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Funded by the U.S. Library of Congress through its National Library Service for the Blind and Physically Handicapped, this edition omitted the nude photographs and instead reproduced only the magazine's textual content.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe project became the subject of controversy in the 1980s when Chalmers Wylie, a Republican congressman from Ohio, sought to withdraw public funding. A court subsequently ordered the funding to be restored, ruling that its withdrawal constituted an infringement on access to information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDespite its popular reputation, \u003c\/span\u003e\u003cspan\u003ePlayboy\u003c\/span\u003e\u003cspan\u003e also played a significant role as a political, cultural, and literary magazine. It published early discussions of gay rights, women's rights, freedom of expression, and First Amendment issues, while featuring contributions by acclaimed authors including Truman Capote, Haruki Murakami, Anaïs Nin, and Margaret Atwood, alongside artwork by Andy Warhol, Tom Wesselmann, and Ellen Lanyon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040517050707,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Playboy600.png?v=1781881294"},{"product_id":"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. 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Often printed on found materials, such as the collaged newspaper used for this cover, Daily-Bul cultivated a witty and irreverent countercultural voice in Belgian art and literature.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54347006443859,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DailyBul6.png?v=1784466313"},{"product_id":"daily-bul-moniteur-de-la-pensee-bul-et-de-lacademie-de-montbliart","title":"Daily Bûl [1]: Moniteur de la Pensée Bûl et de l'Académie de Montbliart","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSituated within the trajectory of Belgian Surrealism and the CoBrA movement, Daily-Bul was an influential avant-garde magazine and publishing house founded by André Balthazar and Pol Bury in La Louvière. Across its 14 issues, published between 1957 and 1983, artists and writers including Pierre Alechinsky, Christian Dotremont, Achille Chavée, and Jean-Michel Folon playfully mixed poetry, comic strips, visual experiments, and other forms of Surrealist writing. 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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. 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That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (\u003cem\u003eArtforum\u003c\/em\u003e, January 2003)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEach thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the \u003cem\u003eRheumatism Issue\u003c\/em\u003e (No. 5), Christo used wrapping paper to conceal the cover almost to its edges, partially obscuring the magazine’s title and transforming its flat, printed surface into the illusion of a sculptural object. At the time, Christo was working from his studio at 48 Howard Street, just a five-minute walk from \u003c\/span\u003e\u003cspan\u003eArt-Rite\u003c\/span\u003e\u003cspan\u003e’s loft headquarters at 149 Wooster Street.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778540261715,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4541.png?v=1787994459"},{"product_id":"art-rite-no-4-seasons-greetings","title":"Art-Rite No. 4: Seasons Greetings","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOver the course of its five-year run (1973 to 1978), the New York-based magazine \u003cem\u003eArt-Rite\u003c\/em\u003e published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for \u003cem\u003eArtforum\u003c\/em\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (\u003c\/span\u003e\u003cem\u003eArtforum\u003c\/em\u003e\u003cspan\u003e, January 2003)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEach thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the fourth issue, which coincided with the Christmas holiday, photo editor Yuri took over \u003cem\u003eArt-Rite\u003c\/em\u003e, creating a witty nativity-scene cover and image-based content consisting of a dynamic montage of works by Charles Simonds, Marty Greenbaum, Nancy Holt, Les Levine, Gordon Matta-Clark, Christo, and others.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778544980307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4539.png?v=1787994786"},{"product_id":"art-rite-no-3-seven-sculptures","title":"Art-Rite No. 3: Seven Sculptures","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOver the course of its five-year run (1973 to 1978), the New York-based magazine\u003cem\u003e Art-Rite \u003c\/em\u003epublished hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for \u003cem\u003eArtforum\u003c\/em\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (\u003c\/span\u003e\u003cem\u003eArtforum\u003c\/em\u003e\u003cspan\u003e, January 2003)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEach thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the third issue, Richard Tuttle proposes seven preparatory drawings of sculptures in-becoming.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe third issue features contributions by Stephanie Edens, Peter Grass, Barbara Thompson, Richard Brown Baker, John de Menil, Robert Scull, and George H. Waterman III, along with short exhibition reviews.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778546979155,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4537.png?v=1787994968"},{"product_id":"aktual-schmuck-no-4","title":"Aktual Schmuck [No. 4]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn its relatively short run, from 1972 to 1976, \u003cem\u003eSchmuck\u003c\/em\u003e magazine produced eight international issues: No. 1, \u003c\/span\u003e\u003cspan\u003eSchmuck Presents Real Schmuck\u003c\/span\u003e\u003cspan\u003e (1972); No. 2, \u003c\/span\u003e\u003cspan\u003eIcelandic Schmuck\u003c\/span\u003e\u003cspan\u003e (1972); No. 3, \u003c\/span\u003e\u003cspan\u003eHungarian Schmuck\u003c\/span\u003e\u003cspan\u003e (1973); No. 4, \u003c\/span\u003e\u003cspan\u003eAktual Czechoslovakia Schmuck\u003c\/span\u003e\u003cspan\u003e (1974); No. 5, \u003c\/span\u003e\u003cspan\u003eTeutonic Schmuck\u003c\/span\u003e\u003cspan\u003e (1975); No. 6, \u003c\/span\u003e\u003cspan\u003eFrench Schmuck\u003c\/span\u003e\u003cspan\u003e (1974); No. 7, \u003c\/span\u003e\u003cspan\u003eGeneral Schmuck\u003c\/span\u003e\u003cspan\u003e (1976); and No. 8, \u003c\/span\u003e\u003cspan\u003eJapanese Schmuck\u003c\/span\u003e\u003cspan\u003e (1976). Edited by the three core members of Beau Geste Press – Felipe Ehrenberg, Martha Hellion, and David Mayor – the magazine was conceived as a cooperative “assemblage” project, bringing together dozens of pioneering avant-garde, Fluxus, and conceptual artists from around the world, including Robert Filliou, Dick Higgins, Carolee Schneemann, Marcel Broodthaers, Christian Boltanski, and Mieko Shiomi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Czechoslovakian issue was coordinated by Milan Knížák, leader of the Aktual Group, who smuggled out documentation of radical street performances and other experimental work. Under strict government censorship, artists behind the Iron Curtain turned to \u003cem\u003eSchmuck\u003c\/em\u003e and the wider Mail Art networks as clandestine channels for circulating and publishing their work. Through ingenious strategies of concealment, they disguised radical visual poetry and politically sensitive material as apparently meaningless doodles, sketches, or typewriter exercises.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe conception of this particular issue can thus be understood as a form of cultural survival. Knížák himself was brought before a Prague court and charged with discrediting the image of Czechoslovakia. He was ultimately acquitted, and the issue he had conceived as early as 1972 travelled safely to Devon, where it was published intact by Beau Geste Press two years later. Curated by Knížák, it brings together texts, drawings, photographs, and ideas by Soňa Švecová, Helena Pospíšilová, Robert Wittmann, J. Patočka, P. Tichý, Zdenka Žižková, Jan Maria Mach, V. Korejs, M. Marik, and Knížák himself.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778549797203,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4548.png?v=1787995132"},{"product_id":"art-rite-no-2-summer","title":"Art-Rite No. 2: Summer","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOver the course of its five-year run (1973 to 1978), the New York-based magazine \u003cem\u003eArt-Rite\u003c\/em\u003e published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for \u003cem\u003eArtforum\u003c\/em\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (\u003c\/span\u003e\u003cem\u003eArtforum\u003c\/em\u003e\u003cspan\u003e, January 2003)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEach thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the second issue, William Wegman distills the cover into a minimal, almost guileless image of a flock of seagulls, offering a tongue-in-cheek counterpoint to his more baroque photographic and video compositions featuring his Weimaraner dogs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe second issue features contributions by John Harrington, Edward Pursor, notes on Yvonne Rainer by Ela Troyano, along with short exhibition reviews.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778557628755,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4535.png?v=1787995421"},{"product_id":"art-rite-no-1","title":"Art-Rite No. 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOver the course of its five-year run (1973 to 1978), the New York-based magazine \u003cem\u003eArt-Rite\u003c\/em\u003e published hundreds of interviews, statements, and reviews, documenting the eclectic community of post-conceptual, post-minimalist, performance, and video artists. Produced on a shoestring and edited by Joshua Cohn, Edit Deak, and Walter Robinson, the magazine rejected the academic language that dominated contemporary art writing in favor of a more irreverent and punchy style. As Deak recalled in a conversation with David Frankel for \u003cem\u003eArtforum\u003c\/em\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“An important aspect of ‘Art-Rite’ was a whole new tone and attitude. It was unheard of to have a sense of humor at the time, or not to be talking about ‘the problem’ of art – the problem of this, the problem of that. A few years later the punk magazines came along, and I realized that’s what I’d wanted – I loved those fanzines. That’s not what we were, we were much more formalist, but we were a very different sound than what was around us.” (\u003c\/span\u003e\u003cem\u003eArtforum\u003c\/em\u003e\u003cspan\u003e, January 2003)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEach thematic issue featured a cover designed by an artist, including Joseph Beuys, Ed Ruscha, Rosemary Mayer, Robert Ryman, and Dorothea Rockburne. For the inaugural issue (no. 1), Les Levine created a text-and-image cover centered on an anecdote about finding a small, smiling gold object on the street. The chance encounter becomes a meditation on Marcel Duchamp’s readymades, artistic selection, coincidence, and the unpredictable connections between art and everyday life:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“On my way back from Peggy's Cove, as I was walking out the airport terminal door, I saw a tiny object sparkling on the floor. I have always believed that it is lucky to find things so I bent down and picked it up. It was a little gold smile. I inspected it. I couldn't tell whether it was a tie pin or an earring. On the back of it, it had stamped the words: 14-K gold filled. So I put it in my pocket and I began to think -- found object, but you can't make a found object. Marcel Duchamp has made that, but I do not go around trying to find objects. I just found this object and it was like finding a smile. Duchamp went around finding objects and he didn't find every object. He selected objects so maybe they should have been called ‘connoisseured objects’. I didn't connoisseur this object. I just found it and I wasn't trying to find it. And then I thought what if my mother had called me Marcel. That would make me Marcel Levine. But my mother was a hairdresser so she probably would have called me Marcel Wave. But her sense of humor wasn't like that. One day my mother met my Aunt Katie in downtown Dublin. And my Aunt Katie said to my mother, ‘Nelly buried her husband last week.’ And my mother answered, ‘Well, of course, you have to once they're dead. It's the law.’ And when I told someone about my mother's joke they said she must have read James Joyce, but they were wrong. James Joyce had listened to my mother. And then I thought there's an artist named Jack Levine and there's a film producer named Joseph E. Levine and I have made a few films myself. And then I finally thought being born is not too original. It happens to the best and worst of us.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe eight-page inaugural issue features contributions by Alan Suicide and Bill Bollinger, along with short exhibition reviews and aphoristic reflections on art by artists, critics, and art dealers.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54778563166547,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4533.png?v=1787995583"},{"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), both 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":"nul-0-no-3-werner-ruhnau-2-vortrage-in-amsterdam","title":"Nul=0 No. 3. Werner Ruhnau: 2 Vorträge in Amsterdam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine \u003cem\u003enul = 0\u003c\/em\u003e had a brief but significant life. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian \u003c\/span\u003e\u003cspan\u003eAzimut\u003c\/span\u003e\u003cspan\u003e, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eNul=0 No. 3 \u003c\/em\u003econsists of the transcriptions of two lectures given in Amsterdam on March 30, 1962, by the German avant-garde architect Werner Ruhnau, accompanied by original haptic collages by herman de vries. The two small blue paper squares pay homage to Yves Klein, with whom Ruhnau had closely collaborated before Klein’s death later that year, in June 1962.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54911282741587,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4590.png?v=1789050875"},{"product_id":"nul-0-no-2-main-droite-de-manzoni","title":"Nul=0 No. 2. Main droite de Manzoni","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdited by herman de vries and henk peeters, the Dutch neo-avant-garde magazine \u003cem\u003eNul = 0\u003c\/em\u003e had a brief but significant run. Part of the broader international post-war ZERO movement, it established dialogues with related groups and publications, including the Italian \u003c\/span\u003e\u003cspan\u003eAzimut\u003c\/span\u003e\u003cspan\u003e, the German ZERO movement, French Nouveau Réalisme, and Japanese Gutai.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe four issues published between 1961 and 1964 advocated an art grounded in objective reality, industrial materials, monochrome structures, and seriality, in opposition to traditional notions of artistic self-expression, emotional composition, and the myth of the bohemian artist. In keeping with this anti-hierarchical ethos, all names throughout the magazine were printed in lowercase.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1963, \u003cem\u003eNul = 0 No. 2\u003c\/em\u003e was conceived as a homage to Yves Klein, who had died on 6 June of that year, and Piero Manzoni, who had died on 6 February 1963. Its memorable cover reproduces the fingerprints of Manzoni’s right hand. The issue features contributions by Henk Peeters, Gillo Dorfles, Hans Haacke, and others, alongside a resonant statement by Yves Klein:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It is not enough to say or write:\u003cem\u003e \u003c\/em\u003eI have gone beyond the problematic of art\u003cem\u003e. \u003c\/em\u003eOne must still have done so. I have done so. For me, painting is no longer a function of the eye today; it is a function of the only thing within us that does not belong to us: our life.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOr, in the original French:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e« Il ne suffit pas de dire ou d'écrire : j'ai dépassé la problématique de l'art, Il faut encore l'avoir fait. je l'ai fait. Pour moi, la peinture n'est plus en fonction de l'œil aujourd'hui, elle est fonction de la seule chose qui ne nous appartient pas en nous : notre vie. »\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54911539675475,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4591.png?v=1789051983"}],"url":"https:\/\/metabooks.art\/collections\/periodicals.oembed","provider":"Metabooks","version":"1.0","type":"link"}