140,00 kr.
“The landscape is changing; now institutional exhibitions are being outshined by smaller, independent productions. Young curators are being favored over the out of touch establishment and spontaneous art happenings preferred more than stuffy, formal functions. The Cairo Biennale, for example, was awash in the tired ideologies of identity and the “Role of the Arab” in today’s world — a theme that has been so overused that it has been pushed to the brink of irrelevance. Is this because Middle Easterners are tired of talking about who they are? No, it is because we are tired of other people telling us who we are. Instead of constantly being taken out of context by others, people are taking matters in to their own hands. From popular reality television shows like Arabic Big Brother to homegrown independent movies shot on DV, there is a whole movement of self-documentation. In this, our first issue, we try to bring together some of the people who are bringing these projects to the public. We Are Spatial because we are bringing the private into public space; because we are redefining the boundaries between inside and outside. We Are Spatial because we are transforming the spaces in which we work and live. We Are Spatial because, although we are spread all across the world, we try, in some small way, to come together here. Without judgment”
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NEGAR AZIMI & Lisa Farjam, babak radboy et al:. BIDOUN ISSUE 15 Fall 2008 : PULP. New York, 2008. 4to in original magazine wraps. Around 200 pages. Edgewear and some damp wavyness to pages but clean and complete with inserts. Overall an acceptable copy
BIDOUN: Arts and Culture from the Middle East
“Billedet som kampmiddel. Kvindebilleder mellem 1968 og 1977”. Med bidrag af blandt andet Lene Adler Petersen, Jytte Rex, Inge Eriksen, Ursula Reuter Christiansen, Kirsten Justesen m.m.fl. Udkommet på Informations Forlag, 1977. Stort format. 200 sider. Hft. Rigt illustreret. Lidt slidt, men solid. Grafisk smukt tilrettelagt af bl.a. Jytte Rex.
Lunds Konsthall, 1969. Kvadratisk 4to. Original grønt omslag. Mappe med løst indlagt materiale af de deltagende kunstnere (komplet). Poul Gernes, Kasper Heiberg, Stig Brøgger osv. Fint eksemplar
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No Beginning, No End situates Max Bill within the context of his cultural moment. With more than two hundred illustrations of works by Bill and his contemporaries,
The piece 4’33” premiered on August 29, 1952; four minutes, thirty-three seconds of performed, charged silence. Elegantly, provocatively, the piece asked: what does silence sound like? Cage’s questions about the nature of silence and sound continue to reverberate decades later; this volume-the most comprehensive on the piece to date-brings together…
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