Andrew Dodds

Lost in Space

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WILLIE DOHERTY

Home

Irish contemporary artist Willie Doherty’s (b. 1959) latest video installation, Home, revolves around the timely issue of refugees and immigration. Questioning the context of migration and social affiliation, Doherty, who witnessed Bloody Sunday in his hometown of Derry, Northern Ireland, explores the multiple meanings carried by a single image in his nourish video narratives that often incorporate appropriated images from the media. The large still images, installation shots plus outtakes from the two featured videos, The Amnesiac (2014) and Buried (2009), presented in this slim exhibition catalog from Villa Merkel, Esslingen, challenge the viewer to distinguish authenticity from fiction and the nature of actual threat from generalized fear in relation to immigration—potent subjects in our troubled times. dOCUMENTA participant in 2012 and representative for Ireland at the Venice Biennale (2007), Doherty’s often claustrophobic installations have been shown from Tate Modern to MoMA, PS1 to the Carnegie International and throughout Europe.

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CÉSAR DOMELA

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STAN DOUGLAS

History and Interregnum
Three Works by Stan Dougals

Pedro Lapa (Ed.)

History and Interregnum looks at the relationship between history and fiction through the practice of re-enactment in three works by Vancouver-based artist Stan Douglas. Each work in this fully illustrated paperback publication draws upon Portugal’s recent history in which a multicultural arts movement was ultimately eclipsed by new configurations of power. Douglas’s film, video installations and photography have been exhibited internationally at Documenta IX, X, XI and the Venice Biennale in 1990, 2001 and 2005.

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Stan Douglas

Inconsolable Memories

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MARCEL DUCHAMP / ULF LINDE

De ou par Marcel Duchamp par Ulf Linde

Jan Åman & Daniel Birnbaum (Eds.)

In 1961, Ulf Linde produced the first authorized copy of Marcel Duchamp’s monumental piece The Bride Stripped Bare by her Bachelors, Even (1915–1923). For more than half a century, Linde has pursued intense studies of Duchamp’s entire oeuvre and has made perfect replicas of all his major works. Like no one else, the Swedish art critic knows Duchamp’s work in minute detail. Linde is the author of numerous books and essays on the father of conceptual art and an as-yet-unpublished manuscript that scrutinizes the mathematical principles behind Duchamp’s art, revealing what the author claims to be the key to the artist’s poetic universe. Linde’s replicas and his early texts on Duchamp were essential to the international reception of the artist’s work and played a key role in major exhibitions—including Walter Hopps’s 1963 Duchamp retrospective at the Pasadena Art Museum and the Centre Pompidou’s opening exhibition in 1977. This large-print, textbook-sized tome, produced by Academie Anartiste and creatively designed by Oskar Svensson/Atelierslice/Pjadad, features copious illustrations and accompanies an exhibition organized by the Royal Swedish Academy of Fine Arts and Moderna Museet in 2011. The exhibition and catalog are the result of years of conversation between Linde and the curators, and include never-before-seen documentation of Linde’s 1:10 re-creation of Duchamp’s final work, Étant donnés: 1° La chute d’eau, 2° Le gaz d’éclairage (1946–1966). The book forms an important record of Linde’s texts on Duchamp and features original material on the relationship between the two artistic figures from Jan Åman, Daniel Birnbaum, Henrik Samuelsson and Susanna Slöör.

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DUET FOR CANNIBALS

Forms of Cultural Appropriation

Inti Guerrero

Named for Susan Sontag’s legendary 1969 film, this book brings together current commentary on the controversial issues of cultural imperialism in the Dutch East Indies. In meaty texts and film excerpts by Raimond Chaves, Dominique Gonzalez-Foerster, Hans Heijnen, Paulo Herkenhoff, Gordon Matta-Clark, Ossama Mohammed, Wendelien van Oldenborgh, Christodoulos Panayiotou, Jose Alejandro Restrepo and others, the project tackles topics like post-war cultural imperialism, forms of urban creole sub-cultures, and the role of institutions designed to classify and display the artifacts of other cultures. Includes stills from Andy Warhol’s cult-classic film, Susan Sontag. A rich buffet of ideas and images, this book is the final product of a multi-disciplinary program produced at Agentur, a project space in Amsterdam.

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Marlene Dumas

Female

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Thomas Eggerer

Atrium

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GARDAR EIDE EINARSSON

Steinar Sekkingstad & Solveig Øvstebø (Eds.)

A first-time monograph for young Norwegian artist and provocateur Gardar Eide Einarsson accompanies his in-depth survey Versuchsstation des Weltuntergangs (Experimental Doomsday Station), held at the Bergen Kunsthall. Einarsson is one of the sharpest contemporary critics of machismo street culture; his multimedia productions don’t so much celebrate freedom from authority as they cleverly demonstrate the painful limits of transgressive acts. Documented is a large cross selection of work, including large-scale neon signs, graffiti-like paintings, gallery installations and photography, spanning more than a decade. Three commissioned essays from Index magazine editor Bob Nickas, philosopher Nick Land and art historian Martin Herbert. This generously illustrated book also includes unique works included in the 2008 Whitney Biennial.

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