{"title":"MEDIA AND TECHNOLOGY","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":"vita-morte-e-miracoli-dell-architettura","title":"Vita, morte e miracoli dell’architettura","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eActive between 1968 and 1972, Gruppo 9999 was among the most visionary protagonists of the Italian neo-avant-garde, challenging the formal and institutional frameworks that defined architectural practice at the time. Founded by Giorgio Birelli, Carlo Caldini, Paolo Galli, and Fabrizio Fiumi, the group was based in Florence at Space Electronic, an experimental venue near the Santa Maria Novella station that transformed, within the same space, from an architecture school by day into a psychedelic club by night. A laboratory for exchange and experimentation, Space Electronic became the stage for Gruppo 9999’s radical exploration of architecture as a cultural, ecological, and ethical practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their work, the group questioned the mechanisms of mass media, the acceleration of consumer culture, and the conventions of architectural production, proposing instead new forms of spatial and social imagination. Their research contributed to the intellectual climate that would soon be identified by Germano Celant, in 1972, as “radical architecture”: an anti-establishment movement that shifted attention away from the profession of architecture itself and toward a critical investigation of its foundations, possibilities, and limits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1971, this rare volume remains one of the most compelling documents of Gruppo 9999’s visionary universe. Richly illustrated with photographs, photomontages, drawings, and comics, it gathers images of projects, installations, and speculative environments that embody the group’s experimental approach. Produced in collaboration with Superstudio and featuring contributions by Ant Farm, Ugo La Pietra, G. Chiari, Portola Institute, G. Pettena, UFO, and others, the publication served as the general catalogue for \u003c\/span\u003e\u003cspan\u003eCatalog Festival n.1\u003c\/span\u003e\u003cspan\u003e, issued on the occasion of the design event \u003c\/span\u003e\u003cspan\u003eS-Space Mondial Festival N.1\u003c\/span\u003e\u003cspan\u003e, held at Space Electronic in Florence from 9 to 11 November 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication’s pages unfold as a visual manifesto, bringing together alternative modes of representation. This dynamic and technologically charged imagery is set against the unexpected serenity of its bucolic cover, designed by Gruppo 9999, whose title (\u003c\/span\u003e\u003cspan\u003eVita, morte e miracoli dell’architettura\u003c\/span\u003e\u003cspan\u003e) suggests the cyclical, transformative vision of architecture that animated the group’s practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027774656851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/999smaller600.png?v=1781881510"},{"product_id":"111","title":"111","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than using the photocopy as a way to create identical copies, Alighiero Boetti saw it as a tool for exploring the relationship between human ideas and technology. Artist’s books such as this one, as well as the expanded version \"\u003c\/span\u003e\u003cspan\u003eI quindici libri rossi – 111\"\u003c\/span\u003e\u003cspan\u003e, reflect his ongoing interest in systems and the balance between order and chance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Already in ’69, in Turin, when I used to go to the Rank Xerox showroom with my little coins in my pocket, I had so many ideas”, Boetti stated in 1991. “I would say: the photocopier is not just an office machine; by the year 2000 we’ll all have one in our living rooms! Give me one, and I’ll document some of its creative applications. I didn’t mean manipulating the mechanism or the ink, as some people had done, from Munari onward. No, what interested me was the standard application. But, for instance, I would have put it out on the balcony when it starts to rain: one drop, ten drops, a thousand drops…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoetti was fascinated that a photocopier could transform a simple, mechanical action into a process open to variation and surprise. In \"\u003c\/span\u003e\u003cspan\u003e111\"\u003c\/span\u003e\u003cspan\u003e, each of the 111 photocopies reproduces a different newspaper clipping, turning fragments of everyday information into a serial composition. The title \"\u003c\/span\u003e\u003cspan\u003e111\"\u003c\/span\u003e\u003cspan\u003e is both a palindrome and the principle behind the work’s method of production: through repetition, a simple structure can generate countless possibilities. It suggests a kind of “contained infinity”, where endless variations unfold within a fixed system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs in other works made with photocopying technologies such as \"\u003c\/span\u003e\u003cspan\u003eNove Xerox Anne Marie\"\u003c\/span\u003e\u003cspan\u003e (1969), \"\u003c\/span\u003e\u003cspan\u003eDossier Postale\" \u003c\/span\u003e\u003cspan\u003e(1969–1971), and \"\u003c\/span\u003e\u003cspan\u003eAutoritratto\"\u003c\/span\u003e\u003cspan\u003e (1971), Boetti questioned the traditional role of the artist as the sole creator. Instead, he allowed the machine, the process, and chance to become active participants in the making of the work.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027795366227,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/111_4d34f598-e891-4950-8206-01fa3b1290a2.png?v=1789195806"},{"product_id":"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":"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":"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":"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. Reflecting this approach, he later reimagined \"Opus 1966\" as a performative choral composition with a computer singing songs.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54142237245779,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/EricAnderson.png?v=1782819357"},{"product_id":"zeichnungen-fur-ein-kleines-zimmer-grafisches-kabinett-secession-wien-27-mai-21-august-2011","title":"Zeichnungen für ein kleines Zimmer: Grafisches Kabinett-Secession, Wien 27.Mai - 21.August 2011","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Grafisches Kabinett - Secession in Vienna, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188178768211,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/27Mai21August2011.png?v=1783085122"},{"product_id":"zeichnungen-fur-ein-kleines-zimmer-vol-ii-punta-della-dogana-venezia-13-aprile-2014-31-dicembre-2014","title":"Zeichnungen für ein kleines Zimmer, Vol II: Punta della Dogana, Venezia 13.Aprile 2014 - 31.Dicembre 2014","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Punta della Dogana in Venice, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188241224019,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/13April31December2014.png?v=1783085845"},{"product_id":"zeichnungen-fur-ein-grosses-bild-museum-ludwig-koln-23-april-22-august-2010","title":"Zeichnungen für ein großes Bild: Museum Ludwig Köln 23.April - 22.August 2010","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Museum Ludwig, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188281921875,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/23April22August2010.png?v=1783086080"},{"product_id":"zeichnungen-von-drama-und-fruhstuck-im-atelier-museum-brandhorst-munchen-28-januar-30-april-2017","title":"Zeichnungen von Drama und Frühstück im Atelier: Museum Brandhorst, München 28.Januar - 30.April 2017","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Brandhorst Museum in Munich, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188319506771,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/28January30April2017.png?v=1783086260"},{"product_id":"zeichnungen-von-drama-und-fruhstuck-im-atelier-vol-ii-serpentine-gallery-london-29-september-2017-4-february-2018","title":"Zeichnungen von Drama und Frühstück im Atelier Vol. II: Serpentine Gallery, London 29.September 2017 - 4.February 2018","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Serpentine Gallery in London, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188353257811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/29Sept4Feb2018.png?v=1783086444"},{"product_id":"zeichnungen-fur-lange-bilder-kunsthalle-zurich-zurich-31-august-10-november-2013","title":"Zeichnungen für lange Bilder: Kunsthalle Zürich, Zürich 31.August - 10.November 2013","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Kunsthalle Zurich, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188373115219,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/31August10November.png?v=1783086607"},{"product_id":"100-this-way-brouwn-problems-for-computer-i-b-m-360-model-95","title":"100 this-way-brouwn-problems for computer I. B. M. 360 model 95","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the earliest artist's books to engage with artificial intelligence, this publication extends Stanley Brouwn's investigation of measurement. Produced in 1970 with the assistance of an IBM computer, \u003c\/span\u003e\u003cspan\u003e100 this-way-brouwn problems for computer IBM 360 model 95\u003c\/span\u003e\u003cspan\u003e marks a radical development in the artist's exploration of spatial perception, particularly when considered alongside his earlier performative project in Amsterdam, to which the title explicitly refers. In that work, Brouwn invited passers-by to draw or describe directions to locations within the city. 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. The work thus anticipates later artistic explorations of human–machine dialogue, proposing a mode of inquiry in which the value lies in the question rather than its resolution.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188502876499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/IBM.png?v=1783089223"},{"product_id":"alias-a-sail-pour-muche","title":"Alias. A sail pour muche","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54283191746899,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Alias.png?v=1783847935"},{"product_id":"desk-trajectories-as-is","title":"Desk Trajectories (As Is)","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54385441931603,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Desk.png?v=1784810405"},{"product_id":"signals-still-ink-book","title":"Signals Still \/ Ink (Book)","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54385805230419,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Signals.png?v=1784813311"},{"product_id":"illuminations","title":"Illuminations","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54408928002387,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Illuminations.png?v=1785074196"},{"product_id":"untitled-7","title":"[Untitled, Josh Smith]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54408998027603,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Josh4.png?v=1785075091"},{"product_id":"syracuse","title":"Syracuse","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54409463890259,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Syracuse.png?v=1785077842"},{"product_id":"volume","title":"Volume","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54418017648979,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Volume.png?v=1785164278"},{"product_id":"sixteen-google-street-views","title":"Sixteen Google Street Views","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639018279251,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4515.png?v=1787230717"},{"product_id":"funf-in-koln","title":"Fünf in Köln","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eFünf in Köln\u003c\/em\u003e was a seminal 1979 group exhibition at the Kölnischer Kunstverein in Cologne, featuring Michael Buthe, Ulrike Rosenbach, Gerhard Rühm, Alf Schuler, and a young Sigmar Polke, before he attained wider international recognition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the occasion, Polke self-published an experimental catalogue composed of newspaper clippings, small collages, juxtaposed drawings, and double-printed images. The catalogue was never issued as an official exhibition booklet; instead, Polke produced approximately 30 photocopies for friends and close attendees. Today, it stands as an exceptionally rare artist publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmong its many remarkable elements is an early glimpse of Polke’s fascination with Francisco Goya’s \u003cem\u003eEl tiempo y las viejas\u003c\/em\u003e (1812), a painting he would later photograph, revisit, rework, and decompose through his own artistic practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54667902845267,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4468.png?v=1787479703"},{"product_id":"xerografie-originali-un-esempio-di-sperimentazione-sistematica-strumentale","title":"Xerografie Originali. Un esempio di sperimentazione sistematica strumentale","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, treating xerography as an artistic medium through performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMunari produced his xerographies by moving images, patterns, and textures as they were being scanned, generating unique and unrepeatable compositions. Rather than using the photocopier to reproduce an existing image, he transformed it into a tool for creating new ones. Through movement, he explored xerography as a form of drawing with surfaces rather than lines, producing visual effects that conventional photography could not achieve.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSeven years after his performative participation in the 1970 Venice Biennale, where he presented an experimental, interactive laboratory equipped with a working Rank Xerox machine, Munari returned to the aesthetic unpredictability of photocopying in \u003cem\u003eXerografie Originali\u003c\/em\u003e. Conceived as a suite of systematic “exercises in style” conducted with new machines, the project explored a range of possibilities, from textures and patterns to “direct” self-portraits and colour photocopies. The results of these experiments are organized into categories and examined in Munari’s introductory text:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Systematic experimentation is carried out on the instrument to leave, if possible, no case unexplored. Every element of the process is analyzed in terms of its possibilities and tested in every respect. Experimentation, therefore, should not be directed toward a specific end; the results, if necessary, can be given a specific purpose. The sole aim of experimentation is to obtain the maximum amount of data, precisely for possible future use. The analysis will begin with the instrument in all its complexity, as well as with an examination of how it functions. Since it is a reproduction device, it will be necessary to determine its reading limits \u003cmeta charset=\"utf-8\"\u003e– that is, how it perceives and reproduces black areas, and the maximum thickness of a mark that it can reproduce accurately. There are several models of electrostatic copiers, and this initial analysis must be carried out for each model. The adjustment of toner density must also be understood. It must be possible to obtain a very clear or a very dark reproduction and to determine the possibilities of visual communication.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMunari’s early investigations into the possibilities of the Xerox machine resonate with later experimental approaches to photocopying, including Alighiero Boetti’s \u003c\/span\u003e\u003cem\u003e111\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \u003c\/em\u003e(1992) and Sigmar Polke’s \u003c\/span\u003e\u003cem\u003eDaphne\u003c\/em\u003e\u003cspan\u003e (2004), \u003cmeta charset=\"utf-8\"\u003eboth of which are part of the Metabooks collection.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54847489540435,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4567.png?v=1788445619"},{"product_id":"xerografia-documentazione-sulluso-creativo-delle-macchine-rank-xerox","title":"Xerografia. Documentazione sull'uso creativo delle macchine Rank Xerox","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom 1963 to 1977, Bruno Munari explored the creative potential of photocopying machines, using xerography as an artistic medium through works, performances, exhibitions, publications, and collaborations with Xerox and Rank Xerox.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMunari made his xerographies by moving images, patterns, and textures while they were being scanned, creating unique and unrepeatable compositions. Instead of using the photocopier simply to reproduce an image, he used it as a tool for making new ones. Through movement, he explored xerography as a way of drawing with surfaces rather than lines, creating effects that photography could not achieve.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the 1970 Venice Biennale, Munari presented an experimental laboratory with a working Xerox machine. The public could use the machine to create original graphic works and xerographies on the spot. The project showed how the photocopier could become a tool for artistic experimentation rather than simply a means of reproduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe artist’s book accompanying Munari’s performative intervention at the Biennale develops this idea further, functioning as a kind of manifesto for the creative use of the XEROX. Its epigraph, quoting Marshall McLuhan, reads: “La xerografia saluta l'avvento della pubblicazione istantanea. Adesso chiunque può diventare autore ed editore.” (“Xerography heralds the times of instant publishing. Anybody can now become both author and publisher.”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMunari’s experiments are both visual and tactile. He explores how the Xerox responds to different textures, surfaces, and materials, using the machine to discover unexpected effects. Unrepeatable in the range of its experiments, the book becomes at once a manual, a vademecum, a catalogue, a commercial booklet, and a poetic exploration of technology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMunari’s early investigations into the possibilities of the XEROX machine resonate with the experimental photocopy works of Alighiero Boetti, including \u003cem\u003e111\u003c\/em\u003e (1992), as well as with Sigmar Polke’s \u003cem\u003eDaphne\u003c\/em\u003e (2004), \u003cmeta charset=\"utf-8\"\u003eboth of which are part of the Metabooks collection.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54847549735251,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4569.png?v=1788445858"},{"product_id":"reve-zs","title":"REVE\/ZS","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTrained in printmaking and painting in his native Bogotá, Santiago Rebolledo moved to Mexico right after his studies, where he developed a politically engaged practice as a member of Grupo Suma (active 1976–1982). The group was a militant artistic collective whose activities included printmaking, urban art, graffiti, stencil and other critical interventions in public space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis rare publication dates from 1978 and consists of only six handmade copies. It combines collage, montage, stamp art, mimeography, and xerography. A photocopied image of a woman is repeated throughout the publication. The same image also exists as a single loose xeroxed sheet on Toluca’s website, where it is titled \u003cem\u003eLa desaparecida\u003c\/em\u003e. The identity of the woman depicted has not been established. The image appears to relate to the political repression and enforced disappearances carried out during Mexico’s so-called \u003cem\u003eDirty War\u003c\/em\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis particular copy belonged to Lourdes Grobet. A handwritten note in the publication records that other copies were sent to Felipe Ehrenberg, Guadalupe Sobarzo, and Santiago Rebolledo. A typed text on a small paper bag inserted into the publication states that this \u003cem\u003eMesa de Madera\u003c\/em\u003e publication was produced in collaboration with Sobarzo Lupe (Guadalupe Sobarzo), another member of Grupo Suma.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54911180538195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4578.png?v=1789050052"}],"url":"https:\/\/metabooks.art\/collections\/media-and-technology.oembed","provider":"Metabooks","version":"1.0","type":"link"}