Books

Cleon Peterson (Book and Poster Set) Archive Copy

1 April 2019 in Books Comment

Cleon Peterson (Book and Poster Set) Archive Copy

Archive copy of first edition hardcover book and original launch poster.

Book:
Foreword by Shepard Fairey
Introduction by Leigh Ledare
Essay by Christopher Sleboda and Kathleen Sleboda
Published by Draw Down
First edition, 2015
Hardcover, 64 pages, full-color offset, 5.5 × 7.5 inches
ISBN 978-0-9857337-5-9
Out of Print

Poster:
Double-sided, ships folded
Published by Draw Down, 2015
Poster, 1-color offset, 22.75 × 33 inches
Out of Print

Draw Down

Alexandre Estrela and João Maria Gusmão + Pedro Paiva: Lua Cão

29 March 2019 in Books Comment

Alexandre Estrela and João Maria Gusmão + Pedro Paiva: Lua Cão

Texts by Marco Bene, Natxo Checa, Alexandre Estrela, Chris Fitzpatrick, José Freixo, João Maria Gusmão, Andrea Lissoni, Bruno Marchand, Pedro Paiva, Post Brothers, Filipa Ramos

“I moved to Lisbon to relax and do nothing, but found myself sucked into an endless stream of dinner parties. The Portuguese give extreme importance to meals; following the legacy of the ancient Greek symposium, all important conversations gravitate around large portions of ameijoas à bulhão pato, rojões à minhota, morce la da régua, and açorda. […] At one of these banquets I sat next to the artists João Maria Gusmão + Pedro Paiva. And rather than saying I was leading an idle life, I mentioned I was freelancing, writing vacuum cleaner reviews on the internet. I was surprised when they showed interest, and baffled when they asked me to read one”—Marco Bene

Published on the occasion of the fourth staging of the eponymous exhibition by Alexandre Estrela and João Maria Gusmão + Pedro Paiva at La Casa Encendida in Madrid, Lua Cão isn’t just a catalogue, but another of the many constellations that comprise the show. Curated by Natxo Checa, the exhibition—commenced in a cave in the Azores and shortly after travelled to Zé dos Bois in Lisbon, Kuntsverein München in Munich, and lastly to Madrid—is a choreographed and immersive moving-image experiment, which tests the intersection of the three artists’ works, 16mm films and digital videos triggered at different moments over the course of a four-hour cycle, like a panoptic cinema. Featuring images from all the four exhibition chapters, a 16 pages reprint of Lua Cão (Tom & Jerry) (Amsterdam: ROMA Publications, 2018), conversations, emails, and essays by a group of critics, curators and participants to the event, the catalogue recounts the phenomenology of the project, all sides of its prism. The journeys inspiring the realization of metaphysical works of art, reflections on imploded cinema, Portuguese gastronomy and the joys of projectionism, considerations on the somatic properties of Lua Cão, loose thoughts on art and time, volcanic tunnels, melon-shaped skulls, spiderwebs, drunken zombies, demonic dogs, and the digestive benefits of Coca-Cola.

2018
English, Spanish
200 pages
Hardcover, 21 × 28.5 cm
ISBN: 978 88 6749 358 6

Mousse Publishing

What is Universal Everything? — Available for Pre-order

29 March 2019 in Books Comment

What is Universal Everything?

Available for pre-order now.

Editors: Adrian Shaughnessy, Tony Brook
Essays: Adrian Shaughnessy, Antonia Lee
Design: Spin

Edition of 2000 – unique ‘tipped-in’ image on each cover

Matt Pyke, founder and creative director of Universal Everything, calls his studio a “digital art and design collective”. And after 15 years of revolutionary work in the digital realm, UE has its first book – What is Universal Everything?

Working closely with Pyke, the Spin design team of Tony Brook and Claudia Klat have designed a book that successfully brings Universal Everything’s vivid on-screen work to the printed page. The book is printed using a unique salmon pink fluoro colour that has been specially created and mixed for the project.

What is Universal Everything? examines 24 of the studio’s most exciting projects, from work for clients such as Microsoft, Hyundai and MTV, through to projects for Radiohead and the Science Museum in London. For each piece of work, Pyke collaborates with a pool of international creative talent from his base in Sheffield in the north of England.

The book also focuses on several of UE’s self-initiated projects that keep the studio pushing forward. These speculative explorations, says Pyke, are concerned with “trying to invent the future before we get there”.

The book also includes two essays and extensive interviews throughout, 90 pages of Pyke’s hand-drawn sketches, as well as detailed listings of the studio’s numerous sources of inspiration – from music to literature; from places to food.

In keeping with the book’s high production values, nearly all the work featured in the book has been re-rendered at high res, allowing the full majesty of Universal Everything’s screen-based work to be captured on the printed page.

Furthermore, every cover of What is Universal Everything? is unique: a different tipped-in image graces the cover of each edition. As Pyke notes: “We developed software to generate random combinations of shapes, colours and sizes with collision detection. Thousands of unique graphic compositions have been generated…. Everyone will own a one-off.”

About UE

“The company creates gorgeous visual spectacles on screen that, while they will never be attained in physical reality, reinterpret the nuances of natural human motion and seem to have a soul, a heartbeat, and the breath of life.”
The Creators Project, Vice

“Universal Everything proves how effective a flexible, collaboration-based agency model can be to deliver awe-inspiring projects on a global scale.”
Creative Bloq

“The studio’s desire to uncover new forms and aesthetic ideas produces profound experiences; often blurring the line between the art world and the commercial world of brands… as digital artists, their output is ahead of the rest.”
Highsnobiety

“Artists love to portray technology as the villain, as a force for evil that makes short work of our humanity… Matt Pyke isn’t one of them. The artist – who, it should be noted, works out of a log cabin in Sheffield, England – is an unabashed techno-optimist.”
Fast Company

Size: 240mm × 338mm
Pages: 384 (plus 4pp cover)
Format: Hardback, black foil-blocked type on cover
Printing: Litho
Colours: CYK + one special
Special colour: Salmon fluoro (THSX0339 Unit Ed. – Universal Fluoro Red
Inks: Toyo Ink LED-UV
Cover image: 2,000 unique tipped-in images; high gloss lamination
Colours: CYK + one special
Typeface(s): GT Cinetype by Grilli type
Printer: GöteborgsTryckeriet, Mölndal

Unit Editions

Oslo Pilot

28 March 2019 in Books Comment

Oslo Pilot
Edited by Eva González-Sancho and Per Gunnar Eeg-Tverbakk

Texts by Lida Abdul, Kim Henning Andreassen, Merete Joelsen Aune, Mark Bain, Amy Balkin , Lene Berg, Dineo Bopape, Barbara Browning & Yve Laris Cohen, Pavel Büchler , Alice Creischer & Andreas Siekmann, Dora García, Mette Edvardsen, Marte Eknæs, Cassius Fadlabi, Jan Freuchen & Sigurd Tenningen, Alberto Giacometti, Félix González-Torres, Matthew Goulish, Johan Grimonprez & Catherine Bernard, Lina Viste Grønli, Ane Hjort Guttu, Flaka Haliti, Thomas Hirschhorn, Liv Kristin Holmberg, Jonas Ib F.H. Jensen, Farhad Kalantary, Mike Kelley, Karl Larsson, Mara Lee, LIGNA, Minouk Lim, Lotte Konow Lund, Inger Wold Lund, Metahaven, Henri Michaux, Juan Muñoz, Miriam Myrstad, Maurizio Nannucci, Maria Nordman, Douglas Park, Matthew Rana, Martha Rosler, Allen Ruppersberg, Natascha Sadr Haghighian, Lisa Tan, Lisa Torell, Vibeke Tandberg, Jan Verwoert, Annee Grøtte Viken, Andy Warhol, Haytham El-Wardany, Stephen Willats, Pamela Wye, and Knut Åsdam.

To make art in and for the public domain today is to engage with the precariousness that both defines and threatens our experience of it. OSLO PILOT (2015–17)—a project investigating the role of art in and for the public space—laying the groundwork for Oslo Biennial First Edition brings together 38 previously published texts spanning the past 80 years and 19 commissioned texts exploring art in public spaces and spheres. It also includes an edited transcript of the symposium, organized by OSLO PILOT in the fall of 2016, “The Giver, the Guest, and Ghost: The Presence of Art in Public Realms.” The publication embodies the idea of the city as a prerequisite and basis for work, and focuses on the conditions of public space as a field where many agencies, identities, and interests meet and are made visible.

2018
English, Norwegian, Arabic, Korean, Spanish, Swedish
608 pages
Softcover, 17 × 24 cm
ISBN: 978 88 6749 342 5

Mousse Publishing

Bubbletecture

19 March 2019 in Books Comment

Bubbletecture

Following in the footsteps of Nanotecture, Mobitecture, and Pet-tecture, a fascinating and fun guide to everything inflatable.

Although inflatable objects have been around for more than 200 years, architects, artists, and designers keep rediscovering this deceptively simple – often playful, and occasionally bizarre – technology. Bubbletecture brings together inflatables in every conceivable size, shape, and hue across the realms of architecture, design, art, and fashion. From inflatable dresses and hats to buildings employing cutting-edge technologies, from ingenious chairs, lights, bowls, and even egg cups to children’s toys and provocative art installations, Bubbletecture demonstrates that inflatable design is simply irresistible.

Format: Hardback
Size: 184 x 124 mm (7 1/4 x 4 7/8 in)
Pages: 288 pp
Illustrations: 250 illustrations
ISBN: 9780714877778

Phaidon

Pseudo — Pseudonym Publishing

19 March 2019 in Books Comment

Pseudo

Pseudo is a collection of interviews with Scandinavian designers, on the topic of concepts and rhetoric in today’s design scene. Revolving around themes such as ‘what differentiates an idea and a concept’ and the consequence of talking to much in abstract terms. Loose discussions shining a light on the current discourse of what we designers sell today, what’s our primary point of delivery – and where are we as an industry headed?

ISBN: 978-82-690810-0-8
155 x 210mm
226 pages
250 copies

Pseudonym Publishing