Böcker utgivna av Lukas & Sternberg

The work produced by Mike Bouchet in recent years seems to present a compulsion to alter one's place in the world by reproducing and re-contextualizing "desirable" things in and of the world. His projects and exploits are one-to-one models--real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet's endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one's product through extensive image production is needed to make it completely viable.ContributorsLucas Ajemian and Colin GardnerConversation with Daniel Birnbaum

Diango Hernández's creative work is triggered by personal experiences and memories. Born in 1970, the artist grew up in Cuba. The memory of a sad event in his life provides the background to his artist's book Losing You Tonight one night shortly before his school graduation, a knife fight between two pupils--which led to one boy's death from his injuries--took place in the dormitory of their boarding school. Some weeks later, Diango Hernández found a written text between that pupil's mattress and bed frame; it was about his first encounter with art, in a very special place--a museum. Hernández links this memory to his general recollections of a school system that left little room to develop one's individuality. He takes these threads and weaves a story using the means of fine art, a story in which everyday objects--functional, technical, and decorative fittings--play a part. For those who are capable of reading them, they are the material from which stories may be woven--personal histories, which perhaps contain more truth than the official version. This artist's book comes in two volumes and is published on the occasion of Diango Hernández' exhibition in the Museum für Gegenwartskunst Siegen, October 4, 2009 - April 5, 2010.Vol. 1, 28 x 22 cm, 136 pp., 111 color ill., hardcoverVol. 2, 22 x 28 cm, 40 pp., softcoverContributorsDiango Hernández, Yilmaz Dziewior, Nuno Faria, Juan Antonio Molina, Giovanni Iovane, Adam Szymczyk

This is the first extensive survey catalogue of the work of Vancouver-based artist Ian Wallace-a key figure of the extraordinary artistic ferment in the Canadian city of Vancouver, a pioneer and theorist of its internationally regarded tradition of photo-conceptualism, and a teacher and colleague of such luminaries as Jeff Wall, Rodney Graham, and Stan Douglas. Energized by the dialectic tensions between monochrome painting and documentary or staged photography, between the emblematic sites of street, studio and nature, Wallace's practice fosters engagement with the persistent impulses of vanguard modernism.A distinguished company of European thinkers, curators and critics have been invited to consider Wallace's art, inspirations, and influence: Vanessa Joan Müller considers the persistence of the monochrome in the artist's oeuvre; Thomas Weski considers his engagement with the development of photo-conceptualism; Dieter Roelstraete addresses the dialectics of street and studio; and the eminent French philosopher Jacques Rancière pursues his on-going meditation on the politics of aesthetics, which has had a strong influence on Wallace's thinking about art. The indispensable reference includes extensive color reproductions, catalogue of exhibited works, a chronology, and thorough bibliographic information.

After constitutes a photographic project on how art affects our perception of reality. Visually expanding on the art world's tendency to see the world through the prism of modern and contemporary art, the book depicts some 200 images of found or researched situations taken "after" an artist's work - occupied realities that are, one might say, signed by the artists. After Buren, After Baldessari, After Cézanne, After Warhol, After Bruce Nauman, etc. In this project, the editors "were looking for references, for signs evoking the history of art. And sometimes the opposite: we would take a photo that reminded us of a certain artist. We had fun following that mode for a while, and then, following our conversations, the project became more defined..." The title suggests both "after" a specific artist, Edouard Manet or Dan Flavin, and "in the characteristic manner of" "It's about showing how our view of the world, our experience of the world, is informed, enriched, sharpened, disturbed, influenced by every work of art that lies in our memory." After then becomes a veritable archive of the editors' recollection of exhibits, art reviews and catalogues. Non-hierarchical, the objects and situations depicted evoke what Raymond Hains once called "personified abstractions"--Buren's stripes, Niele Toroni's imprints or Carl Andre's sculptures, in whatever form they may be reproduced, will inevitably bring them back to mind. This full-color illustrated book has been designed by Christophe Brunnquell. It has been co-published by the Villa Arson, Nice, and accompanies the same-titled exhibition.Jean-Max Colard is a Paris-based curator, an art critic for Les Inrockuptibles, and a frequent contributor to various art magazines and catalogues. Thomas Lélu is an artist and writer. His most recent publication is entitled Perdu de vue, published at éditions Léo Scheer, Paris.Interview by Hans Ulrich Obrist.

Im Zentrum der Publikation steht ein fotografisches Projekt von Katja Eydel, das sich mit der Modernisierung der Türkei seit ihrer Republikgründung 1923 und deren Repräsentation, etwa durch Architektur und offizielle Festinszenierungen, beschäftigt. Die Türkei hat in der ersten Hälfte des 20. Jahrhunderts einen enormen politischen und gesellschaftlichen Umbruch erlebt. Dieser kann einerseits als Beispiel einer modernen Staatsgründung modellhaft betrachtet werden. Andererseits lohnt sich eine Beschäftigung mit der Geschichte der Türkei - die nicht nur geographisch an der Schnittfläche zwischen Europa und Asien liegt - auch in Bezug auf gegenwärtige Konflikte mit internationaler Fragestellung.Die umfangreiche Bildserie spannt einen geschichtlichen Bogen zwischen der durchaus visionären und utopischen ideellen Grundlage, die der neu geründeten Republik unter Atatürk verliehen wurde, und der gegenwärtigen Realität ihrer gesellschaftlichen Konstruktion. Fotografisch werden Symbole und Rituale nachgezeichnet, indem ihre implizite Wirkmächtigkeit auf der Makroebene und ihre kleinteiligen und alltäglichen Verschiebungen in ein Verhältnis gesetzt werden. Es geht um die ästhetischen Inszenierungen und Choreographien, die entworfen wurden und werden und die in der Bildsprache der Fotografien eine Pointierung erfahren. Zugrundeliegendes Thema der Arbeit ist die Vorstellung, wie sich Politik und politisches Wollen in ästhetischen Formen realisiert - eine Fragestellung, die Katja Eydel bereits anhand anderer Zusammenhänge, etwa den ehemaligen jugoslawischen Republiken oder Berlin nach dem Mauerfall, künstlerisch bearbeitet hat.