Mount Analogue
by Diana Kaur and Tris Vonna-Michell
01/09 – 31/12/2021

Jan Mot is delighted to present Mount Analogue as first project within the newly launched BY ASSOCIATION. Mount Analogue is a Stockholm-based publishing space, curatorial, editorial agency and analogue studio initiated by Diana Kaur and Tris Vonna-Michell in 2010. Their publication of artist’s editions are characterised by a close, long term collaboration with each artist, in which the print media is the premise and the focus.

RECENT EDITION by Tris Vonna-Michell: No more racing in circles – just pacing within lines of a rectangle (2021)

Tris Vonna-Michell No more racing
Tris Vonna-Michell No more racing
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The audiotape box set No more racing in circles – just pacing within lines of a rectangle is a numbered edition box set containing four audiotapes and liner notes with a text contribution by Jan Verwoert. 

The audiotapes contain either live performance recordings or performances made in recording studios, often merging spoken narrations, instrumental improvisations and musical compositions. They capture the various approaches to the artist’s use of spoken narration as well as documenting the collaborative aspects of performing and sound composition.

Commissioned by Frans Masereel Centrum, in collaboration with Mount Analogue, as part of the offline and offsite group project Solitude (Fall-Winter 2020/2021). All rights reserved.

Tris Vonna-Michell
No more racing in circles – just pacing within lines of a rectangle
Year: 2021
Edition:
100 (numbered)
Publishers: Frans Masereel Centrum, Kasterlee, and Mount Analogue, Stockholm.
Description: Box set with 4 audiotapes and liner notes
Dimensions: 14,2 x 22,2 x 2 cm

€ 100 (incl. VAT, excl. registered shipping*)

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Marc Matter and Stefan Römer: De-conceptual Voicings (2019)

De-conceptual Voicings is a 12-inch record, which uses the extensive archive of interviews with artists of the historical post-minimal and conceptual art as a starting point. It was generated for the documentary film Conceptual Paradise (Stefan Römer, 2006).

Excerpt from the publication:
Musical compositions from interviews with conceptual artists Deconceptual Voicings consists of individual tracks composed from interviews with artists primarily recorded for the film essay Conceptual Paradise. We selected statements and transformed them into a musical composition, i.e. we turned the audio material (field recordings) into songs. Only speech and language material were used.
Sound fragments, syllables and consonants were processed into rhythmic patterns, while slogans, statements and text passages were sampled into sprechgesang. We understand global conceptualisms as practices to oppose reactionary backlash. For us, this project marks a critical difference to the tendencies in the digitized commercialization of contemporary art. Our aim is to signify a strategic artistic activity, to challenge recent cultural conditions and to prevent depression. To SCREAM about the contemporary conditions would be an understandable gesture.
Instead, you may perform a neo-emancipatory dance. This is an homage to all the artists involved. By calling it Deconceptual Voicings we suggest a global polyphony of positions and sounds. Good ideas should
be amplified. (MM and SR)

Excerpts from interviews with the following artists:
Art&Language
Andrea Fraser
Shilpa Gupta
Sol LeWitt
Yvonne Rainer
Martha Rosler
Lawrence Weiner

Marc Matter and Stefan Römer
De-conceptual Voicings
Year: 2019
Edition: 500
Description: Musical composition from interviews with conceptual artists
Publishers: Mount Analogue and Slimvolume
Dimensions: 31 x 31 cm
ISBN (Mount Analogue):
 978-91-983195-7-6
ISBN (Slimvolume): 978-1-910516-09-6  Slimvolume #10

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No more racing in circles – just pacing within lines of a rectangle (2019) by Tris Vonna-Michell

No more racing
No more racing

The box set publication No more racing in circles – just pacing within lines of a rectangle (2019) is Tris Vonna-Michell’s reflection on the impact of performing several narrations during a concentrated timespan over a number of years.

The package contains forty-four sheets printed on a Heidelberg offset press, while the accompanying colophon introduces each sheet in the box set; together they represent the performative aspect of Vonna-Michell’s practice in the form of score and transcription. The publication addresses several time markers in Vonna-Michell’s practice as well as the durational aspect of writing and performing.

Limited edition box set of 200 copies containing forty-four loose pages printed on a Heidelberg press, 46 x 33 x 1,5 cm. Design concept by Rikard Heberling and Tris Vonna-Michell. Published by Bom Dia Boa Tarde Boa Noite, Mount Analogue and Slimvolume (2019).

Tris Vonna-Michell
No more racing in circles – just pacing within lines of a rectangle
Year: 2019
Language: English
Pages: 44 p.
Edition : 200
Publishers: Bom Dia Boa Tarde Boa Noite, Mount Analoge and Slimvolume
Dimensions: 460 x 330 x 15 mm
ISBN: 978-3-943514-63-6

€ 90 (incl. VAT, excl. registered shipping*)

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Music as Seismographic Sound / Tracking Down the Idea of Cultural Translation radio pitch by Ania Mauruschat (2018)

Music as Seismographic Sound
Music as Seismographic Sound

The publication Music as Seismographic Sound / Tracking Down the Idea of Cultural Translation is a written radio pitch by Ania Mauruschat, closely following musicians in bi- or multi-lingual cultural contexts. Ania Mauruschat is a radio journalist who has produced several features on sound art, with the German radio station Bayerischer Rundfunk, and the Swiss national radio station SRF. The written pitch comes in the form of an appendix of source materials, including excerpts from interviews with selected musicians.

Excerpts from the publication:
Music is the fastest traveling medium. As some scholars like to argue, it even might have a seismographic potential. [1] Thus, the Swiss ethnomusicologist Thomas Burkhalter speaks of “seismographic sounds”[2] regarding the rather new phenomenon of global digital ‘world music 2.0’ [3]. This musical phenomenon developed predominantly in the urban centres of the ‘Global South’ – São Paulo, La Paz, Lagos, Cape Town, Jakarta, Beirut or Manila -, long before it drew the attention of journalists and researchers from the ‘Global North’ in the early 2000s.

To scrutinize and better understand this situation of in-betweenness, the radio feature will focus exemplary on two very distinct and yet similar case studies of seismographic sound generating hubs: firstly, the label Outhere Records, which is based in Munich, Germany and serves as a platform especially for the young Pan-African scene of world music 2.0; and secondly, the label Aakuluk Music in Iqaluit, Nunavut, the northernmost territory of Canada, which is devoted to developing the young musical scene in the Arctic to facilitate the search for identity and independence of the Inuit musicians in their postcolonial reality of community building.

Ania Mauruschat
Music as Seismographic Sound / Tracking Down the Idea of Cultural Translation
(radio pitch)
Year: 2018
Language: English and German
Pages: 80
Edition: 500, by Hinrich Sachs and Fredrik Ehlin
Publishers: Mount Analogue and Humboldt Books
Dimensions: 170 x 240 x 4 mm
ISBN (Mount Analogue): 978-91-983195-5-2
ISBN (Humboldt Books): 978-88-99385-45-3

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Henrik Andersson’s monograph publication Participant Observers

Participant Observers
Participant Observers
Participant Observers
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Henrik Andersson´s monograph publication Participant Observers was developed out of a solo exhibition he made at Marabouparken Konsthall, Sundbyberg (SE). The show and this subsequent publication addresses the presence and history of the Swedish defense science facilities, which closed in 2005.

A wooded area the size of a small nature reserve south of Järvafältet in northern Sundbyberg, Ursvik, was until recently the location of the Swedish Defence Research Agency (FOI). From 1930 onwards, a branch line of the Northern Main Line carried shipments of ammunition into a large rock shelter. The area contained shooting ranges, administration offices and depots, and, most importantly, high level research was conducted there. The research included everything from the development of Swedish nuclear weapons to medical research into surgical methods of treating crush injuries. The activities were top secret and what really went on behind the fence remains shrouded in mystery.

In the early 1960s, public support for the Swedish nuclear programme waned and in 1961 the first protest march against the atomic bomb in Sweden went to Ursvik. Pictures from the march are preserved in the Museum of Sundbyberg. The Swedish Defence premises in Ursvik also housed something else, an art collection, which was primarily acquired by the Public Art Agency Sweden. An art collection at a secret location – what was it doing there?

Henrik Andersson
Participant Observers
Year: 2018
Edition: 400
Publishers: Mount Analogue, Stockholm and Marabouparken Konsthall, Sundbyberg
Dimensions: 185 x 260 mm
ISBN: 978-91-983195-4-5

© Copyright Henrik Andersson, Mount Analogue and Marabouparken Konsthall, 2018
All rights reserved.

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Inte det molnet | Not That Cloud by Johanna Gustafsson Fürst

Not That Cloud
Not That Cloud
Not That Cloud
Not That Cloud
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Inte det molnet | Not That Cloud is a monograph celebrating the practice of Swedish multidisciplinary artist Johanna Gustafsson Fürst. It is the result of a collaboration between Johanna Gustafsson Fürst, the editors and publisher Mount Analogue, Jonas Williamsson who has designed the publication and six contributors who give their perspective on works by Gustafsson Fürst in text. These are: Eva Arnqvist (artist), Karl Lydén (art critic and a PhD candidate in Philosophy at Södertörn University), Eva Löfdahl (artist), Marti Manen (curator and writer), Liv Strand (artist) and Lisa Torell (artist, she holds a PhD from The Norwegian Program for Artistic Research at UiT).
 

Johanna Gustafsson Fürst is working mainly with sculpture and installations in long term processes dealing for example with linguistic violence and inclusions and exclusions in public space. In 2017 she received the Friends of Moderna Museet Sculpture Prize. Part of the jury’s motivation read: “She challenges the materials, their properties and common uses, in order to create an inverted, suspended, not to say unyielding, sculptural otherness.”

Johanna Gustafsson Fürst
Inte det molnet | Not That Cloud
Year: 2017
Language: English and Swedish 
Pages: 74
Edited: Johanna Gustafsson Fürst, Diana Kaur;
Graphic Design: Jonas Williamsson
Publisher: Mount Analogue, Stockholm
Dimensions: 210 x 295 mm
ISBN: 978-91-983195-3-8

© Copyright Johanna Gustafsson Fürst, the writers and Mount Analogue 2017
All rights reserved.

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Dave Allen’s Untitled (Triple Gretsch with Kick), 2016

Untitled Triple Gretsch with Kick
Untitled Triple Gretsch with Kick
Untitled Triple Gretsch with Kick
Dave Allen Untitled Triple Gretsch with Kick
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Untitled (Triple Gretsch with Kick) is a series of prints of drums from images sourced from online auction sites. Stacked in attics or laid out on sofas these kits are clearly not in use anymore, and arranged as such they are soundly redundant. There is much at play here. Rastered in monochrome the kits become monumental and sculptural. Unwanted and now for sale they stand as a proud reminder of the ideals and chosen methods of youth’s rebellious role in proposing change and progression.

I always feel sad when I see pieces of musical equipment for sale, especially drum kits cos drummers generally have only one kit. So when I see a kit for sale it’s sort of signifying the end of someone’s musical aspirations and all that that entails. The end of the ideals that were once held and expressed in collaboration with others who thought likewise in the camaraderie of the isolated practise room. Plus, the images are often taken at the door of the apartment in a very sculptural arrangement, stacked proud on their way out. If the kit has to go to make space for whatever then I like to think that the 2D full size representation of the kit can be slipped into the home interior decor plan somehow as a reminder of progressive ideals encased in rock and roll.

Dave Allen lives and works in Stockholm

Dave Allen
Untitled (Triple Gretsch with Kick)
Year: 2016
Edition: 50 (+5 AP)
Description: 12 sheets risograph printed in blue on Cyclus Ecoset 115 gsm paper, composite image
Printed by Risiko Press, Antwerp
Supported by Elastic Gallery, Stockholm
Dimensions: 990 mm x 1088 mm
ISBN: 978-91-983195-2-1

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Pol Matthé’s multiple Boxed In, Eight Corners

Boxed In, Eight Corners
Boxed In, Eight Corners
Boxed In, Eight Corners
Pol Matthé
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Pol Matthé’s multiple Boxed In, Eight Corners is related to his installation A Lag, A Stretch, A Triangle. The installation consists of two Liesegang overhead projectors connected by a plank of wood. An odd number of balls can be rolled from one octagonal frame to the other, and are projected on the ceiling of the exhibition space.

The multiple relates to elements of the actual installation. An octagonal shape, two parts becoming one piece, a ball and handle cut-out, an inside out. The ripped image shows the Danish artist Asger Jorn in front of the Silkeborg Museum holding a scrap wooden panel with the word ’malet’ painted in white, which in Danish means ’painted’. The panel includes a handle which is cut out. The image is ripped in two, shifted in order to fit the cut-outs of the lid, and glued to the bottom of box, generating an unknown ’in between’. In response to the works Sis Matthé has written a text, which is available here.

Pol Matthé is a Belgian artist based in Stockholm. He graduated from the Royal Academy of Fine Arts Antwerp in 2005. Matthé collects and works with notes, found objects, sketches and photographs. By meticulously layering these archives and their encounters, he constructs situation-specific works.

Pol Matthé
Boxed In, Eight Corners
Year: 2016
Edition: 50 (+5 AP)
Production: Stockholm in collaboration with Z Forlag
Description: Octagonal grey cardboard box with lasercut lid, glued and ripped b&w digital print
Printed on Munken Polar 170 gsm, stamped black ink
Dimensions: 187 x 187 x 27 mm
ISBN: 978-91-983195-1-4

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Travelling Light by Elisabeth Kihlström and Yuki Higashino

Traveling Light
Traveling Light
Traveling Light
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The publication Travelling Light sums up two years of joint work and journey by the artists Elisabeth Kihlström and Yuki Higashino. It contains diverse materials, all related to the notion of “artist’s mobility in the modern world”, and includes for instance images taken from Matisse’s time in Tahiti or those referring to German filmmaker F. W. Murnau. It was produced as a part of their collaborative exhibition Port at Mount Analogue in 2014.

Elisabeth Kihlström is an artist based in Vienna. Her recent solo and two-person shows include “The Mouth is about language” at das weisse haus, Vienna (with Joyce Wieland, 2019) and “Yuki Higashino/Elisabeth Kihlström” at Gallery G99, The House of Arts, Brno. She has an upcoming solo show at Contemporary Art Factory, Kyoto, in 2021. She completed “Landscape is Picture, public sculpture in Patsch, Austria, commissioned by Land Tirol (2018 to 2019, collaboration with Yuki Higashino). She has participated in group exhibitions at Donaufestival, Krems, Kunsthalle Exnergasse, Vienna, and xhibit, Vienna. Her performances have been presented at Mumok, Vienna, and FOX, Vienna, among other venues.

Yuki Higashino (b.1984) is an artist based in Vienna. His recent solo and two-person shows includes “something about pictures” with Kim Schoen at Rampe, Berlin “Mladen Bizumic & Yuki Higashino” at Galerie kunstbuero, Vienna, “The Dying Style: Zurich” at Kunstraum luke, Zurich, “The Dying Style” at Contemporary Art Factory, Kyoto, and “Perspectives” at Urgent Paradise, Lausanne (all 2018). He has participated in group exhibitions at David Zwirner, New York, Carriage Trade, New York, Last Tango, Zurich, Le BBB centre d’art, Toulouse, and The Living Art Museum, Reykjavík. His films have been screened at Mumok, Vienna and Azkuna Zentroa, Bilbao. His writing has been published in journals such as ArtForum, Texte zur Kunst, Camera Austria and The Avery Review.


Elisabeth Kihlström and Yuki Higashino
Travelling Light
Year: 2014
Language: English
Edition: 50
Production: Mount Analogue and Post Chimney
Description: Hand-bound book with silkscreen, stamp, C-print and laser print
Dimensions: 110 x 106 x 4 mm

€ 55 (incl. VAT, excl. registered shipping*)

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Collapsing Ourselves by Mattin and Hong-Kai Wang (2014)

Collapsing Ourselves
Collapsing Ourselves

When artists collaborate, they collapse themselves – or that would be the promise, at least. They see their practice reflected in someone else’s and they try to pass through the mirror. What Hong-Kai Wang and Mattin have attempted in this record, and these recordings, is to reflect on that process of reflection and to explore the possibilities of collapse.

Since December 2012, Hong-Kai and Mattin have been developing a dialogue focused on the material conditions in which they find themselves embedded as artists, using oral conversation as a formal expression. They started with a private one-hour conversation about their respective practices, which they recorded. Then in a sequence of live performances they incrementally layered their original conversation with more dialogues, all of which were duly recorded in turn, including the contributions (witting or otherwise) of their live audience. In the performances, both of them would listen to the previously recorded conversations on headphones, whilst simultaneously addressing the audience and each other in a sparse, ambiguously dialogic manner. The final result, which is not at all final, is a recording consisting of the four layers (temporalities) of conversations superimposed.

– Above excerpt from liner text by Mike Sperlinger

Mattin is an artist from Bilbao (living in Stockholm) working with noise and improvisation. His work seeks to address the social and economic structures of experimental sonic artistic production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of ”freedom”and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between performers and instruments, but as a situation involving all the elements that constitute a concert situation, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienation that disturbs this relationship. He is currently doing a PhD at the University of the Basque Country under the supervision of Ray Brassier and Josu Rekalde. He has edited with Anthony Iles the book Noise & Capitalism and in 2012 CAC Brétigny and Tuamaturgia published Uconsitituted Praxis, a book collecting Mattin´s writing plus interviews and reviews from performances that he has been part of. Both books are available online.

Born in Huwei, Taiwan, Hong-Kai Wang works and lives between Vienna and Taipei. She is currently a PhD in Practice candidate and part of the Spaces of Commoning research team at the Academy of Fine Arts in Vienna. Her works are concerned with the questions of geo-politics and invisible social organization within listening and construction of cultural memory, focused on a collaborative and process-driven approach to research and production. Wang has presented her works at Liquid Architecture (Melbourne/Sydney, 2014), Kunsthall Trondheim (Trondheim, Norway, 2013), Para Site (Hong Kong, 2013), Museum of Modern Art (New York, 2013), among others. Her work spans performance, workshop, text, video and installation. 

Collapsing Ourselves was written in Stockholm, on 28 March 2013 at EMS; and 30 March at KONSTAPOTEKET; in Z Space Taichung on 16 May 2013; and then at Noise Kitchen in Taipei on 18 May 2013. All the recordings were made on a ZOOM H4.

Thanks to: EMS, KONSTAPOTEKET, White Fungus, Lacking Sound Festival and Mike Sperlinger

Mattin and Hong-Kai Wang
Collapsing Ourselves
Year: 2014
Publication & Distribution:
Mount Analogue and Audio Visual Arts (AVA)
Dimensions: 307 x 310 mm

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Capitol Complex / Ulterior Vistas (2013) by Tris Vonna-Michell 

Capitol Complex / Ulterior Vistas
Capitol Complex / Ulterior Vistas
Capitol Complex / Ulterior Vistas
Capitol Complex / Ulterior Vistas
Capitol Complex / Ulterior Vistas
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Tris Vonna-Michell’s publication is constructed around the two works, Capitol Complex (2012-2014) and Ulterior Vistas (2012-2013), both of which are encapsulated on a ten-inch vinyl record. The spoken-word compositions are enclosed within a gatefold design and accompanied by the Capitol Complex manuscript as a booklet insert and a bound series of Ulterior Vistas photographic montages.

The Capitol Complex (Side A) recording pans between improvised spoken word and musical composition, evolving around a manuscript set in the Indian city of Chandigarh, which serves as an underlining blueprint for the work. Traveller, the protagonist, extends his leisurely strolls navigating the city by night in order to induce an experience of greater intensity and anxiety of its urban architecture. After his nocturnal explorations in the city’s single-zone sectors he starts to grow weary and changes his course from architectural appreciation to searching for crevices and enclosures to reflect and observe. But urban fixtures of obstruction, surveillance and derailment direct his passages, until a shift in perception occurs.

The spoken word aspect of Ulterior Vistas (Side B) is backed by a musical score, and contextualised around the notion of a driven sales agent, orating a prospectus based on grand 18th Century English landscape garden design. The protagonist is soliciting a global perspective characterised by appropriation of cultural heritage in order to cultivate a desirable public persona for an unidentified client. Aside from offering an array of landscape gardening solutions and attributes he also proposes more abstract features such as synthetic spirituality and symbolic gestures of generosity. The conceptual framework for the Ulterior Vistas photographic series derives from the English landscape architect Humphrey Repton’s famous Red Books (1752-1818). His books were bespoke landscape and architecture propositions for improving the estates and pleasure grounds of potential clients. The before-and-after illustrations were a key feature in Repton’s Red Books as were his verbal presentations.

Tris Vonna-Michell
Capitol Complex / Ulterior Vistas
Year: 2013
Edition: 500
Publishers: Focal Point Gallery and Mount Analogue, 2013
Distribution: Cornerhouse
Dimensions: 263 x 265 x 6 mm
ISBN: 978-1-907185-14-4

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Robin Watkins’ Band 2: Sunday (2012)

Sunday
Sunday
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A new edition by Robin Watkins, consisting of a hand-numbered letterpress cover, a compact disc and a 32-page booklet, published by Mount Analogue. The edition documents naturally occurring low frequency electromagnetic fields alongside man-made currents. The recordings were made in and around the derelict Cockatoo Island power plant, during night and dawn of 29 January 2012.

Seven slides
Seven takes
Seven windows
Seven dawns

The recordings were originally made for a site-specific installation in the powerplant on Cockatoo Island, Sydney Harbour (Australia), as part of the 18th Biennale of Sydney. Thanks to Nina Canell, Diana Kaur, Tris Vonna-Michell, Travis Rice and Catherine de Zegher.

Robin Watkins
Band 2: Sunday
Year: 2012
Audio selections arranged by Robin Watkins
Mastering: Martin Ehrencrona
All photographs taken on site by Robin Watkins
Printed parts and layout by Robin Watkins
Publication & Distribution: Mount Analogue, Stockholm, 2012
Dimensions: 125 x 140 mm
ISBN: 978-91-633-8522-3

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Tris Vonna-Michell (2011) by Tris Vonna-Michell

Tris Vonna-Michell
Tris Vonna-Michell
Tris Vonna-Michell
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In this book project by Tris Vonna-Michell the stories and the visual material marks a continuation and implementation of his artistic practice through the medium of an artist’s book. Behind an identical cover, the seemingly same is presented in two variations that were developed through performative improvisations over earlier text versions, and repositioning of images and inserts.

The two variations were pendently constructed; book I began in November 2009 at Halle für Kunst in Lüneburg, in which several chapters, texts and images were printed on a Heidelberg GTO printing press on a daily basis during the exhibition ”Capstans”. In 2010 book II began as a revisitation and expansion of the first variation, in which the previous narratives, images and inserts were reconstructed.

Tris Vonna-Michell
Tris Vonna-Michell
Year: 2011
Pages: 79
Language: English
Graphic design: Manuel Raeder and Tris Vonna-Michell
Publication: by JRP|Ringier, together with with Fondazione Galleria Civica—Centro di Ricerca sulla Contemporaneità di Trento, GAMeC—Galleria d’Arte Moderna e Contemporanea di Bergamo, Halle für Kunst Lüneburg e.V., and Kunsthalle Zürich, 2011
Printed in Germany
Dimensions: 210 x 260 x 9 mm
ISBN: 978-3-03764-170-5

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AK28 Revisited and Three Parallel Visions (2011) edited by Diana Kaur

AK28 revisited
AK28 revisited
ak28
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ak28 was a self-organised, primarily self-funded, collective of artists, architects and curators, which ran a space for exhibiting artistic practices in Stockholm between 2003 – 2009. AK28 Revisited and Three Parallel Visions combines the legacy of ak28 with the presentation of three individual artistic stances derived from varying collaborative experiences. These initiatives operate in the same non-profit sphere as ak28, but on different, or rather parallel premises. These are Elysa Lozano for Autonomous Organization, based in New York, John W. Fail from Ptarmigan Helsinki/Tallin and Ola Ståhl, from what was a loosely London-based artist collective, C.CRED.

Diana Kaur
AK28 Revisited and Three Parallel Visions
Year: 2011
Edition: 500
Pages: 96
Edited by Diana Kaur
Texts by John W. Fail, Johanna Gustafsson Fürst, Elysa Lozano, Ola Ståhl and Erik Torvén
Graphic design: Christopher West
Publication & distribution: Mount Analogue
Impression: Exaktaprinting Malmö AB, Malmö, Sweden
Dimensions: 147 x 213 x 6 mm
ISBN: 978-91-633-8523-0

€ 10 (incl. VAT, excl. shipping*)

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