, Stanley Brouwn became associated with the Dutch Nul group, closely related to the German Zero movement, which sought to establish new relationships between art and reality, before later transitioning to a practice more closely aligned with Fluxus and conceptual art. In this playful exercise and original reimagining of psychogeography, Brouwn collected maps and routes drawn by passersby whom he had asked for directions, then rubber-stamped them “This way brouwn”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived over two days in 1961 but not published until a decade later, “This Way Brouwn” remains one of his most performative artist's books. He literally transformed the everyday act of walking into art, in parallel with contemporaries who likewise adopted walking as an artistic medium, from the Situationists' explorations of psychogeography to Richard Long's “A Line Made by Walking” and Robert Smithson's “A Tour of the Monuments of Passaic,” among others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This Way Brouwn” is a walkscape in its own right, carrying both poetic and political resonance. As Francesco Careri writes in his seminal text Walkscapes: Walking as an Aesthetic Practice: \"\u003c\/span\u003e\u003cspan\u003eYou have to learn how to lose time, not always seeking the shortest route, letting yourself get detoured by events, heading towards more impenetrable paths where it is possible to ‘stumble,’ maybe even to get stuck, talking with the people you meet or knowing how to stop, forgetting that you were supposed to proceed; to know how to achieve unintentional walking, indeterminate walking.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54031039856979,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ThisWayBrouwn.png?v=1781792883"},{"product_id":"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":"mansmag-homage-to-werkman-and-cavalcade-1","title":"Mansmag: Homage to Werkman and Cavalcade","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s exceptionally rare artist’s books is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing an important body of work that explored the mechanisms of appropriation. In a gesture of critical infiltration and détournement, he sometimes returned his altered magazines to newsstands, allowing them to circulate unsuspectedly and disrupt readers' expectations. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken created \"\u003c\/span\u003e\u003cspan\u003eMANSMAG: Homage to Werkman and Cavalcade\"\u003c\/span\u003e\u003cspan\u003e by converting every page of the men's erotic magazine \"\u003c\/span\u003e\u003cspan\u003eCavalcade\"\u003c\/span\u003e\u003cspan\u003e into a negative and then reassembling the pages in random order. Using a newly acquired small offset press, he produced 120 unique copies in his own studio, each distinguished by different rainbow-coloured inks that frequently rendered the images and text partially illegible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work pays tribute to the experimental printing techniques of the Dutch avant-garde artist Hendrik Nicolaas Werkman, who established a clandestine printing house during the Nazi occupation and was executed by the Gestapo in the closing days of the Second World War. In doing so, Heinecken subtly revisits the unsettling conjunction of eroticism and violence, a recurring theme throughout his broader \u003c\/span\u003e\u003cspan\u003ePeriodicals\u003c\/span\u003e\u003cspan\u003e series.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055472988499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Mansmag2.png?v=1782024445"},{"product_id":"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":"i-am-still-alive","title":"I am still alive","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst conceived in 1969 as a series of telegrams sent to curator Michel Claura, \u003c\/span\u003e\u003cspan\u003eI Am Still Alive\u003c\/span\u003e\u003cspan\u003e chronicles On Kawara’s enduring project of marking his presence in the world through succinct declarations of existence. His first telegrams were sent three days apart and carried a nihilistic simplicity: “I am not going to commit suicide don’t worry” (December 5), followed by “I am not going to commit suicide worry” (December 8), and “I am going to sleep forget it” (December 11).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis first recollection, published in 1979, gathers facsimiles of telegrams sent to friends and acquaintances, including many prominent gallerists and curators. Reproduced without additional text, the telegrams are brief, austere, and direct, faithful to the economy of the telegram form itself. Yet, unfolding across time, their accumulation becomes a silent seismograph of the international art world of the 1970s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt once an existential meditation on time and its passing, I AM STILL ALIVE transforms a simple phrase into a conceptual and philosophical statement in its own right.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055575945555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/IamStillAlive.png?v=1782028769"},{"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, The Generous Gambler)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnimated by 123 artists' business cards from painters, sculptors, photographers, architects, graphic designers, and art historians spanning the eighteenth century to the present day, this materially abundant book is the culmination of a monumental research project. Accompanied by an interactive platform on Patrick Frey's website\u003c\/span\u003e\u003cspan\u003e, it invites readers to explore the rich history and visual language of these ephemeral objects in greater depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than mere professional identifiers, these calling cards reveal how artists chose to present themselves to the world, offering insights into both their public personas and their distinctive modes of simply “being-in-the-world.” Several facsimile cards are loosely inserted throughout the volume, transforming it into a copious \"oracle\" that traces not only the graphic evolution of artists' calling cards but also, more broadly, the history of art itself, from Francesco Goya to Richard Prince.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057206415699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oracles.png?v=1782055024"},{"product_id":"looking-for-looking-for-love","title":"Looking for Looking for Love","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA tribute to one of the seminal photobooks of the 1980s, \u003c\/span\u003e\u003cspan\u003eLooking for Looking for Love\u003c\/span\u003e\u003cspan\u003e reworks Tom Wood’s \u003c\/span\u003e\u003cspan\u003eLooking for Love\u003c\/span\u003e\u003cspan\u003e (1989), which documented the clientele of the Chelsea Reach Nightclub in New Brighton, Merseyside, between 1984 and 1987. 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Scanned from McConnell’s own copy of Wood’s book and printed in vibrant risograph, the fragmented, enlarged images escape the confines of the photographic frame, generating a dynamic flow of exuberance, nostalgia, desire, and nightlife energy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057232073043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Looking.png?v=1782055440"},{"product_id":"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. 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Freedom from the Known","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince 2001, Salon Verlag has invited more than thirty artists to transform existing publications of their choice into artist's books in the fullest sense of the term. These \"metabooks\" are published under the \u003c\/span\u003e\u003cspan\u003eEX LIBRIS\u003c\/span\u003e\u003cspan\u003e series, and include interventions by artists such as Louise Bourgeois, Thomas Ruff, Mark Dion, Albert Oehlen, Thomas Demand, Gregor Schneider, Peter Doig, Luc Tuymans, and Berlinde De Bruyckere. For each title, Salon Verlag has also produced a limited collector's edition accompanied by a limited-edition ex-libris (a print or a unique artwork).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor his “metabook” at Salon Verlag, Wolfgang Tillmans chose to intervene in an anthology of excerpts from Jiddu Krishnamurti, selected and edited by Mary Lutyens. In describing his intervention, the artist recalls the trajectory that led him to the philosopher's writings:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"I first came across the name Krishnamurti when studying at Bournemouth College in the early 1990s; my tutor Tony Maestri referred to him occasionally. Then Gilbert \u0026amp; George mentioned him to me when I portrayed them in 1997. In 2002 I then saw a notice in a Quaker meeting house announcing Krishnamurti video screenings. I went and bought some books and felt very at home and inspired by his writing and thinking. I often observe that it takes three cues until one acts on something. After the third time hearing his name, I acted upon it. \u003c\/span\u003e\u003cspan\u003eFreedom from the Known\u003c\/span\u003e\u003cspan\u003e is my favourite book of the few of his I own. It works as a whole but also particularly well when just opened up at any page and read for three or four pages. The design of the paperback cover seemed perfect as it was, so for the Ex Libris I didn’t want to take away the cover photographed by Cecil Beaton. Instead I designed a dust jacket for which I used my photograph paper drop (Krishnamurti) 2005.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy intervening only at the level of the cover, Tillmans preserves the original publication while introducing a new visual and conceptual layer through his own image. This gesture resonates with Krishnamurti's rejection of authority and inherited truths: rather than proposing a system of belief, he advocated direct experience in the pursuit of knowledge. 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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. 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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":"the-cindy-shermans-i-d-like-to-fuck","title":"The Cindy Shermans I’d like to fuck","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187922784595,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BrianK.png?v=1783084327"},{"product_id":"100-this-way-brouwn-problems-for-computer-i-b-m-360-model-95","title":"100 this-way-brouwn-problems for computer I. 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Whether the response took the form of a sketch or a verbal description, the resulting document was authenticated with the stamp \"This way Brouwn,\" transforming everyday acts of navigation into conceptual artworks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book, by contrast, consists of one hundred problems addressed to the IBM 360 Model 95, including requests such as: \"show brouwn the way in all cities, villages, etc., on earth from point x to all other points in those cities, villages, etc.\" Far exceeding the computational capabilities of the period, these instructions were never intended to produce practical solutions. Instead, they expand the conceptual scope of Brouwn's “This Way Brouwn” project by positioning the computer as a speculative interlocutor. 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Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWinant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. 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Pornographic imagery coexists with figures as diverse as the Marquis de Sade, Richard Wagner, Stanley Kubrick, John Wayne, and Egyptian pharaohs, all absorbed into a sprawling mythology that collapses distinctions between history, popular culture, fiction, and ideology. At once irreverent and deeply informed, Meese’s imaginary universe shares affinities with Mike Kelley’s exploration of the Freudian uncanny, where familiar icons return in unsettling and often absurd forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his anarchic and wide-ranging oeuvre, Meese continually expands this mythology through painting, performance, drawing, and installation, appropriating historical, mythical, and cinematic protagonists to interrogate systems of power, authorship, and belief. In this self-published stapled booklet, from an edition of 40 (each unique), he brings together his deliberately naïve drawings, syncopated poetry, and personal notes with two original photographs (portraits of himself), Japanese illustrations, and pin-ups, weaving them into a fragmented visual and textual narrative. Oscillating between parody and provocation, the publication extends Meese’s investigations into ideology and what he famously calls the \"dictatorship of art.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54215709524307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Meese25_40.png?v=1783349232"},{"product_id":"svolgere-la-propria-pelle","title":"Svolgere la propria pelle","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for \u003c\/span\u003e\u003cspan\u003eEven\u003c\/span\u003e\u003cspan\u003e (Spring 2018):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. 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The series comprises forty-eight portraits of prominent men from cultural history, selected from an initial group of 270 figures drawn from encyclopaedias and history books. Executed in black and white and uniform in format and dimensions, the portraits depict heads symmetrically oriented towards the centre, forming a visually cohesive, slightly patriarchal, intellectual pantheon: Max Planck, Paul Valéry, Albert Einstein, Giacomo Puccini, José Ortega y Gasset, Gustav Mahler, among many others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRichter first exhibited “48 Portraits” at the 1972 Venice Biennale, where he represented Germany, situating the project within the complex and troubled historical legacy of the Pavilion and its architecture. The installation is now held permanently at Museum Ludwig in Cologne. 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Her arrival in France was, appropriately, a performance in its own right. In 1980, Kele placed an advertisement in the French newspaper “Libération”, offering herself for sale as a work of art. A French collector won the bid, and, under the surveillance of civil police officers, Kele married him in Budapest before moving to Paris. Extending her practice beyond the gallery, she made her own life an arena of experimentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis performative approach is articulated in the artist’s book “I Am a Work of Art”, which places eight head-and-shoulder self-portraits at its centre, presenting frontal and profile views of Kele. Unlike Salvo’s self-portrait, inserted into a sequence of portraits of Old Masters in “Untitled”, published by John Weber Gallery in 1973, Kele’s images occupy the book in its entirety. The photographs are preceded by two pages of self-description, composed of short sentences arranged sequentially. The work brings together self-representation, textual self-definition, and a pointedly literal presentation of the artist’s body as an artwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKele’s engagement with the body as a site of artistic intervention dates to the late 1970s. The year before “I Am a Work of Art”, she presented her own body at the Museum of Fine Arts in Budapest as a masterpiece, replacing an artwork in the collection while being guarded by an armed policeman. 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Published under the \u003c\/span\u003e\u003cspan\u003eEx Libris\u003c\/span\u003e\u003cspan\u003e series, these “metabooks” include interventions by artists such as Wolfgang Tillmans, Thomas Ruff, Mark Dion, Albert Oehlen, Thomas Demand, Gregor Schneider, Peter Doig, Luc Tuymans, and Berlinde De Bruyckere. For each title, Salon Verlag has produced a limited-edition of ex libris multiples, and a collector’s edition accompanied by a unique work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor her “metabook”, Louise Bourgeois chose a historical publication written by the French midwife Louyse Bourgeois, known as La Boursier. Renowned for attending the birth of Queen Marie de’ Medici’s son, the future Louis XIII, La Boursier authored one of the earliest French obstetrical treatises to incorporate anatomical observations, becoming the first woman in France to publish a medical text. 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For over six decades, his practice has been marked by an obsessive investigation into time and language. Extending this line of inquiry, this early artist’s book appropriates drawings and texts from E. Frank Candlin’s seminal English-language textbook “Present Day English for Foreign Students”, using its elementary phrases to probe the instability of meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTo further disrupt the textbook’s relationship between word and image, Kozłowski introduces a photograph by Jerzy Jan Nowakowski, possibly depicting the artist’s parents, that replicates one of the manual’s illustrations. 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In this monumental bust, the artist portrayed himself as a seated lion. A motif that has persisted throughout the history of art, from ancient Egypt and Mesopotamia to Kiki Smith's \u003c\/span\u003e\u003cspan\u003eWoman with Lion\u003c\/span\u003e\u003cspan\u003e (2003) and Ai Weiwei's \u003c\/span\u003e\u003cspan\u003eBlue-and-White Porcelain Lion Merged with Toy Bricks\u003c\/span\u003e\u003cspan\u003e (2023), the lion has been associated with power, authority, protection, and wisdom. As Dirk Dobke observes, however, Roth's lion carries distinctly personal associations:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This sculpture is both a homage to his companion at that time, Dorothy Iannone, whom he called 'my lioness', and a depiction of an alter ego in the form of a seated lion (which anyone who is unfamiliar with the title might easily mistake for a dachshund). The lion motif played an important part in his graphic work during these years. Possibly the idea of the chocolate Löwenselbst was inspired by the place where Rudolf Rieser lived in Cologne Löwenich, Lion-I.” (Dirk Dobke, \u003c\/span\u003e\u003cspan\u003eDieter Roth: Books + Multiples\u003c\/span\u003e\u003cspan\u003e, 2004, p. 15)\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54383822307667,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DRChoco2.png?v=1784798999"},{"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":"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 “Orderbuch”, 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":"fall","title":"Fall","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBest known for his conceptual and performative practice, Bas Jan Ader is the artist of the “fall” par excellence. Many of his projects revolve around themes of psychological and physical collapse. In this exceptionally rare artist’s book, Ader documents two performances made in 1970 in Los Angeles and Amsterdam. The first presents a photographic sequence of eleven moments depicting the artist seated on a straight-backed chair on the roof of his house before falling from it; the second shows him cycling straight into a typical Dutch canal. This performative tandem was also preserved in video form as Fall 1 \u003c\/span\u003e\u003cspan\u003eand Fall 2.\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1972, Ader conceived “The Boy Who Fell Over Niagara Falls”, a conceptual and performance work inspired by the real-life story of Roger Woodward, a seven-year-old boy who miraculously survived going over the Canadian Horseshoe Falls in a small boat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProphecy or coincidence, three years later Ader mysteriously disappeared while crossing the Atlantic Ocean in a small boat named Ocean Wave.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54446821835091,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Fall.png?v=1785503822"},{"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":"the-complete-life-and-work-seen-through-the-pink-glasses-of-desire","title":"The complete life and work, seen through the pink glasses of desire","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54543306654035,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4311.png?v=1786374874"}],"url":"https:\/\/metabooks.art\/collections\/identity.oembed","provider":"Metabooks","version":"1.0","type":"link"}