Běla Kolářová Experiment, řád, důvěrnost

Published by Muzeum Umění, Olomouc, 2006, 128 pages (colour & b/w ill.), 24 × 28 cm, Czech

Price: €22

Published on the occasion of Experiment, řád, důvěrnost: Běla Kolářová at Muzeum Umění, Olomouc, 27/9 – 31/12/2006.

Prague-based artist Běla Kolářová (1923–2010) began experimenting with photographic techniques in the early 1960s, creating photograms and X-ray photographs that continued the Bauhaus tradition of photography as an abstract medium. Thus, for a series of photograms she called vegetages, she produced miniature “artificial negatives” by pressing natural materials into soft paraffin and using them for the exposure of the photographic paper instantaneously as “negatives.” In the late sixties Kolářová increasingly began creating assemblages out of found objects including household items such as snap fasteners, needles and safety pins. Kolářová arranged these objects according to conceptual grids, and thus they are somewhat akin to the work of Nouveaux Realistes as well as to various conceptual practices. The work she produced in this way defied the aesthetic canon of Socialist Realism, and Kolářová developed a remarkable conceptual feminist style that was all her own.

In recent years, Kolářová’s work was shown at the documenta 12 (2007), at the Raven Row gallery in London (2010) and in solo shows at the Museum Kampa in Prague (2008) and Muzeum Umění in Olomouc (2006).

#2006 #abstractphotography #bělakolářová
SECESSION Christopher Williams

Published by Walther Konig, Köln, 2005/06, 96 pages (colour & b/w ill.), 21 × 29.5 cm, English / German

Price: €45

Christopher Williams precise photographs retain in a paradoxical way what is in the process of vanishing. His photographs, influenced by the advertising aesthetics of the 1960s or 70s tend to become as anachronistic as their motifs. Published as the second volume of the De Rijke / De Rooij catalogue on the occasion of their exhibition at the Vienna Secession, the two volumes are, however, independently conceptualized artist`s books.

#2005 #2006 #christopherwilliams #secession #waltherkönig
Marc Camille Chaimowicz

Published by Walther König, 2006, 88 pages (colour ill.), 26.5 × 21.3 cm, English/German

Price: €50

Marc Camille Chaimowicz subtly intervenes in the gallery space, altering the atmosphere and décor of the environment. This catalogue, devised in collaboration with the graphic designer Adeline Morlon, reflects his working method, developing quiet, multi-perspective views of a spatial installation. Chaimowicz’s environments embrace the domestic sphere, incorporating interior design, ceramics, wallpaper and textiles. The exhibition at Kunstverein für die Rheinlande und Westfalen documented in this book shows works spanning the years 1975 to 2005 and includes objects, drawings, photo collages and paintings.

‘Spaces and their potentialities of allowing ideas to come into being forms the central pillar of interest for the artist Marc Camille Chaimowicz… for the first time ever in a German institution, he has realized his ideas in a richly faceted manner and shown his work to an interested and curious audience.’ (Rita Kersting)

#1 #2006 #marccamillechaimowicz #waltherkönig
…ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra Michael Krebber

Published by Walther König, Köln, 2006, 207 pages (colour ill.), 15.2 × 22.9 cm, English/German

Price: €70

Published on the occasion of …ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra at Portikus, Frankfurt, 16.12.2006–21.01.2007. A group show curated by Michael Krebber also featuring Gareth James, John Kelsey and Josef Strau.

“A bridge, an ellipsis, a sudden trailing off, the title of this exhibition, etc, the … might also be the blub blub blub of an underwater clam drawn by Jack Smith (“Ploduction Ploblems”), or a sort of mussel-talk taking over. In Réné Daumal’s unfinished novel Mount Analogue, which narrates the search for an invisible mountain (the largest on earth), there is a description of the money used in this place: smooth, pearl-like orbs dug out of the invisible mountain’s soil and very difficult to find. So on Mount Analogue, the … would also be a price, a sum, exact amount of invisible cash.”

#2006 #michaelkrebber #portikus
Thinking the Line 1961-1978 Ruth Vollmer

Published by Hate Cantz, Berlin, 2006, 224 pages (colour & b/w ill.), 21.7 × 26.8 cm, English

Price: €15

At the forefront of some of the most significant artistic developments of the sixties was a group of New York–based artists that included Sol LeWitt, Robert Smithson, Mel Bochner, Eva Hesse, Richard Tuttle, and a lesser-known figure named Ruth Vollmer (1903–1982). A German-born émigré, Vollmer devoted her work to the cross-fertilization of science, mathematics, and the visual arts. Drawing from sources as diverse as Plato’s philosophy of mathematics and Bernhard Riemann’s non-Euclidean conception of space, the artist freely experimented with the many permutations of the sphere, from the circle, spiral, and pseudosphere to the ephemeral soap bubble. With her mathematical formalism, Vollmer participated in a constructivist revival, rejecting late-modernist notions of geometric abstraction in favor of “thinking the line.” Featuring selected sculptures and drawings, statements by the artist, and essays by art historians as well as the artists who knew her this book is the first to offer a thorough account of Vollmer’s works.

Texts by Rhea Anastas, Mel Bochner, Ann Reynolds, Nadja Rottner, Kirsten Swenson, Anna Vallye, Lucy R. Lippard, Rolf-Gunther Dienst, Sol LeWitt, Thomas Nozkowski, Richard Tuttle, Ruth Vollmer, Susan Carol Larson

#2006 #ruthvollmer