{"title":"PHOTOGRAPHY","description":"","products":[{"product_id":"shashin-tokkyubin-tokyo-photo-mail-tokyo","title":"Shashin Tokkyubin Tokyo (Photo-mail Tokyo)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReminiscent of the \u003c\/span\u003e\u003cspan\u003eProvoke\u003c\/span\u003e\u003cspan\u003e aesthetic in its grainy and experimental sensibility, this almost oneiric documentation of Shinjuku's nightlife alternates black-and-white photographs with exuberant bursts of colour, capturing one of Tokyo's most glamorous and enigmatic districts. A student of Daido Moriyama at Workshop (1974–1976), Kitajima emerged as one of the defining figures in Japanese street photography of the 1970s and 1980s. His visual narrative is syncopated like a free jazz suite, its rhythm shaped by nocturnal characters who appear less as flesh-and-blood people than as fleeting epiphanies. Provocative and untamed, his photographs render visible the city's underground worlds—the hedonistic, the decadent, and the neon-lit. Moriyama himself praised Kitajima's extraordinary instinct as a photographer, calling him a street killer in broad daylight.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679715156307,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Kitajima.png?v=1778104566"},{"product_id":"war-primer-2","title":"War Primer 2","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the defining artist's books of the twenty-first century, \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e sees Adam Broomberg and Oliver Chanarin revisit Bertolt Brecht's landmark \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e (1955) for the age of digital media. Brecht's original paired press photographs from the Second World War with sharp four-line poems, revealing how images shape public understanding of war and teaching readers to look beyond their apparent documentary truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than simply updating Brecht's project, Broomberg and Chanarin shift their focus to the so-called \"War on Terror.\" They overlay the pages of \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e with photographs and video stills drawn from the internet (produced by soldiers, journalists, propagandists, and civilians) to create a dialogue between two eras of conflict. Images of the Twin Towers attacks, the execution of Saddam Hussein, and the presidency of George W. Bush intersect with Brecht's poems and wartime photographs, revealing enduring patterns in the circulation and political use of violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoth books question the authority of photographic images. If Brecht saw the press photograph as something to be deciphered, \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e asks what happens when images (instantly shared and endlessly reproduced) shape history as much as they record it. First published in 2011, the work remains a compelling reflection on the power of images in an age of digital media, misinformation, and fake news.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679744745811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/WarPrimer.png?v=1781706729"},{"product_id":"eden-is-a-magic-world","title":"Eden is a Magic World","description":"","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801270870355,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eden.png?v=1779270641"},{"product_id":"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":"vita-morte-e-miracoli-dell-architettura","title":"Vita, morte e miracoli dell’architettura","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eActive between 1968 and 1972, Gruppo 9999 was among the most visionary protagonists of the Italian neo-avant-garde, challenging the formal and institutional frameworks that defined architectural practice at the time. Founded by Giorgio Birelli, Carlo Caldini, Paolo Galli, and Fabrizio Fiumi, the group was based in Florence at Space Electronic, an experimental venue near the Santa Maria Novella station that transformed, within the same space, from an architecture school by day into a psychedelic club by night. A laboratory for exchange and experimentation, Space Electronic became the stage for Gruppo 9999’s radical exploration of architecture as a cultural, ecological, and ethical practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their work, the group questioned the mechanisms of mass media, the acceleration of consumer culture, and the conventions of architectural production, proposing instead new forms of spatial and social imagination. Their research contributed to the intellectual climate that would soon be identified by Germano Celant, in 1972, as “radical architecture”: an anti-establishment movement that shifted attention away from the profession of architecture itself and toward a critical investigation of its foundations, possibilities, and limits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1971, this rare volume remains one of the most compelling documents of Gruppo 9999’s visionary universe. Richly illustrated with photographs, photomontages, drawings, and comics, it gathers images of projects, installations, and speculative environments that embody the group’s experimental approach. Produced in collaboration with Superstudio and featuring contributions by Ant Farm, Ugo La Pietra, G. Chiari, Portola Institute, G. Pettena, UFO, and others, the publication served as the general catalogue for \u003c\/span\u003e\u003cspan\u003eCatalog Festival n.1\u003c\/span\u003e\u003cspan\u003e, issued on the occasion of the design event \u003c\/span\u003e\u003cspan\u003eS-Space Mondial Festival N.1\u003c\/span\u003e\u003cspan\u003e, held at Space Electronic in Florence from 9 to 11 November 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication’s pages unfold as a visual manifesto, bringing together alternative modes of representation. This dynamic and technologically charged imagery is set against the unexpected serenity of its bucolic cover, designed by Gruppo 9999, whose title (\u003c\/span\u003e\u003cspan\u003eVita, morte e miracoli dell’architettura\u003c\/span\u003e\u003cspan\u003e) suggests the cyclical, transformative vision of architecture that animated the group’s practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027774656851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/999smaller600.png?v=1781881510"},{"product_id":"angola-to-vietnam","title":"Angola to Vietnam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhat initially appear to be herbarium photographs of rare flowers are, on closer inspection, images of glass botanical models made to scale by the Czech father-and-son glass artists Leopold Blaschka (1822–1895) and Rudolf Blaschka (1857–1939). Their renowned collection of glass flowers preserved at Harvard Museum of Natural History is among the institution’s most celebrated treasures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing from Harvard’s sculptural plants, Christopher Williams reorders the collection’s botanical classification according to national origin, selecting twenty-seven specimens corresponding to countries identified by Amnesty International as sites where enforced disappearance was used as a tool of political repression. Each photograph is accompanied by a label combining taxonomic descriptions of the plant with information about the photographic composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy replacing botanical taxonomy with geopolitical classification, Williams introduces a sociopolitical dimension into the representation of nature. “From Angola to Vietnam” examines how systems of knowledge and classification can reveal histories of violence and state control. The book concludes with a twenty-eighth plate: an uncanny reproduction of the cover of the French edition of \u003c\/span\u003e\u003cspan\u003eElle\u003c\/span\u003e\u003cspan\u003e, dated 15 August 1988. Depicting models from around the world arranged like a bouquet of national identities, each figure is marked by a sailor-style hat bearing their country of origin. The image extends Williams’s interrogation of classification, representation, and the relationship between national identity and visual culture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055554449747,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/AngolaToVietnam.png?v=1782028375"},{"product_id":"the-life-and-opinions-of-tristram-shandy-gentleman","title":"The Life and Opinions of Tristram Shandy, Gentleman","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew conceptual artists possess the wit and playful edge to respond with such irony to Laurence Sterne's celebrated novel, whose episodic structure and playful reflexivity remain among the most distinctive achievements of eighteenth-century literature. \u003c\/span\u003e\u003cspan\u003eThe Life and Opinions of Tristram Shandy, Gentleman\u003c\/span\u003e\u003cspan\u003e was originally published between 1759 and 1767 in nine volumes. In 1988, John Baldessari was invited by Andrew Hoyem of the Arion Press, San Francisco, to contribute to a new deluxe edition of Sterne's masterpiece. Baldessari responded with a contemporary visual intervention: a sequence of deliberately disjointed photocollages that mirrors Sterne's playful disregard for linear narrative, conventional punctuation, and literary decorum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe three-volume set comprises a facsimile of Sterne's original text sophisticatedly bound; a smaller tome consisting of a critical essay by the Sterne scholar Melvyn New; and an accordion-fold artist's book of Baldessari's photocollages, interspersed with Shandean aphorisms. Among the most memorable are his iconic dot portraits, placed in dialogue with a celebrated passage from Book III, Chapter XII (p. 173):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"—And did you step in, to take a look at the grand picture, in your way back?——'Tis a melancholy daub! my Lord; not one principle of the pyramid in any one group!——and what a price!——for there is nothing of the colouring of Titian,——the expression of Rubens,—the grace of Raphael,——the purity of Dominichino,—the corregiescity of Corregio,—the learning of Poussin,—the airs of Guido,—the taste of the Carrachi's,—or the grand contour of Angelo.——Grant me patience, just heaven!——Of all the cants which are canted in this canting world,——though the cant of hypocrites may be the worst,—the cant of criticism is the most tormenting!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA witty visual rediscovery of Laurence Sterne's caustic satire, Baldessari's contribution demonstrates how the novel's experimental spirit continues to resonate more than two centuries after its first publication.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055610319187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tristram.png?v=1782029534"},{"product_id":"spirit-is-a-bone","title":"Spirit is a Bone","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAdam Broomberg and Oliver Chanarin’s project is inspired in both form and concept by \u003c\/span\u003e\u003cspan\u003eCitizens of the Twentieth Century: 1892–1952\u003c\/span\u003e\u003cspan\u003e, August Sander’s monumental typology of twentieth-century German society, comprising 431 portraits arranged according to social class and profession. Sander’s book is a seminal photographic inquiry that, tacitly and almost inadvertently, came to trace, among others, the rise of fascism in Germany.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt a moment marked by constant political upheaval and the resurgence of imperialist ideologies, Broomberg \u0026amp; Chanarin created a collection of portraits using a Moscow-developed facial recognition system originally designed for surveillance and border control. Rather than producing conventional photographs, the technology generates digital \"life masks.\" Echoing Sander’s project, the artists organized contemporary Russian subjects according to their professions, while allowing the machine to produce the images. The resulting portraits are low-resolution and fragmented, their appearance determined by the system’s own ability to map facial features such as the nose, eyes, and chin. Despite this automated process, the portraits still reveal the people behind the images and their complex relationship with state power. For instance, recognisable figures such as Pussy Riot member Yekaterina Samutsevich\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCommissioned by GRAIN with support from Arts Council England, the book is the outcome of artists’ engagement with the Library of Birmingham’s photography collections.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055669465427,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Spirit.png?v=1782030028"},{"product_id":"looking-for-looking-for-love","title":"Looking for Looking for Love","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA tribute to one of the seminal photobooks of the 1980s, \u003c\/span\u003e\u003cspan\u003eLooking for Looking for Love\u003c\/span\u003e\u003cspan\u003e reworks Tom Wood’s \u003c\/span\u003e\u003cspan\u003eLooking for Love\u003c\/span\u003e\u003cspan\u003e (1989), which documented the clientele of the Chelsea Reach Nightclub in New Brighton, Merseyside, between 1984 and 1987. Wood’s original publication could only include a fraction of the thousands of photographs he made at the club; to honour his subjects and convey the scale of the project, he created a large collage from the images, later reproduced as a double-page spread. McConnell’s book takes this lost collage as its point of departure, faithfully recreating its forms while transforming their scale and sequence. Scanned from McConnell’s own copy of Wood’s book and printed in vibrant risograph, the fragmented, enlarged images escape the confines of the photographic frame, generating a dynamic flow of exuberance, nostalgia, desire, and nightlife energy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057232073043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Looking.png?v=1782055440"},{"product_id":"be-bold-with-bananas","title":"Be Bold With Bananas","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the wittiest books in the collection, Martin Parr’s \u003c\/span\u003e\u003cspan\u003eBe Bold with Bananas\u003c\/span\u003e\u003cspan\u003e unfolds as a suite of exuberant recipes in which vernacular design, food photography, and advertising converge in a veritable salad of visual excess. Parr reworks a 64-page book published in 1972 by Fruit Distributors Limited for Banana Importers of Wellington, New Zealand. Printed in Cape Town and distributed in Australia by the Banana Growers Association, it promoted Pacific Island bananas as an ideal food for any time of day. Reflecting on his discovery of the original publication, Parr wrote: “I was immediately struck when I saw \u003c\/span\u003e\u003cspan\u003eBe Bold with Bananas\u003c\/span\u003e\u003cspan\u003e. It had some wonderful sexual undertones, and was just plain surreal. The title is also very ambivalent.” His intervention replaces the original cover and inserts a small photographic print depicting bananas, transforming the publication into a contemporary exercise in the visual pleasures of food porn.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057267659091,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BeBold.png?v=1782056261"},{"product_id":"cafe-du-reve","title":"Café du rêve","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “\u003c\/span\u003e\u003cspan\u003evoyage épistolaire”\u003c\/span\u003e\u003cspan\u003e, Lise Lerichomme remarks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “\u003c\/span\u003e\u003cspan\u003eApproach Road”\u003c\/span\u003e\u003cspan\u003e) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (\u003c\/span\u003e\u003cspan\u003eCorrespondances d’artistes : du brouillon à la lettre ouverte\u003c\/span\u003e\u003cspan\u003e, 2012)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExtending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057283977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cafe.png?v=1782056567"},{"product_id":"evidence","title":"Evidence","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA brilliantly orchestrated sequence of fifty-nine uncaptioned photographs, sourced from American government agencies, educational institutions, and corporations, forms the core of this seminal photobook by Larry Sultan and Mike Mandel. Preceded by a complete list of the contributing institutions and followed by an essay by Robert F. Forth, Dean of the California College of Arts and Crafts, reflecting on the relationship between the circumstantial and the evident, the volume stands as a landmark of paraphotographic and self-reflexive practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConstructed entirely from anonymous documentary images, \u003c\/span\u003e\u003cspan\u003eEvidence\u003c\/span\u003e\u003cspan\u003e generates a non-linear narrative that questions photography's capacity to record and authenticate truth. Each image carries an enigmatic charge, suggesting a \u003c\/span\u003e\u003cspan\u003epunctum \u003c\/span\u003e\u003cspan\u003ethat exists beyond the frame and opening onto a liminal zone between the real, the symbolic, and the imaginary. Although assembled from archival sources, \u003c\/span\u003e\u003cspan\u003eEvidence\u003c\/span\u003e\u003cspan\u003e resists the conventions of the archive, transforming found material into one of the most innovative and enduring photography-based projects of the 1970s. As Martin Parr observed in \u003c\/span\u003e\u003cspan\u003eThe Photobook: A History\u003c\/span\u003e\u003cspan\u003e, it is \"one of the most beautiful, dense and puzzling photobooks in existence, an endless visual box of tricks.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062254752083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Evidence.png?v=1782120209"},{"product_id":"holy-crap","title":"Holy Crap","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRob Pruitt's practice spans painting, installation, and sculpture, and is defined by its wit, institutional critique and serious playfulness. As the artist writes in the book's prologue: \"I love multitasking, like driving and having a religious experience at the same time. I love jokes. I love advertising and billboards. I love Jenny Holzer. I love advice and rules and adages and reminders and lists, like the 10 Commandments. I love big bold larger-than-life characters like God and Satan. I love horror movies and stories of the supernatural and high drama narratives distilled into a handful of words, like 'He died for your sins.' But what follows is a whole New Testament.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHoly Crap\u003c\/span\u003e\u003cspan\u003e can indeed be read as a New Testament, but a resolutely postmodern one. Bridging the sacred and the profane, the volume assembles photographs of church marquees bearing motivational aphorisms alongside biblical quotations, revealing the fluid boundaries between religious messaging, popular culture, and conceptual art. 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A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn incisive critique on media manipulation and the instability of meaning, the book reconnects with the “\u003c\/span\u003e\u003cspan\u003eeterografia”\u003c\/span\u003e\u003cspan\u003e explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141177004371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eterografia.png?v=1782808101"},{"product_id":"untitled","title":"[Untitled, feet]","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eUnique artist's book consisting of an original newspaper clipping depicting a close-up photograph of chained feet, accompanied by sixteen successive photocopies of the image. 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Marianne Wex's thoughtful visual and textual survey of gendered body language is based on a corpus of more than 5,000 photographs of human gestures, either taken by the artist in Hamburg or collected from a wide range of media between 1974 and 1977, including advertisements, films, news reports, and historical publications. From this initial corpus, Wex selected 2,037 images for publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis ambitious project originated from a personal enquiry into the ways in which patriarchy shapes the behaviour of bodies and their representation in the world. How, and why, are femininity and masculinity embodied differently across social, political, and artistic contexts? The book is carefully structured around themes that continue to resonate in contemporary discussions of gender (and beyond) in both art history and broader social discourse: \u003c\/span\u003e\u003cspan\u003eMan's Struggle Against Womanpower and the Effects Upon Body Language Throughout the Course of History\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eHow the Men of Christianity Took Over an Old Goddess Gesture\u003c\/span\u003e\u003cspan\u003e; and \u003c\/span\u003e\u003cspan\u003eFeminine and Masculine Body Forms in Today's Patriarchy\u003c\/span\u003e\u003cspan\u003e. Wex concludes her iconographic investigation with two empirical accounts: a reflection on her own bodily experience in the world and a personal observational narrative describing bodies and gestures encountered during a train journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs stated on the back cover, the project was first presented in 1977 as a photographic exhibition at the Neue Gesellschaft für Bildende Kunst in Berlin, in conjunction with the exhibition \u003c\/span\u003e\u003cspan\u003eWomen Artists International, 1877–1977\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141754310995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LetsTakeBack.png?v=1782811614"},{"product_id":"the-uncanny","title":"The Uncanny","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The Uncanny” presents Mike Kelley as artist and curator, one year after his first major European exhibition at the ICA, London, in 1992. 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Created in conjunction with his exhibition at the Grafisches Kabinett - Secession in Vienna, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. 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Created in conjunction with his exhibition at the Punta della Dogana in Venice, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188241224019,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/13April31December2014.png?v=1783085845"},{"product_id":"zeichnungen-fur-ein-grosses-bild-museum-ludwig-koln-23-april-22-august-2010","title":"Zeichnungen für ein großes Bild: Museum Ludwig Köln 23.April - 22.August 2010","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his intricate publications, post-conceptual artist Wade Guyton expands his pictorial investigations into forms of appropriation and variation. Created in conjunction with his exhibition at the Museum Ludwig, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. 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Created in conjunction with his exhibition at the Kunsthalle Zurich, this artist’s book presents his practice across sixty double-page spreads.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book offers a visual account of Guyton’s working methods, which frequently involve reconfiguring existing images and torn pages sourced from books, art magazines, and other printed matter. The dense accumulation of photographs and reproductions that appears at the beginning of the book gradually diminishes as the pages unfold, revealing the artist’s logic of selection and editing. Guyton makes visible the origins of his motifs and the decisions behind their formats, allowing the reader to trace the relationship between source material and the transformed image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike his paintings, the book investigates the interconnected processes of production, reproduction, and appropriation while offering an insightful reflection on the material conditions of contemporary image-making.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188373115219,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/31August10November.png?v=1783086607"},{"product_id":"my-life-as-a-man","title":"My Life as a Man","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBlurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWinant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. 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First presented at the Hatton Gallery in Newcastle and subsequently at the ICA (Institute of Contemporary Arts) in London, the exhibition and publication explored the mythopoetic relationship between man and the moving machine. Originally titled \u003cem\u003eHuman Motion in Relation to Adaptive Appliances\u003c\/em\u003e, the project offers an iconographic study of humanity’s fascination with movement, from Leonardo da Vinci’s drawings of mechanical inventions to photographs of racing cars. In the preface co-authored with Lawrence Gowing, the artist writes:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The relation between man \u0026amp; machine is a kind of union. The two act together like a single creature. The ancient union of horse \u0026amp; rider, fused into a composite creature with an unruly character of its own, always potentially anarchic \u0026amp; fearsome, never entirely predictable, was symbolised in the myth of the centaur. The new union of man \u0026amp; machine possesses as positive a composite character and liberates a deeper, more fearsome human impulse. This new affiliation, evoking much that is heroic and much that is terrible, is with us, not only in the sky, but in every street where a boy joins magically with his motor-bicycle, his face whipped by the wind and stiffened by a passion for which we have no name.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing primarily on images sourced from the King's College Library, Hamilton assembled a thematic study in which text and image trace not only the technological evolution of motion but also the fetishistic fascination it has inspired. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207808176467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Hamilton.png?v=1783258507"},{"product_id":"holy-bible","title":"Holy Bible","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the most remarkable acts of appropriation of the 2010s, this publication finds an uncanny resonance in the troubled times in which we live. Adam Broomberg and Oliver Chanarin’s “Holy Bible” is at once historical and prophetic, narrative and absurd, iconophilic and iconoclastic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy pairing the “Book of Books” with images drawn from the Archive of Modern Conflict (a major London-based photographic collection documenting war and disaster), the artists expose the mechanisms of violence in the age of mechanical and digital reproduction. The selected photographs pierce the veil of the sacred text, infusing it with an unsettling contemporary afterlife. Faithfully mirroring the format of the King James Version, the publication interweaves biblical passages with carefully selected images to interrogate authorship, the evidentiary status of photographs, and the persistence of visual clichés. Inspired by Bertolt Brecht’s annotated Bible, it also reproduces, at intervals, underlined passages, extending the dialogue between religion, history, and the politics of representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207927943507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBibleAdam.png?v=1783259687"},{"product_id":"linguaggio-e-guerra","title":"Linguaggio è guerra","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eLinguaggio è guerra\u003c\/em\u003e (Language is War) is an artist’s book comprising a selection of photographs sourced by Fabio Mauri from English and German war magazines. Each photograph is stamped with the words “Language is war” and arranged in compositions that deliberately attenuate its emotional charge. Through this process of appropriation and recontextualization, Mauri investigates the ideological uses of language, revealing its capacity to function as a weapon. The artist explains the logic behind his visual semantics in an unpublished typescript, preserved by Studio Fabio Mauri in Rome:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“These are details from war magazines. Stamped, they acquire an added meaning. An act of appropriation takes place. First taken by photographers present at the events, reproduced in contexts of propaganda as partisan communications, then collected in the more neutral form of history, once again removed from their archaeological contexts, cut – that is, edited according to a new thesis – equally divided between the signs of language and the person who bears those signs, and presented anew in sequences that express an interpretive idea in a linguistic mode, the use of photographs only apparently peaceful. 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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\u003cem\u003eEven\u003c\/em\u003e\u003cspan\u003e (Spring 2018):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Casting is an important part of my work. Because it’s an impression of a body that isn’t a representation of a body. 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A designer at Takashimaya and later at Mos Advertising, Miyazaki was known as a cameraless photographer, working instead with newspaper and magazine clippings, as well as television images. Comprising extracts from newspaper articles published between 1962 and 1967, the publication reveals the pervasive influence of American culture on postwar Japan, through images of sports such as baseball. By stripping these images of their original contexts and meanings, Miyazaki transforms them into a new visual language. 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A pioneer of Conceptual art, he has divided his time between Los Angeles and New York, crystallizing a practice spanning 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\u003eThe second in a numerical series, “24 Pieces” is illustrated with twenty-four black-and-white photographs of hotel interiors in Los Angeles, most of them in Hollywood, paired with unexpected urban juxtapositions. Each photographic tandem is followed by a blank double-page spread, creating a visual rhythm throughout the book. Designed by Gary Krueger, who also took the photographs, this spare artist’s book is characteristic of Ruppersberg’s minimal practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn dialogue with Ruppersberg’s earlier “23 Pieces”, this publication offers a psychogeographical perspective on Los Angeles at a defining moment in the history of Conceptual art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54244968923475,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/24pieces.png?v=1783599649"},{"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. 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His Life, His Art, His Films and His Death” by Felix Dennis and Don Atyeo. Originally published by Straight Arrow Books, San Francisco, in 1974, the book was subsequently facsimilised in Arabic by the Modern Library, Beirut, in 1975. For this entirely visual re-publication, Dimitri Bruni and Manuel Krebs (also known as the Swiss graphic-design duo Norm) appropriated the Lebanese edition, whose pages carelessly reproduced newspaper and magazine clippings, unevenly printed in varying shades of grey and scattered across the pages without a fixed layout. When the duo encountered this impoverished edition, the impulse to give it a second life became evident:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The brutalist attitude behind this book design inspired us to re-publish it. Our aim was to achieve the best possible reproduction of these already degraded images. In order to minimise any loss in quality, we printed the images on high-gloss paper using frequency-modulated screens. To lend the images the greatest possible presence, we also completely eliminated any typographical elements from the pages. 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An original thinker and iconographer, Feldmann is one of the most influential German conceptual artists of his generation. He regarded both high and vernacular photography as part of a shared democratic cultural heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBeginning in the late 1960s, Feldmann became an avid collector of images and stories, producing a series of artist’s books titled “Bilder” (\u003c\/span\u003e\u003cspan\u003ePictures\u003c\/span\u003e\u003cspan\u003e), which would become a central component of his practice. Today, these works are regarded as “one of the most important bodies of bookworks in the twentieth century” (Martin Parr and Gerry Badger).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe contents of these folders vary. 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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 \u003cem\u003eI Am a Work of Art\u003c\/em\u003e, 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 \u003cem\u003eUntitled\u003c\/em\u003e, 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 \u003cem\u003eI Am a Work of Art\u003c\/em\u003e, she presented her own body at the Museum of Fine Arts in Budapest as a masterpiece, replacing an artwork in the collection while being guarded by an armed policeman. 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An avid image collector and passionate iconographer, she explores the iconography of femininity in fashion magazines, rearranging found images through a technique closer to cinematic montage than to collage. Fragments of magazines and vernacular photographs are rethought to create new relationships between gesture, body, fashion, and the unconscious. Through carefully choreographed compositions and publications, De Blauwer develops a new aesthetic of the fragmentary. “Inappropriate Repetitions” is her first artist’s book.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54275459285331,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Inappropriate.png?v=1783780089"},{"product_id":"letters-from-wittgenstein-abridged-in-ghent","title":"Letters from Wittgenstein, Abridged in Ghent","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLudwig Wittgenstein’s thought permeates Joseph Kosuth’s conceptual practice. In this artist’s book, the influence becomes literal. Kosuth takes as his starting point the correspondence between the British philosopher and architect Paul Engelmann, developing a parallel, anachronistic narrative through text and image. In 1925, Engelmann and Wittgenstein were commissioned by the philosopher’s sister, Margaret Stonborough-Wittgenstein – known, among other things, for posing for Gustav Klimt – to design her house in Vienna. The three-year project unfolded alongside a profound friendship, documented in an important corpus of letters published posthumously in 1967.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOver a discoloured facsimile of Engelmann’s publication of philosophical meditations and exchanges with Wittgenstein, Kosuth pastes photographs documenting the architectural transformation of the city of Ghent, where the book was commissioned and published. The two narratives unfold in parallel and complement one another: while the text traces the construction of a building – and a friendship – the photographs bear witness to the destruction and profound transformation of a city over the course of its recent history.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54275526820179,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KosuthWit.png?v=1783781076"}],"url":"https:\/\/metabooks.art\/collections\/photography.oembed?page=3","provider":"Metabooks","version":"1.0","type":"link"}