{"title":"LANGUAGE","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\u003cspan\u003eWar Primer 2\u003c\/span\u003e\u003cspan\u003e sees Adam Broomberg and Oliver Chanarin revisit Bertolt Brecht's landmark \u003c\/span\u003e\u003cspan\u003eWar Primer\u003c\/span\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\u003cspan\u003eWar Primer\u003c\/span\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\u003cspan\u003eWar Primer 2\u003c\/span\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":"la-veranda","title":"La Véranda","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e“La Véranda” is Rodney Graham’s conceptual reinterpretation of Herman Melville's short story “The Piazza.” Presented as two identical French editions bound together by a printed sleeve, the work combines literature, photography, and a very subtle artistic intervention. By adding an imaginary architectural detail (a porch) into Melville's house depicted on the sleeve, Graham blurs the boundaries between reality and fiction. Through repetition, extension, and displacement, he transforms the book into a sculptural object and a meditation on memory and authorship. “La Véranda” is part of a larger series of artistic works reflecting Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801202909523,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Veranda_e7016fb9-bbe8-4dfd-8067-594070ed0ae8.png?v=1779270775"},{"product_id":"james-bond-dr-no","title":"James Bond. Dr No","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGraham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801219490131,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/JamesBond_f4080abe-d4e0-4922-938b-95ba92d82b39.png?v=1779270792"},{"product_id":"the-catcher-in-the-rye-1","title":"The Catcher in the Rye","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis literary and literally appropriation of \"The Catcher in the Rye\", issued in a limited edition of 500 copies, reproduces the first edition of Salinger's coming-of-age novel. \u003cmeta charset=\"UTF-8\"\u003ePrince’s intriguing facsimile is nearly identical to the original, with one telling exception: the artist’s own name replaces Salinger’s on both the dust jacket and the title page. On the first page, an edgy disclaimer reads: “This is an artwork by Richard Prince. Any similarity to a book is coincidental and not intended by the artist.”\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\"\u003eShortly after its release, Prince sold copies for just a handful of dollars from a sidewalk in Central Park. That same year, his altered publication made its first appearance at Printed Matter’s New York Art Book Fair. Since then, it has become a genuine “catch” for book collectors and Prince aficionados alike.\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801239904595,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Catcher_Cover.png?v=1789195654"},{"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":"100-000-minutes","title":"100,000 minutes","description":"\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs readers turn the opening pages of \u003c\/span\u003e\u003cspan\u003e100,000 Minutes\u003c\/span\u003e\u003cspan\u003e, they encounter a succession of alternative titles James Lee Byars considered for the work: \u003c\/span\u003e\u003cspan\u003eor The Big Sample of Byars\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eor 1\/2 an Autobiography\u003c\/span\u003e\u003cspan\u003e (a reference to the artist's age of thirty-seven, then considered the statistical midpoint of an American lifespan); and \u003c\/span\u003e\u003cspan\u003eor The First Paper of Philosophy\u003c\/span\u003e\u003cspan\u003e. The publication originated in Byars's first European exhibition at the Wide White Space Gallery in Antwerp, which consisted of three performances. During the final week, the artist sat behind an opening cut into a gallery wall, painted the same distinctive pink as the book's pages, and wrote in public. The texts reproduced in this volume were composed during this performance. Some recount episodes from his life, while others take the form of short and witty philosophical aphorisms:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"At first sight, do you perceive the full potential of a circumstance?\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"I went to Oxford just to find out what questions existed in the philosophy department.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"If you ask for something that doesn't exist, you deserve it on the intelligence of the request.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp role=\"presentation\" dir=\"ltr\"\u003e\u003cspan\u003e\"I wear a black leather suit and like clear light bulbs; do you think I'm Wittgenstein's ghost, too?\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn a 1969 interview with Geert Bekaert and Walter Van Dijk (\u003c\/span\u003e\u003cspan\u003eStreven\u003c\/span\u003e\u003cspan\u003e, vol. 22), Byars described the book as \"a sample\" rather than the story of an entire life. Influenced by Ludwig Wittgenstein, he conceived of philosophy as an ongoing process of inquiry rather than a means of arriving at fixed conclusions. The title reflects his fascination with numbers (particularly large, rounded figures), which he valued less for their mathematical precision than for their poetic and symbolic resonance. For Byars, \u003c\/span\u003e\u003cspan\u003e100,000 Minutes\u003c\/span\u003e\u003cspan\u003e signified possibility rather than measurement, just as his imagined possession of the complete 1-million-word \u003c\/span\u003e\u003cspan\u003eOxford English Dictionary\u003c\/span\u003e\u003cspan\u003e—a dream he shared in the same interview—expressed a desire to inhabit the totality of language rather than to master it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":53801304097107,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Byars.png?v=1779269873"},{"product_id":"gustave-flaubert-un-coeur-simple","title":"Gustave Flaubert. Un cœur simple","description":"\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eProduced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54018623635795,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Levine.png?v=1781683606"},{"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\u003cspan\u003eSans Soleil\u003c\/span\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":"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":"the-book-of-eighteen-letters","title":"The Book of Eighteen Letters","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJosé Luis Castillejo (1930–2014) occupies a singular position within postwar Spanish experimental art and poetry. His artistic production evolved alongside his diplomatic career. Closely associated with concrete and visual poetry while ultimately moving beyond both, he developed the theory of \u003c\/span\u003e\u003cspan\u003enueva escritura\u003c\/span\u003e\u003cspan\u003e (\"new writing\"), which conceived writing as an autonomous artistic medium. Just as modern painting had abandoned representation and modern music had broken free from traditional harmony and melody, Castillejo sought to liberate writing from its exclusively linguistic function, treating it instead as a visual and conceptual practice.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Book of Eighteen Letters\u003c\/span\u003e\u003cspan\u003e (1972) is among the most important realizations of Castillejo's \u003c\/span\u003e\u003cspan\u003enueva escritura\u003c\/span\u003e\u003cspan\u003e. Published in Madrid by Artes Gráficas Luis Pérez in a limited edition of 350 copies, the artist's book comprises approximately 400 unnumbered pages. Here, Castillejo isolates a selected set of eighteen letters (consonants) from the Spanish alphabet, transforming them into both the material and the subject of the work. Through seriality and the disciplined organization of the page, the letters are stripped of their conventional communicative function and acquire an autonomous visual and conceptual presence. Reading gives way to contemplation as the book unfolds as a field of structure and spatial relationships, where writing is experienced as form and visual order rather than as a vehicle for narrative or semantic meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis copy is marked with the name of the artist and critic Richard C. Kostelanetz, written in pencil, alongside the date 8\/72.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027748409683,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/18letters.png?v=1781772592"},{"product_id":"spare-parts","title":"Spare Parts","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCharles Henri Ford was a Surrealist writer, editor, filmmaker, photographer, and collage artist. A central figure of the twentieth-century avant-garde, he belonged to Gertrude Stein's Paris circle in the 1930s and later became an important influence on Andy Warhol in the 1960s. He is best known as the co-founder, editor, and publisher of \u003c\/span\u003e\u003cspan\u003eView\u003c\/span\u003e\u003cspan\u003e, the influential Surrealist art magazine. A true \u003c\/span\u003e\u003cspan\u003eflâneur\u003c\/span\u003e\u003cspan\u003e in the richest sense of the term, Ford lived and worked in places including Paris, Morocco, Kathmandu, Crete, and New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was in Athens, in the workshop of the master printer Vassily Papachrysanthou, that Ford produced one of the most original bodies of work of his career. Between 1964 and 1965, he created the series \u003c\/span\u003e\u003cspan\u003ePoem Posters\u003c\/span\u003e\u003cspan\u003e, followed in 1966 by his landmark artist's book \u003c\/span\u003e\u003cspan\u003eSpare Parts\u003c\/span\u003e\u003cspan\u003e, published in a limited edition on richly textured paper, with each copy distinguished by a unique dust jacket. Conceived as visual poems (or, in Ford's words, \"poem posters\"), these works move fluidly between collage, concrete poetry, and printmaking techniques. Fragments of language clipped from magazines intermingle with photographs, graphic forms, and Ford's own paste-up poems to create layered compositions that draw equally on the visual language of Pop and the oneiric logic of Surrealism, all infused with his characteristic wit and queer sensibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduced through an experimental industrial photo-offset lithographic process, many of the posters are effectively monotypes. Working in close collaboration with Papachrysanthou, Ford’s book embodies his notion of “ideas in the air\": spontaneous constellations of words and images that are at once psychedelic and materially resonant.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029695844691,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/SpareParts.png?v=1781781005"},{"product_id":"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":"ausstellung-mit-6-filmprojektoren-nach-buchern-uber-1968","title":"Ausstellung Mit 6 Filmprojektoren Nach Büchern Über 1968","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTime is central to Hanne Darboven's work. Writer and curator Okwui Enwezor argued that her archival practice is not simply a repository of information but a structure of historical consciousness. \u003c\/span\u003e\u003cspan\u003eAusstellung mit 6 Filmprojektoren nach 6 Büchern über 1968\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003eExhibition with 6 Film Projectors after 6 Books on 1968\u003c\/span\u003e\u003cspan\u003e) embodies this precise idea.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn essential work within Darboven's corpus of printed matter, this publication accompanied the eponymous exhibition at the Städtisches Museum Mönchengladbach (now Museum Abteiberg), held from 25 February to 7 April 1969 and curated by Johannes Cladders. More than an exhibition catalogue, it established a working method that Darboven would continue to develop over the following decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exhibition consisted of six silent 16 mm film projections recording Darboven's six handwritten books devoted to the year 1968. The publication was conceived as an integral part of the project rather than as its documentation. Presented as a boxed set, it comprises an eight-page booklet with a text by Johannes Cladders, six loose sheets reproducing pages from Darboven's manuscripts, and a blank graph-paper notebook. Together, these elements extend her serial, number-based system beyond the exhibition itself, inviting the reader into its open-ended temporal continuum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication anticipates Darboven's later large-scale installations, in which historical records and chronological systems became the primary vehicles for her long-term exploration of time and memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029878788435,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Darboven_93c850cc-b96f-44ea-8e38-ce01d3144856.png?v=1781781771"},{"product_id":"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\u003cspan\u003eClassifying the Thousand Longest Rivers in the World\u003c\/span\u003e\u003cspan\u003e is among the most influential artist’s books ever created: “one of the greatest artist’s books of all time” (\u003c\/span\u003e\u003cspan\u003eTate Etc.\u003c\/span\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":"this-way-brouwn-25-2-61-26-2-61-zeichnungen-1","title":"This way Brouwn: 25-2-61 \/ 26-2-61,  Zeichnungen 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSoon after arriving in Amsterdam in 1957, Stanley Brouwn became associated with the Dutch Nul group, closely related to the German Zero movement, which sought to establish new relationships between art and reality, before later transitioning to a practice more closely aligned with Fluxus and conceptual art. In this playful exercise and original reimagining of psychogeography, Brouwn collected maps and routes drawn by passersby whom he had asked for directions, then rubber-stamped them “This way brouwn”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived over two days in 1961 but not published until a decade later, “This Way Brouwn” remains one of his most performative artist's books. He literally transformed the everyday act of walking into art, in parallel with contemporaries who likewise adopted walking as an artistic medium, from the Situationists' explorations of psychogeography to Richard Long's “A Line Made by Walking” and Robert Smithson's “A Tour of the Monuments of Passaic,” among others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This Way Brouwn” is a walkscape in its own right, carrying both poetic and political resonance. As Francesco Careri writes in his seminal text Walkscapes: Walking as an Aesthetic Practice: \"\u003c\/span\u003e\u003cspan\u003eYou have to learn how to lose time, not always seeking the shortest route, letting yourself get detoured by events, heading towards more impenetrable paths where it is possible to ‘stumble,’ maybe even to get stuck, talking with the people you meet or knowing how to stop, forgetting that you were supposed to proceed; to know how to achieve unintentional walking, indeterminate walking.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54031039856979,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ThisWayBrouwn.png?v=1781792883"},{"product_id":"watch","title":"Watch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"WATCH\"\u003c\/span\u003e\u003cspan\u003e stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSophisticated in form and concept, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e forms an unexpected dialogue with Christian Marclay’s \"\u003c\/span\u003e\u003cspan\u003eThe Clock\"\u003c\/span\u003e\u003cspan\u003e (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040441389395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Watch.png?v=1781855650"},{"product_id":"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":"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":"just-ice","title":"Just Ice","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHansjörg Mayer, an artist, printer, teacher, and publisher was a central figure in Concrete Poetry and the experimental scene of the 1960s. Through his innovative approaches to typography and printing technology, as well as his influential edition \u003c\/span\u003e\u003cspan\u003ehansjörg mayer\u003c\/span\u003e\u003cspan\u003e, he expanded the conceptual horizons of the artist’s book as a medium in its own right. In this work, Mayer transforms printing into a process of gradual disappearance, inviting the viewer to witness the complete erosion of an alphabet. The final relief-printed page appears to preserve the accidental arrangement of the overturned letters, capturing the moment when the alphabet collapsed into silence—or, as Mayer suggests in his title, melted “just [like] ice.” Printed until the final letter fell, the book concludes with a complete blank page, turning the act of printing itself into a meditation on the dissolution of all traces and signs. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055587348819,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/JustIce.png?v=1782029193"},{"product_id":"the-life-and-opinions-of-tristram-shandy-gentleman","title":"The Life and Opinions of Tristram Shandy, Gentleman","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew conceptual artists possess the wit and playful edge to respond with such irony to Laurence Sterne's celebrated novel, whose episodic structure and playful reflexivity remain among the most distinctive achievements of eighteenth-century literature. \u003c\/span\u003e\u003cspan\u003eThe Life and Opinions of Tristram Shandy, Gentleman\u003c\/span\u003e\u003cspan\u003e was originally published between 1759 and 1767 in nine volumes. In 1988, John Baldessari was invited by Andrew Hoyem of the Arion Press, San Francisco, to contribute to a new deluxe edition of Sterne's masterpiece. Baldessari responded with a contemporary visual intervention: a sequence of deliberately disjointed photocollages that mirrors Sterne's playful disregard for linear narrative, conventional punctuation, and literary decorum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe three-volume set comprises a facsimile of Sterne's original text sophisticatedly bound; a smaller tome consisting of a critical essay by the Sterne scholar Melvyn New; and an accordion-fold artist's book of Baldessari's photocollages, interspersed with Shandean aphorisms. Among the most memorable are his iconic dot portraits, placed in dialogue with a celebrated passage from Book III, Chapter XII (p. 173):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"—And did you step in, to take a look at the grand picture, in your way back?——'Tis a melancholy daub! my Lord; not one principle of the pyramid in any one group!——and what a price!——for there is nothing of the colouring of Titian,——the expression of Rubens,—the grace of Raphael,——the purity of Dominichino,—the corregiescity of Corregio,—the learning of Poussin,—the airs of Guido,—the taste of the Carrachi's,—or the grand contour of Angelo.——Grant me patience, just heaven!——Of all the cants which are canted in this canting world,——though the cant of hypocrites may be the worst,—the cant of criticism is the most tormenting!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA witty visual rediscovery of Laurence Sterne's caustic satire, Baldessari's contribution demonstrates how the novel's experimental spirit continues to resonate more than two centuries after its first publication.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055610319187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tristram.png?v=1782029534"},{"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":"2nd-hand-reading","title":"2nd Hand Reading","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSecond-Hand Reading\u003c\/span\u003e\u003cspan\u003e explores history, memory, and the production of knowledge through the obsolete form of the flip book. 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An accompanying film \u003c\/span\u003e\u003cspan\u003efeatures an original score by Neo Muyanga.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057260777811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/2ndHand.png?v=1782055930"},{"product_id":"cafe-du-reve","title":"Café du rêve","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “\u003c\/span\u003e\u003cspan\u003evoyage épistolaire”\u003c\/span\u003e\u003cspan\u003e, Lise Lerichomme remarks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “\u003c\/span\u003e\u003cspan\u003eApproach Road”\u003c\/span\u003e\u003cspan\u003e) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (\u003c\/span\u003e\u003cspan\u003eCorrespondances d’artistes : du brouillon à la lettre ouverte\u003c\/span\u003e\u003cspan\u003e, 2012)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExtending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057283977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cafe.png?v=1782056567"},{"product_id":"jmxmage","title":"JMXMAGE","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJMXMAGE is a collaborative art project combining the work of artist Jean-Michel Wicker and the Swiss graphic design studio Maximage, notably presented in an exhibition at Galerie Kamm in Berlin. The title itself is an elliptical abbreviation derived from the names of the artist and the studio. Evoking the text-based paintings of Ed Ruscha as well as the visual poetry of Hansjörg Mayer, the book encodes a complex and sophisticated system of typographic numerals set against chromatic backgrounds distilled into imaginary landscapes. These atmospheric compositions are the result of manual interventions, colour modulations, and mathematical experimentations involving offset plates and grids.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057301213523,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/untitled.png?v=1782056924"},{"product_id":"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":"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. Published in 2010, \u003c\/span\u003e\u003cspan\u003eHoly Crap\u003c\/span\u003e\u003cspan\u003e was subsequently translated into a site-specific public installation, presented later that year in the front windows of Sotheby's York Avenue headquarters on Manhattan's Upper East Side.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062266974547,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyCrap.png?v=1782120549"},{"product_id":"ransacked-aunt-ethel-an-ending","title":"Ransacked - Aunt Ethel: An Ending","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062338605395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Rainsacked.png?v=1782121306"},{"product_id":"funzione","title":"Funzione","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063011004755,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Funzione.png?v=1782128126"},{"product_id":"book","title":"Book","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063269740883,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tutle.png?v=1782129061"},{"product_id":"tatvan","title":"Tatvan","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eStanley Brouwn's conceptual practice was centred on themes of distance, movement, and physical mapping as means of moving beyond abstract visual representation towards literal and minimal forms of depiction. This volume, published by Aktionsraum 1 in Munich (one of the seminal German independent spaces for Conceptual art), distills Brouwn’s exploration of numerical representation to its essential form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe artist travelled to Tatvan, in eastern Turkey, in 1970. Known for being the terminus of an important railway line, the city set on the western \u003c\/span\u003e\u003cspan\u003eshore of Lake Van\u003c\/span\u003e\u003cspan\u003e is particularly scenic. After having photographed the landscape in the direction of the railway's imagined continuation, Brouwn decided to sublimate the imagery with the numerical. The book thus consists solely of a sequence of possible distances, one per page: \u003c\/span\u003e\u003cspan\u003ex – Tatvan 1 km\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003ex – Tatvan 1,000 km\u003c\/span\u003e\u003cspan\u003e; and so on, continuing “ad infinitum” into increasingly large numerical values. The work reduces the idea of place to numerical distance alone, proposing a conception of space that exists independently of visual description or pictorial and geographic representation. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063581954387,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Brouwn.png?v=1782129417"},{"product_id":"week-programma-amsterdam","title":"Week Programma Amsterdam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis cultural information booklet includes a contribution by Stanley Brouwn in the centre spread, featuring a street map of Amsterdam's Kinkerstraat neighbourhood with a printed arrow on Kinkerstraat pointing towards La Paz. A text on the lower right-hand page reads: \u003c\/span\u003e\u003cspan\u003e\"stanley brouwn. la paz. the section of Kinkerstraat between Nassaukade and Bilderdijkstraat points exactly in the direction of La Paz. On 6 December at 10 o'clock, at the above-mentioned location, stanley brouwn will walk 100 steps in the direction of La Paz.\"\u003c\/span\u003e\u003cspan\u003e [loosely translated from Dutch] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLa Paz\u003c\/span\u003e\u003cspan\u003e was both the title of Brouwn's conceptual art exhibition at the Stedelijk Museum Schiedam and of the accompanying publication. The project invited participants to follow directional arrows and walk prescribed distances aligned with cities around the world, transforming orientation and movement into conceptual gestures. Like many of Brouwn's works, this intervention reflects his obsession with numerical and directional systems in place of conventional visual representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eListed in Harry Ruhé's \u003c\/span\u003e\u003cspan\u003eStanley Brouwn: A Chronology\u003c\/span\u003e\u003cspan\u003e, this \u003c\/span\u003e\u003cspan\u003eWeekprogramma\u003c\/span\u003e\u003cspan\u003e leaflet is among the most elusive pieces of Brouwn's printed ephemera.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063953576275,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LaPaz.png?v=1782132290"},{"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":"krishnamurti-freedom-from-the-known","title":"Krishnamurti. 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. Tillmans's \u003c\/span\u003e\u003cspan\u003eEX LIBRIS\u003c\/span\u003e\u003cspan\u003e contribution thus becomes a dialogue between two forms of attention: Krishnamurti's philosophical inquiry and the artist's own act of reading and distilling his words.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54064054894931,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Krishna.png?v=1782133186"},{"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":"15-unedited-poems","title":"15 Unedited Poems","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue \u003c\/span\u003e\u003cspan\u003eItalian Visual Poetry \u003c\/span\u003e\u003cspan\u003e(Finch College Museum, New York, 1973):\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications...\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137615024467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/MarioDiacono.png?v=1782741055"},{"product_id":"arlington-une-summer-66","title":"Arlington – Une. 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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":"iris-ich-bin-in-paris","title":"IRIS ICH BIN IN PARIS","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141702504787,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Iris.png?v=1782810664"},{"product_id":"lets-take-back-our-space-female-and-male-body-language-as-a-result-of-patriarchal-structures","title":"‘Let's Take Back our Space’: “Female” and “Male” Body Language as a Result of Patriarchal  Structures","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal artist's book was conceived during the second wave of feminism in the 1970s, a period in which the concept of “\u003c\/span\u003e\u003cspan\u003ebody politics”\u003c\/span\u003e\u003cspan\u003e gained prominence through campaigns against domestic violence and the objectification of women, as well as movements advocating for abortion rights. Marianne Wex's thoughtful visual and textual survey of gendered body language is based on a corpus of more than 5,000 photographs of human gestures, either taken by the artist in Hamburg or collected from a wide range of media between 1974 and 1977, including advertisements, films, news reports, and historical publications. From this initial corpus, Wex selected 2,037 images for publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis ambitious project originated from a personal enquiry into the ways in which patriarchy shapes the behaviour of bodies and their representation in the world. How, and why, are femininity and masculinity embodied differently across social, political, and artistic contexts? The book is carefully structured around themes that continue to resonate in contemporary discussions of gender (and beyond) in both art history and broader social discourse: \u003c\/span\u003e\u003cspan\u003eMan's Struggle Against Womanpower and the Effects Upon Body Language Throughout the Course of History\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eHow the Men of Christianity Took Over an Old Goddess Gesture\u003c\/span\u003e\u003cspan\u003e; and \u003c\/span\u003e\u003cspan\u003eFeminine and Masculine Body Forms in Today's Patriarchy\u003c\/span\u003e\u003cspan\u003e. Wex concludes her iconographic investigation with two empirical accounts: a reflection on her own bodily experience in the world and a personal observational narrative describing bodies and gestures encountered during a train journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs stated on the back cover, the project was first presented in 1977 as a photographic exhibition at the Neue Gesellschaft für Bildende Kunst in Berlin, in conjunction with the exhibition \u003c\/span\u003e\u003cspan\u003eWomen Artists International, 1877–1977\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141754310995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LetsTakeBack.png?v=1782811614"},{"product_id":"opus-1966","title":"OPUS 1966","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eEric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His “Opus 1966” is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer. Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, “Opus 1966” embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media. As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. 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Each issue featured an exercise in style by a different artist or poet, who was given complete freedom to experiment with the expressive possibilities of language-based art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe broadsides were subsequently issued in two collectible volumes, each comprising 13 works. The first volume brings together contributions by Mathias Goeritz, Klaus Burkhardt, Max Bense, Reinhard Döhl, Louis Zukofsky, Bohumila Grögerová, Josef Hiršal, Ian Hamilton Finlay, Claus Bremer, Augusto de Campos, Edward Lucie-Smith, Dieter Roth, Emmett Williams, and Frieder Nake, offering a remarkable survey of the international concrete and experimental poetry movement.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144732791123,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Futura1.png?v=1782830888"},{"product_id":"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":"futura-14-bis-26","title":"Futura 14 bis 26","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduced by poet and printer Hansjörg Mayer in Stuttgart between 1965 and 1968, the \u003c\/span\u003e\u003cspan\u003e“\u003c\/span\u003e\u003cspan\u003efutura” series explored the poetic potential of typography through a sequence of 26 broadsides. 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The second volume brings together contributions by Carlo Belloli, Jonathan Williams, Hiro Kamimura, Wolfgang Schmidt, Pierre Garnier, Bob Cobbing, Edwin Morgan, Dick Higgins, Wolf Vostell, Herman de Vries, Peter Schmidt, Andre Thomkins, and Robert Filliou, offering a remarkable survey of the international concrete and experimental poetry movement.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54150285066579,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Futura2.png?v=1782892872"},{"product_id":"kleine-billardschule","title":"Kleine Billardschule","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54156736430419,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/GerhardR.png?v=1782922922"},{"product_id":"lehrsatze-uber-das-weltall-mit-beweis-in-form-eines-offenen-briefes-an-professor-einstein","title":"Lehrsätze über das Weltall mit Beweis in Form eines offenen Briefes an Professor Einstein","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54156746850643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ruhm.png?v=1782923552"}],"url":"https:\/\/metabooks.art\/collections\/language.oembed?page=7","provider":"Metabooks","version":"1.0","type":"link"}