{"title":"PERFORMANCE","description":"","products":[{"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":"an-exorcism","title":"An Exorcism","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePenny Slinger's feminist practice and exploration of feminine sexuality draw upon embodied experience, tantric philosophy, alchemy, psychology and archetypes. From her student years onward, she sought to move beyond the constraints of the male gaze, using collage to investigate and reconfigure the complexities of female subjectivity. As the artist writes in her introduction: “The images and accompanying captions present a record of the unraveling of the Self from dualistic limitations and the projections of others. It sets an example for psychic confrontation and transformation.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this spirit, “An Exorcism” follows a woman's journey of self-discovery through the decaying interiors of Lilford Hall in Northamptonshire, UK. Described by the artist as a “photo-roman,” the work unfolds as a sequence of symbolic passages, exploring desire, identity, and ultimately, liberation. Drawing on references ranging from religion and literature (particularly Georges Bataille) to the I Ching, Surrealism, and cinema (notably the films of Alejandro Jodorowsky and Alain Robbe-Grillet), Slinger constructs a postmodern feminist “bildungsroman” in visual form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross twenty-one chapters, the work interweaves primal fears, myth, ritual, eroticism and “exorcism” to confront patriarchal structures while tracing a movement toward autonomy through a series of psychological and symbolic rites of passage.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":53801311994195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AnExorcism_8a738fd3-dd4d-4383-818e-45cb21aec269.png?v=1781622405"},{"product_id":"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":"bilder-verwischungen-happening-notationen-1961-1966","title":"Bilder Verwischungen. Happening-Notationen 1961-1966","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055379861843,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Vostel.png?v=1782021796"},{"product_id":"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":"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":"kunst-diebstahl-als-totalkunst-demonstration","title":"kunst-diebstahl als totalkunst-demonstration","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSelf-proclaimed a \"total artist,\" Timm Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confronted the rituals of death. One of these bears the inscription, \"Always remember to forget me.\" Yet Ulrichs is far from forgotten in our artists' books collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGathered by Dutch Fluxus collector Tjeerd Deelstra shortly after Ulrichs’ first “Total Art retrospective”, this scarce and provocative collection of documents and ephemera brings together manifestos, artist's texts and expenses lists. The collection culminates in the extremely rare publication accompanying Ulrichs' notorious \"art theft\" exhibition in 1971, a project documented by Dagmar Voss and broadcast on German television that embodied the artist's conviction that art theft was a logical extension of the readymade. Loosely translated as “Art Theft as a Total Art Demonstration”, this publication documents the theft of Gerhard Altenbourg's “Girl with a Star” (1949) from Galerie Brusberg, its subsequent display by Timm Ulrichs for three days at the Total Art Room Gallery in Hanover, and the artistic and legal repercussions that followed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReinforcing its meditation on mortality, the publication also reproduces an image of a funerary urn inscribed: “TIMM ULRICHS ASCHE VERBRANNTER KUNSTWERKE 1969\/70\"(Ashes of Timm Ulrichs' Burnt Works of Art 1969\/70). The same year, John Baldessari similarly consigned all paintings in his possession dating from 1953–66 to a crematorium, transforming their destruction into the artwork in itself: \u003c\/span\u003e\u003cspan\u003eCremation Project\u003c\/span\u003e\u003cspan\u003e (1970).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUlrichs died in April 2026. In the end, his epitaph was destined to fail. Rather than being \"remembered to forget,\" he is remembered as one of Germany's leading conceptual and action artists.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187852464467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Timm.png?v=1783083492"},{"product_id":"svolgere-la-propria-pelle","title":"Svolgere la propria pelle","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough this project, Giuseppe Penone introduces the notion of body art into Arte Povera. He literally exposes the entirety of his body by “mapping” the surface of his skin inch by inch, through 607 photographs made in collaboration with photographer Claudio Basso.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFragmented across the pages of the book, Penone's body can be read, turned, and reassembled, bringing into focus questions of subjectivity and representation. No longer simply a tool for creating art, the artist's body itself becomes the medium and the message: an autonomous artwork. This idea is developed by Penone in an interview with Jason Farago for \u003c\/span\u003e\u003cspan\u003eEven\u003c\/span\u003e\u003cspan\u003e (Spring 2018):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. In other words, at this moment, the late ’60s, when it was essentially forbidden in art to do representation, casting gave the opportunity to reintroduce the figure, to introduce the body in an objective fashion, and not to interpret it.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePenone’s approach aligns with other artistic explorations of the body as a site to be disguised, performed, and reconfigured, where the limits between the self, the skin, and the world become permeable. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat same year, Penone carried out a related photographic investigation of his dog, Moretto, in \"\u003c\/span\u003e\u003cspan\u003eSvolgere la propria pelle – Cane\" (To Unroll One’s Skin – Dog)\u003c\/span\u003e\u003cspan\u003e, extending his exploration of the skin as both a boundary and a surface of inscription.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54216391852371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Penone.png?v=1783356711"},{"product_id":"23-pieces","title":"23 Pieces","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFormed, like other prominent artists of his generation, including Noah Purifoy and Ed Ruscha, at the Chouinard Art Institute, Allen Ruppersberg has divided his time between Los Angeles and New York. A pioneer of Conceptual art, his practice spans painting, photography, sculpture, installation, and artists’ books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePart of a numerical series, “23 Pieces” gathers twenty-three black-and-white photographs of places in and around Los Angeles, including Griffith Park, the Century Plaza Hotel, the Los Angeles County Museum of Natural History, and the Hasty Tasty Sandwich Shop. Spiral-bound and without text, this minimal artist’s book is characteristic of Ruppersberg’s practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSlightly performative in nature, with the artist himself appearing intermittently throughout its pages, “23 Pieces” functions as a psychogeographical study of Los Angeles in 1969, a pivotal year for Conceptual art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245204525395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/23pieces.png?v=1783602289"},{"product_id":"i-am-a-work-of-art","title":"I am a work of art","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJudit Kele is a Hungarian artist, performer, and filmmaker who has lived and worked in Paris since 1981. Her arrival in France was, appropriately, a performance in its own right. In 1980, Kele placed an advertisement in the French newspaper “Libération”, offering herself for sale as a work of art. A French collector won the bid, and, under the surveillance of civil police officers, Kele married him in Budapest before moving to Paris. Extending her practice beyond the gallery, she made her own life an arena of experimentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis performative approach is articulated in the artist’s book “I Am a Work of Art”, which places eight head-and-shoulder self-portraits at its centre, presenting frontal and profile views of Kele. Unlike Salvo’s self-portrait, inserted into a sequence of portraits of Old Masters in “Untitled”, published by John Weber Gallery in 1973, Kele’s images occupy the book in its entirety. The photographs are preceded by two pages of self-description, composed of short sentences arranged sequentially. The work brings together self-representation, textual self-definition, and a pointedly literal presentation of the artist’s body as an artwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKele’s engagement with the body as a site of artistic intervention dates to the late 1970s. The year before “I Am a Work of Art”, she presented her own body at the Museum of Fine Arts in Budapest as a masterpiece, replacing an artwork in the collection while being guarded by an armed policeman. Although its artistic significance was largely overlooked by the communist authorities, the performance became an emblematic image of the period.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54254350893395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Iamawork.png?v=1783664107"},{"product_id":"action-fete","title":"Action Fête","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54283705123155,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ActionFete.png?v=1783859321"},{"product_id":"diary-1-1-80-12-31-80","title":"Diary 1\/1\/80 - 12\/31\/80","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVagrich Bakhchanyan (1938–2009) was a pioneering Ukrainian-American conceptual artist, writer, and performer, as well as a co-founder of Sots Art and a participant in Fluxus. Describing himself as a “word artist”, he employed language, irony, and détournement to challenge both Soviet and Western cultural conventions. In “Diary”, Bakhchanyan confronted the camera each day throughout 1980, creating a series of raw self-portraits with the date affixed to his forehead. Sharing an affinity with On Kawara’s seminal date paintings, this performative, time-based artist’s book offers an intimate glimpse into Bakhchanyan’s conceptual practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54303760122195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Vagrich.png?v=1784030267"},{"product_id":"senza-titolo","title":"Senza Titolo","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54396759703891,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Chiari.png?v=1784898643"},{"product_id":"periodical-5","title":"Periodical #5","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis loose lithograph on a found magazine page, featuring a portrait of a very young Cybill Shepherd, was likely torn from \u003c\/span\u003e\u003cspan\u003ePeriodical #5\u003c\/span\u003e\u003cspan\u003e, in which Robert Heinecken shuffled pages drawn from popular magazines and lithographed over them with atrocious images of American soldiers in Vietnam. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s rare printed matter is transgressive. Beginning in 1969, Heinecken collected and dismantled magazines, developing a major body of work that explored contemporary imagery. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they operated as acts of infiltration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken’s interventions into mass media can be placed in dialogue with Martha Rosler’s seminal photomontage series \u003c\/span\u003e\u003cspan\u003eBringing the War Home\u003c\/span\u003e\u003cspan\u003e (1967–72) as both reveal the ideological mechanisms through which violence is mediated and consumed.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54402495414611,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Heinecken_periodical5.png?v=1784982355"},{"product_id":"poeme-collectif","title":"Poème collectif","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54408297152851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/poemecollectif.png?v=1785058906"},{"product_id":"point-blank","title":"Point Blank","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKendall Geers is an undoubtedly unique artist whose practice confronts not only the political injustices of his native South Africa but also the fractures and inconsistencies of the art system itself. In 1993, in a performance staged in conjunction with the Venice Biennale, Geers literally rewrote the story of his life: he abandoned his given names, Jacobus Hermanus Pieter, in favour of Kendall, and changed his date of birth to May 1968. In doing so, he severed his biographical connection to his origins, particularly to his father, whom he associated with colonialism, apartheid, and right-wing politics. Throughout his practice, life and work become intertwined in powerful acts of détournement, through which he explores violence, sex, fear, terror, and social and political anxiety across different media and forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor this visceral project, Geers subjected every copy of the edition to gunfire, firing six or seven rounds through each book at close range before its release. The resulting scorch marks and punctures make the title “Point Blank” literal: it refers both to the work’s subject matter and to the act performed upon its physical form. Devoid of text or imagery, the book bears traces of gunpowder, exposing the wounds and the residue of an act of violence.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54408310063443,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/pointblank.png?v=1785059974"},{"product_id":"printed-matter-lage-dhomme","title":"Printed Matter. L'age d'homme","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54409299427667,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/lagedhomme.png?v=1785077336"},{"product_id":"dessin-de-feu","title":"Dessin de feu","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBernard Aubertin, a key figure of Nouveau Réalisme and the ZERO movement, used fire as a drawing tool. Matches, arranged in tight rows, were set alight, leaving carbonized tips and soot-blackened plumes across the paper. Almost an \u003c\/span\u003e\u003cspan\u003eacheiropoieton\u003c\/span\u003e\u003cspan\u003e (a Greek term defining an image made without the artist’s hand), the resulting multiple hovers between rigorous structure and the uncontrollable trace of combustion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAubertin’s multiple was exhibited in 2022 as part of the \"Burning Matter\"\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003cspan\u003e exhibition at Studio 454 in Venice, alongside works by Ed Ruscha, Bruce Nauman, Barbara Kruger, and other artists who have explored fire as both medium and subject.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54415812428115,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BernardAubertin.png?v=1785139654"},{"product_id":"die-fabelhafte-getraume-von-taifun-willi-aka-flug-flux-blattzeitung-6","title":"Die fabelhafte getraume von taifun-willi [aka flug\/flux BLATTzeitung 6]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54424804426067,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/dickhigginsflug.png?v=1785240140"},{"product_id":"die-poesie-der-politischen-wirklichkeit","title":"Die Poesie der Politischen Wirklichkeit","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425767412051,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Peter_Below.png?v=1785249171"},{"product_id":"conzert-fur-klavier-und-gesprach","title":"Conzert für klavier und gespräch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSelf-published in 1974, this 16-page booklet accompanying Ernst Caramelle’s eponymous experimental live performance at INITIATIVE-GG in Groß-Gerau on 1 June 1974, is considered the artist’s first printed artwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived less as a conventional record of the performance than as an integral part of it, the booklet takes the form of a score for a participatory happening. It unfolds as a narrative sequence of names of artists, musicians, philosophers, and figures from popular culture, whose accumulation becomes both a form of documentation and a concrete poem.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe extended enumeration was intended to be read aloud by the audience, transforming the printed pages into a choral performance. The logic of the work is further articulated in the instructions printed on the back cover, here loosely translated from the German:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Working concept: creating a meditative effect through the reduction of tone sequences ‘brim barawariwara bamm bamm bamm+++brimbarawariwara bamm bamm bamm’ and generating theatrical situations through dance and gesture. The audience reads the catalogue text aloud.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54432378421587,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/conzerfurklavier.png?v=1785316307"},{"product_id":"ayacotl-une-collection-de-haricots-secs","title":"Ayacotl - une collection de haricots secs","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54433904984403,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Suisse_Ayacotl.png?v=1785336222"},{"product_id":"door-to-door","title":"Door to Door","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInitiated by David Mayor, with support from Fluxus founders George Maciunas and Ken Friedman, “Fluxshoe” was a transgressive nomadic exhibition that toured the United Kingdom from 1972 to 1973. As part of this travelling event, British artist Helen Chadwick performed a literal walk in Croydon, moving between two doors facing each other across a lawn. This publication documents the performance by recreating the action in a flippable format, inviting the reader to activate the work through the simple gesture of turning the pages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWalking is a recurrent motif in Chadwick’s artistic practice. In “Walking North” (2004), she composed a song built around a sweeping melody that can be sung while walking. Twenty years later, she released the album “Wherever You Are Walking” (2022), featuring texts by poets and writers including Shakespeare and Rumi. Across these works, walking becomes both a physical action and a compositional device, linking movement, voice, landscape, and time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis editorial experiment was conceived in collaboration with David Mayor, Felipe Ehrenberg, Terry Wright, and the Beau Geste Press community in Devon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54445121536339,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DoorToDoor_4d5e22d4-4429-4b84-b29f-d785a025b968.png?v=1789310490"},{"product_id":"fall","title":"Fall","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBest known for his conceptual and performative practice, Bas Jan Ader is the artist of the “fall” par excellence. Many of his projects revolve around themes of psychological and physical collapse. In this exceptionally rare artist’s book, Ader documents two performances made in 1970 in Los Angeles and Amsterdam. The first presents a photographic sequence of eleven moments depicting the artist seated on a straight-backed chair on the roof of his house before falling from it; the second shows him cycling straight into a typical Dutch canal. This performative tandem was also preserved in video form as Fall 1 \u003c\/span\u003e\u003cspan\u003eand Fall 2.\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1972, Ader conceived “The Boy Who Fell Over Niagara Falls”, a conceptual and performance work inspired by the real-life story of Roger Woodward, a seven-year-old boy who miraculously survived going over the Canadian Horseshoe Falls in a small boat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProphecy or coincidence, three years later Ader mysteriously disappeared while crossing the Atlantic Ocean in a small boat named Ocean Wave.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54446821835091,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Fall.png?v=1785503822"},{"product_id":"sweet-wall-testimonials","title":"Sweet Wall Testimonials","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54447109046611,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/SweetWall.png?v=1785506069"},{"product_id":"een-project-voor-gammagazine-6","title":"Een project voor gammagazine 6","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54580312113491,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4377.png?v=1786630773"},{"product_id":"cover-to-cover","title":"Cover to Cover","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54580379451731,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4364.png?v=1786631513"},{"product_id":"12-zitate-und-6-steichungen","title":"12 zitate und 6 steichungen","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54593995899219,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4424.png?v=1786782142"},{"product_id":"de-coll-age-7-elektronischer-happening-raum","title":"dé-coll\/age 7: Elektronischer Happening Raum","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54601206202707,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4458.png?v=1786888192"},{"product_id":"crackers","title":"Crackers","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54601208398163,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4449.png?v=1786888415"},{"product_id":"business-cards","title":"Business Cards","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54601256698195,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4450.png?v=1786889124"},{"product_id":"destruktion-af-rsg-6-danger-official-secret-destruction-of-the-rsg-6","title":"Destruktion af RSG-6 [Danger! Official Secret, destruction of the RSG-6)]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eDestruktion af RSG-6\u003c\/em\u003e was a collective avant-garde exhibition organized by the Situationist International (SI) at Galerie EXI in Odense, Denmark, from June 22 to July 7, 1963. Curated by J.V. Martin in collaboration with Guy Debord and Michèle Bernstein, the project took its title from a British anti-nuclear pamphlet and was conceived through three metaphorical environments: shelter, revolt, and exhibition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe principal manifesto, “The Situationists and the New Forms of Action in Politics and Art”, was translated into several languages and articulated the SI’s insistence on an inseparable relationship between social transformation and cultural practice, while affirming the capacity of art to confront and contest political structures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The situationist movement comprises three things: it is an artistic avant-garde, it seeks through experimentation to find the way to the human being's free arrangement of his daily life, and finally, it cooperates with the practical and theoretical erection of a new revolutionary contest.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe manifesto further argues that cultural creativity and social transformation must advance together, while explicitly rejecting the subordination of art to political doctrine. As the Situationists stated, their call for a unified conception of art and politics “absolutely does not mean that we recommend conformity of art to politics.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe importance of this publication lies in its exceptional status within the history of the Situationist International: it is associated with what is generally regarded as the SI’s only collective exhibition staged in a conventional gallery context. The present copy, bearing a Copenhagen postmark, was sent to the Dutch collector Tjeerd Deelstra in 1963.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639149318483,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4481.png?v=1787231056"},{"product_id":"parts-of-a-body-house-book","title":"Parts of a Body House Book","description":"\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCarolee Schneemann’s production of artists’ books is relatively limited yet significant, comprising \u003c\/span\u003e\u003cem\u003eParts of a Body House Book\u003c\/em\u003e\u003cspan\u003e (1972), \u003c\/span\u003e\u003cem\u003eCézanne, She Was a Great Painter\u003c\/em\u003e\u003cspan\u003e (1975), and \u003c\/span\u003e\u003cem\u003eVulva’s Morphia\u003c\/em\u003e\u003cspan\u003e (2002), among other works. These transgressive publications extend her performative scripts into the tactile and the “flippable”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInfluenced by Simone de Beauvoir’s feminist philosophy,\u003cem\u003e Parts of a Body House\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewas developed through two distinct editorial iterations. An initial, condensed version appeared in 1970 in \u003cem\u003eFantastic Architecture\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e, published by Something Else Press, while a more expansive and materially textured version was published by Beau Geste Press in 1972.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRevolving around themes of gender, sexuality, and creativity, this mythopoetic feminist book assembles a profusion of original materials including: a comic strip derived from the artist's Fluxus Fluxorum performance, critical observations on Wilhelm Reich and Dusan Makavejev's soft-erotic film \u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eW.R.: Mysteries of the Organism\u003c\/em\u003e (1971), notes and drawings related to her \u003cem\u003ekinetic theater\u003c\/em\u003e works, and a manifesto-script for \u003cem\u003eParts of a Body House \u003c\/em\u003e(originally written in 1967). The book also incorporates traces of the body itself, including a tissue-paper insert blotted with menstrual blood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy anchoring female corporeality to the architectural metaphor of the house, Schneemann transforms the traditionally domestic space into a site of liberation. The book thus becomes an embodied object that challenges stereotypical representations of women by making the female body both its subject and its material.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639480373587,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4484.png?v=1787233149"},{"product_id":"in-de-krant","title":"In de krant","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLoosely translated from the Dutch as “in the newspaper”, this publication is at once conceptual, witty, and performative. The work consists of reproductions of newspaper articles in which Hans Eijkelboom managed to have himself photographed over ten consecutive days in 1976. Sometimes appearing in the centre of the picture, sometimes in the background, he was always present at the scene of a news event that would ultimately find its way into the pages of the local newspapers. Described by Federica Ciochetti as “a photobomber avant la lettre”, Eijkelboom explains in an interview with the curator for \u003cem\u003ePalm\u003c\/em\u003e, the magazine of the Jeu de Paume:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Nowadays, it would be very problematic, but at that time it was not so difficult. Every day in the newspaper there was an agenda of what was going to happen the next day: a list of important events, between eight and ten. I would go to all eight\/ten events, and one of them would work. Also, I listened to the police radio and, as soon as they reported an accident, I would rush to the place with my bike to stand among the public near the accident.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrinted in a small edition of 150 copies, the publication gathers relevant newspaper pages reproduced in their entirety. A quintessential volume in which the artist’s book transcends its material limits, extending into the gestural and the performative.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54649686294867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4496.png?v=1787316713"},{"product_id":"charles-e-white-iii-rules-the-world","title":"Charles E. White III Rules the World","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBest known as a master of airbrush illustration, Charles E. White III was a versatile artist of the Los Angeles scene from the 1960s onward. His production of magazine covers, film posters, record-album covers, and advertisements brought him recognition and numerous awards.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1966, White commissioned David Willardson (another leading figure in pop art airbrush design and co-author of the book) to photographically document billboards, hotel names, restaurants, barber shops, and other signs across Los Angeles bearing the name \u003cem\u003eCharlie\u003c\/em\u003e. Performative in nature, the resulting artist’s book is a world in itself and a hilarious exercise in self-mythology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat same year, Ed Ruscha commissioned Art Alanis to take the helicopter-view photographs for his seminal \u003cem\u003eThirtyfour Parking Lots\u003c\/em\u003e. In both projects, the city of Los Angeles becomes an arena of signs and repetitions: one artist searching for his own name across its streets, the other transforming its anonymous infrastructure into a conceptual landscape. Collective subconscious or pure coincidence?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e In 2012, Roman Coppola made \u003cem\u003eA Glimpse Inside the Mind of Charles Swan III\u003c\/em\u003e, a film loosely inspired by the life and exploits of Charles E. White III.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668780044627,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4466.png?v=1787488973"},{"product_id":"1984-a-case-study-in-finding-an-appropriate-tv-newswoman-a-cbs-docudrama-in-words-and-pictures","title":"1984: A Case Study in Finding an Appropriate TV Newswoman (A CBS Docudrama in Words and Pictures)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA precursor to the appropriationist artists of the Picture Generation, Robert Heinecken dedicated his work to shifting attention away from the passive consumption of information toward an understanding of how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn the late 1960s, Heinecken started to dismantle and reconfigure magazines, developing a major body of work that interrogated mass media through strategies of appropriation. Deeply political, his practice conceived of the artist’s book not as a static object but as a performative field in which existing systems of communication could be disrupted and exposed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis later publication from the 1980s continues this line of inquiry through a fictional documentary investigation in which Heinecken assumes the role of an independent consultant for CBS News, tasked with searching for a new network newswoman. Drawing upon the evident gender disparities of the period, he constructs his investigation from screen captures of correspondents and permutations of video composites that combine contemporary CBS male news anchors such as Tom Brokaw, Bryant Gumbel, David Hartman, Bill Kurtis, and Steve Baskerville with female broadcast journalists including Diane Sawyer, Jane Pauley, Joan Lunden, Susan Spencer, Jane Wallace, Connie Chung, Maria Shriver, Meredith Vieira, Vanessa Williams, Carol Martin, Pat Collins, and Phyllis George.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken’s investigation interrogates media notions such as network logic, subliminal visual registers, and physiognomic determinism. The result is a kind of “soap opera” built around the mysterious logic through which information and its transmission are manipulated and recombined to serve and protect specific interests.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn the cover appears one of the publication’s most memorable gender-fluid superimpositions: a composite portrait combining the faces of Connie Chung and Bill Kurtis. In 2013, Marc Selwyn Fine Art presented the photographic corpus resulting from this mockumentary investigation in a major solo exhibition titled \u003cem\u003eNewswomen Corresponding\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668796100947,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4462.png?v=1787489339"},{"product_id":"burning-small-fires","title":"Burning Small Fires","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eBruce Nauman and Ed Ruscha share profound conceptual affinities. In her profile of Nauman for \u003cem\u003eArtforum\u003c\/em\u003e (Summer 1986), Coosje van Bruggen recounts how, shortly after abandoning painting himself, Nauman encountered Ruscha’s work for the first time and was excited by the possibilities it opened up. Works such as\u003cem\u003e Damage \u003c\/em\u003e(1964), and \u003cem\u003eBurning Gas Station\u003c\/em\u003e (1966) struck him as being as much about thought and perception as about painting itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1968, Nauman produced the artist’s book \u003cem\u003eBurning Small Fires\u003c\/em\u003e, featuring fifteen photographs of himself burning a copy of Ruscha’s 1964 edition of \u003cem\u003eVarious Small Fires and Milk\u003c\/em\u003e. Like Ruscha’s book, which contains fifteen images of small fires, Nauman’s work comprises fifteen photographs; one, larger than the others, reveals his hand, extending the homage from the photographic into the gestural and performative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs art historian Taylor Walsh has noted, while Ruscha treated burning as meaningless, Nauman’s act reintroduced something of the ritualistic power that fire had acquired amid the era’s countercultural protests. \u003cem\u003eBurning Small Fires \u003c\/em\u003ethus resonates with a year marked by mounting opposition to the Vietnam War and widespread political and social unrest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThere is no record of the two artists discussing the book, and Nauman was characteristically volatile when questioned about it, leaving the boundary between homage and iconoclasm deliberately fluid. Ruscha, for his part, often joked about the fate of his inexpensive artist’s books, confessing to A. D. Coleman that\u003c\/span\u003e\u003cspan\u003e his publications often \"end up in the trash\" (\u003cem\u003eThe New York Times\u003c\/em\u003e, August 27, 1972). Nauman’s gesture can therefore be read as both an irreverent tribute to Ruscha and a literal enactment of the precarious status of the artist’s book as object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNauman’s poster-book was exhibited in 2022 as part of \u003cem\u003eBurning Matter\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e at Studio 454 in Venice, alongside works by Ed Ruscha, Jonathan Monk, Tiane Doan na Champassak, and other artists exploring fire as both image and material.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668804129107,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4474_40de52aa-bba8-4b61-9b9f-dd2c7fe0c45e.png?v=1789196112"},{"product_id":"bloomsday-64-actions-agit-pop-de-coll-age-happening-texte-ausstellung","title":"Bloomsday 64: Actions\/Agit Pop\/Dé-coll\/Age-Happening\/Texte\/Ausstellung","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe influence of James Joyce on the Fluxus milieu and the practices of many of its artists is undeniable. His approach to language, sound, authorship, and everyday life anticipated key Fluxus principles. To echo Bloomsday – the annual Dublin commemoration of Joyce and his character Leopold Bloom, held on June 16, the date on which the events of \u003cem\u003eUlysses\u003c\/em\u003e take place – Galerie Loehr in Frankfurt organized a collective happening exhibition in June 1964.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the occasion, the gallery published a 32-page collaborative catalogue. Rather than producing a conventional publication, the invited artists created it by cutting a double-sided performance poster into sixteen sections, each incorporating original texts, collages, and documentation. The resulting publication can itself be understood as a performative artist’s book, in which the catalogue format becomes part of the happening itself. Among its contributions are a short manifesto by Stanley Brouwn, a collage by Franz Mon, a typewriter poem by Tomas Schmit, the text for Nam June Paik’s\u003cem\u003e Symphony No. 5\u003c\/em\u003e, and décollages by Wolf Vostell.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668828377427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4486.png?v=1787490211"},{"product_id":"on-time","title":"On Time","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54745716687187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4554.png?v=1787820229"},{"product_id":"joint-actions","title":"Joint-Actions","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis folder documents the body of nine actions titled \u003cem\u003eJOINT-ACTIONS\u003c\/em\u003e, performed by Christian Lindow and Clément Borlat between different cities in 1969. The happenings consisted of synchronised acts performed by the two artists at a predetermined date and time, while situated in separate locations: Montreux–Bern (17 June), Rome–Bern (27 June), Rome–Bern–Paris–Mannheim (25 June–15 July), and others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe gestures were generally simple and precisely defined: pointing towards the partner’s location, recording an action taking place in the present, switching on the radio, signing a postcard, and so forth. Action VII was included in the catalogue \u003cem\u003eOperationen im Museum Fridericianum Kassel 1969\u003c\/em\u003e and consisted of the simultaneous reproduction of the artists’ identity cards in different locations: Borlat in Clarens-Montreux and Lindow in Bern.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBetween 16 July and 11 October, the artists subsequently reenacted the event inside the Fridericianum Museum, involving 26 visitors. The performative series culminated in Munich between 18 October and 18 November with a sequence of gestures titled \u003cem\u003eJoint-Action IX\u003c\/em\u003e, probably the best known, in which visitors were given the freedom to determine their own synchronised actions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe folder contains instructions for each of the nine actions, photographs, correspondence, logistical details, and a loose manifesto-letter sent by Lindow and Borlat to Kunsthalle Bern on 22 October 1969. The letter opens in a philosophical register, loosely translated here from the German: “We understand creativity to be the realisation of a consciousness found in spontaneous contact with activities and passivities of our lives”.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54750401462611,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4528.png?v=1787838805"},{"product_id":"hier-eines-unabgeschlossenen-vorgangs-papierner-teil","title":"Hier eines unabgeschlossenen Vorgangs papierner Teil","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54759405158739,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4561.png?v=1787908390"},{"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":"unter-dem-ladentisch","title":"Unter dem Ladentisch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTogether with Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler, Günter Brus was one of the founding members of Viennese Actionism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished by Brus himself during his exile in Berlin, \u003cem\u003eUnter dem Ladentisch\u003c\/em\u003e, literally translated as “under the counter”, documents the seminal happening \u003cem\u003eKUNST UND REVOLUTION\u003c\/em\u003e, which took place at the University of Vienna on June 7, 1968. Orchestrated by Peter Weibel as part of the student protests, the event was set out to challenge bourgeois taboos and institutional authority through extreme physical and verbal provocation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe action went down in Austrian art history as one of the most notorious performances of the period. Yet this publication goes beyond the event itself to document and examine its aftermath. Brus was sentenced to six months in prison and, to avoid incarceration, fled Austria with his wife, Anna, and their daughter, settling in West Berlin, where the publication was produced.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAssembling photographs, documentary material, drawings, newspaper clippings, police reports, xeroxed manuscripts, and texts by Brus, Oswald Wiener, Gerhard Rühm, Franz Kaltenbäck, Otmar Bauer, and others, \u003cem\u003eUnter dem Ladentisch\u003c\/em\u003e offers a vivid record of the \u003cem\u003eKUNST UND REVOLUTION\u003c\/em\u003e, protest and its consequences. Today, the publication is held in major museum collections, including the mumok in Vienna.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54847609536851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4571.png?v=1788446127"},{"product_id":"96-alternatives","title":"96 Alternatives","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived during an experimental programme called Behaviour Workshop, held in Arnhem in 1978, this performative artist’s book distills Hans Eijkelboom’s interest in photography and the cult of the self to their essence. The artist invited visitors to choose garments they thought would suit him, which he then wore for a photograph taken with the person who had made the choice. The resulting 96 photographic vignettes document the process, turning the fitting room into a stage where identity is defined by the choices of others. The script for this performance is printed on the cover:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“In a room there are 200 different articles of clothing among which also hats, shawls, some pairs of shoes and other things. I stand, dressed in white shorts in the middle of the room. When a visitor enters the room, I invite him to look at me and to choose from the clothes that he or she thinks will suit me best. When the choice has been made I put on those clothes. Then a photograph is taken of me together with the person who has selected the clothes.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSelf-published, the book wittily probes the fundamental motivations behind clothing, examining dress as an intricate tool for individual expression and social integration. By submitting himself to the sartorial choices of others, Eijkelboom embodies their tastes and, in turn, the other, decentring his own identity to become another “I”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThree decades later, Eijkelboom extended his exploration of the complex relationship between human behaviour and the clothes we wear into a more observational and anthropological study of street life. This developed into a prolific body of “anti-sartorial” photographs, culminating in \u003cem\u003ePeople of the Twenty-First Century\u003c\/em\u003e, published on a large scale by Phaidon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54916076372307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4576.png?v=1789114354"},{"product_id":"correspondance-avec-john-armleder","title":"Correspondance avec John Armleder","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal correspondence between Endre Tót and John Armleder begins and ends cyclically with the phrase: “I write you because you are there and I am here”. As we learn from the first page, the volume contains almost all of the correspondence exchanged between Budapest and Geneva by Endre Tót and John Armleder during the preparation of Tót’s solo exhibition at Ecart in June–July 1974. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBeyond the evidence of the exhibition’s development itself (projects, models, and plans), these documents introduce Tót’s work in the spirit and language in which he conceived it. We encounter traces of instruction stamps, preparatory studies for \u003cem\u003eOne Dozen Rains Postcards\u003c\/em\u003e (1971–1973), and tautological letters conceived almost as concrete poems, consisting of the repetition of a single phrase:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if I can write sentences to you, one after the other. I am glad if…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe correspondence has generally been presented in chronological order. Tót’s documents are most often typewritten, while Armleder’s are handwritten. The booklet served as the exhibition catalogue, revealing the project in its becoming.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54916163862867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4582.png?v=1789115599"}],"url":"https:\/\/metabooks.art\/collections\/performance.oembed?page=2","provider":"Metabooks","version":"1.0","type":"link"}