Bookazines / Series

978-94-90322-54-0

Peter de Kan

250

11 x 18 cm

softcover

An Equine Anthology is the second Center Pivot publication the Last Chance Press of M12 Studio. It is published as a special limited edition, in a print run of 250 copies. Co-publishers: M12 Collective and the Last Chance Press.

Through interdisciplinary approaches, this series explores and connects the changing realities of rural landscapes and communities around the world.

English

Release date: April 2015

An Equine Anthology stitches together non-linear histories, testimonies, and interpretations of equine culture from the American Southwest and beyond. Far from representing binaries of the romantic and mundane, of personality and commodity, An Equine Anthology presents the reader with a broad topographical view of the horse, an image that reaches well beyond that of American mythology. M12's anthology combines poetics with research methodologies that delve into the unseen, hidden, and overlooked to create a work that is greater than the sum of its parts.”  - Sanjit Sethi 

With Contributions by

Clea G. Hall is a photographer and horse owner from Placitas, New Mexico.

Matthew Fluharty is director of Art of the Rural, a collaborative organization based in St. Louis.

Jaune Quick-to-See Smith is an artist working in Corrales, New Mexico.

Temple Grandin is an animal welfare expert based in Ft. Collins, Colorado.

M12 is an interdisciplinary art collective headquartered in Byers, Colorado.

The Brunetti Family operates the TBR Ranch, a horse-boarding facility in Ft. Lupton, Colorado.

Matt Slaby is a photographer and writer based in Denver.

Nell Boeschenstein is a writer from Charlottesville, Virginia.

Oli Robbins is a writer for the Sandoval Signpost, New Mexico. The included profile was originally published in February 2014.

Wapke Feenstra is an artist based in Rotterdam, and co-founder of Myvillages.

Kultivator is an art and farming collective in Dyestad, Sweden.

Josh Garrett-Davis is a writer and historian living in Los Angeles.

Richard Saxton is an artist and educator who lives in Denver. He is the founder and creative director of M12.

Kirsten Stoltz is a curator living in Denver. She is the director of programs for M12.

Stuart Hyatt, who recorded a sonic counterpart to this volume, is founder of TEAM Records and lives in Indianapolis.

978-94-92852-00-7

Carolina Aboarrage

www.susankooi.com

English, Dutch Italian

Copy editing: Aaron Bogart

Silk screen printing: Sarai de Haan

Made possible by the AFK / Amsterdams Fonds voor de Kunst.

Boxset Soleca Planedocontains the triptych Lonely Planet,in which artist Susan Kooi is recontextualising and poetically reconstructing ceramic artefacts, exploring the material as a time machine. Each publication is an alternative travel book for a place with a long clay tradition, showing the works Kooi made during her trips, their background stories adapted into essays, (science) fiction, poetry and manga by various writers. Campania Felix contains terracotta works made in the Campania region in Italy, Yamatai Koku (邪馬台国) is set in Arita, Japan and revolves around porcelain, and inEscoural-O-Novothefocus lays on the glazing process of the Evora region in Portugal.

Including: Lonely Planet: Campania Felix, Lonely Planet: Yamatai Koku (邪馬台国), Lonely Planet: Escoural-O-Novo

978-94-90322-56-4

Niels Schrader, Mind Design

240

15.5 x 22 cm

Softcover

English

For more information: http://c-o-m-p-a-n-y.info/ www.createlondon.org
http://www.myvillages.org

439 grms

Release date: October 2015. Book launch during Frieze London, and Frankfurt Book Fair.

Company: Movements, Deals and Drinks is the winner of the 2014 Create Art Award by Create London and supported by Bank of America Merrill Lynch.
The London Borough of Barking and Dagenham supports the project since 2014.

Myvillages is a pan-national artist group founded in 2003 by Kathrin Böhm, Wapke Feenstra, and Antje Schiffers. Its work addresses the evolving relationship between the rural and the urban, looking at different forms of production, pre-conceptions and power relationships.

Current and recent projects include International Village Show (2014 – 16) for the Museum of Contemporary Art Leipzig, Germany,  Forms of Lending Shapes, A-Z Marzona Collection, Hamburger Bahnhof, Berlin, Umeå Pantry for Bildmuseet Umeå, Sweden and Farmers and Ranchers with M12, Colorado, USA and Fries Museum, the Netherlands.

Myvillages works on a number of long-term projects with a focus on the particular local, but all projects develop trans-local connections within pan cultural and  pan national networks, for example in projects such as I like being a farmer and want to stay one, the Bibliobox and the International Village Shop, all started around 2005 and ongoing.

One of London's well-remembered but fairly unknown histories is that between the early 1800s to the 1950s up to 250,000 working-class Londoners – mainly women and children – would leave the East End to spend the late summer weeks in the Kent countryside to 'go picking', creating a unique urban-rural relationship and lived culture.

Company: Movements, Deals and Drinks is a long-term art project by Myvillages to revisit the 'picking days' while at the same time opening up a full circle of fruit harvest, beverage production and drinks trade as a collective endeavour. 

Company: Movements, Deals and Drinks looks at the complex social currency, histories and politics of access to the countryside, food production, everyday culture and current interest in commoning. These ideas are explored by navigating relationships between rural processes, urban communities and local land use in order to establish a new kind of company.

In its proposition, Company: Movements, Deals and Drinks is reminding us that rural and urban conditions are inherently connected in multiple ways, and the book follows the productive and reproductive cycles of the project in order to describe and expand on the different anticipated and practiced meanings of the project's four word title.

About the editors

Kathrin Böhm is a founding member of Myvillages and the London-based art and architecture group Public Works, whose participatory and collaborative public realm and design works include Park Products for Serpentine Galleries, London and 1000 bags here and now for Whitechapel Gallery, London. Böhm has recently curated Trade Show, together with Gavin Wade, for Eastside Projects in Birmingham and RUrban in Paris and is a co-organiser of the trans-local Eco Nomadic School network. Böhm is running monthly Haystacks in London, a series of informal events about rural realities and links.

Miranda Pope is a writer, curator and researcher in the department of Art at Goldsmiths. She is developing a notion of the ecological that is understood as an on-going process of thinking and doing that exposes and questions interests of all entities within assemblages, along with the intertwined politics of doing this, and exploring the possibilities for new curatorial forms to emerge out of it.

978-90-76936-39-0

Stout / Kramer

120

12.4 x 18.6 cm

Hardcover

Translation and final editing: Leo Reijnen. Editor: Mirjam Beerman, Steven van Teeseling

This is a publication in a series of essays commissioned by the Mondriaan Fonds (former Netherlands Foundation for Visual Arts, Design and Architecture). 

For more information: Mondriaan Fonds

248 grms 

The magic word these days is 'creativity'. And not just for artists: managers and policymakers alike demand creativity. Even family therapists and mediators urge us to find more creative solutions. Nowadays, creativity is all about positive morality. We expect nothing but good from it. But what remains of the meaning of the word when just about everybody is using it to death? And where does this hunger for creativity come from? Isn't it instead a sign of a creeping loss of true creativity?

This essay primarily concerns itself with the social context of creativity. Pascal Gielen relates the story of the process of the social (re)creation of creativity by taking you on an eight-day journey.

The text is part of a series issued by the Mondriaan Fund to promote thinking about visual art and artisthood.

Pascal Gielen (1970) is director of the research center Arts in Society at the Groningen University where he is associate Professor sociology of art. Gielen leads also the research group and book series 'Arts in Society' (Fontys College for the Arts, Tilburg). He has written several books on contemporary art, cultural heritage and cultural politics.  In 2009 Gielen edited together with Paul De Bruyne the book Being an Artist in Post-Fordist Times, and he published his new monograph The Murmuring of the Artistic Multitude. Global Art, Memory and Post-Fordism. In 2011 De Bruyne en Gielen edited the book Community Art. The Politics of Trespassing and in January 2012 their book Teaching Art in the Neoliberal Realm. Realism versus Cynicism was launched. At the moment Gielen is composing the reader Institutional Attitudes. Instituting Art in a Flat World.
 

978-94-92852-05-2

Gabrielle Lai and Markus Wernli

216

20 x 26.5 cm / 7.87 x 10.43 inch

Paperback

English

Copy editor: Shannon Ross - Make No Bones Studio, Hong Kong

Release date: Spring/Summer 2018

ISSN 2589-7090 (print) ISSN 2589-7101 (online)

Published in cooperation with The Hong Kong Polytechnic University, Environmental & Interior Design, School of Design. Published with the support of The School of Design, The Hong Kong Polytechnic University and The Cubic Research Network.

Cubic Journal is published in conjunction with Cubic Society and the Cubic Research Network as an academic platform aimed at the dissemination of design related research. Operating from within The  Hong Kong Polytechnic University's School of Design, the platforms aims to draw together global scholars in order to generate, exchange and discuss contemporary questions within the pursuit of advancing knowledge through and within a number of design disciplines.

www.cubicjournal.org

978-94-92852-09-0

Gabrielle Lai and Markus Wernli

120

20 x 26.5 cm / 7.87 x 10.43 inch

Paperback

English

Copy editor: Shannon Ross - Make No Bones Studio, Hong Kong

Release date: Spring/Summer 2019

ISSN 2589-7090 (print) ISSN 2589-7101 (online)

Published in cooperation with The Hong Kong Polytechnic University, Environmental & Interior Design, School of Design. Published with the support of The School of Design, The Hong Kong Polytechnic University and The Cubic Research Network.

Cubic Journal is published in conjunction with Cubic Society and the Cubic Research Network as an academic platform aimed at the dissemination of design related research. Operating from within The  Hong Kong Polytechnic University's School of Design, the platforms aims to draw together global scholars in order to generate, exchange and discuss contemporary questions within the pursuit of advancing knowledge through and within a number of design disciplines.

www.cubicjournal.org

978-94-90322-61-8

Meagen Kerr

184

19 x 25.7 cm

Paperback

English

Copy editor: Heleen Schröder

Release date: Autumn/Winter 2015

Published in cooperation with Architecture Theory Chair (TU Delft) and Stichting Footprint: http://footprint.tudelft.nl/

For a subscription: Bruil & Van de Staaij

The canon of western contemporary architecture has overlooked everyday, 'salaried' architecture – overwhelming as it may have turned out to be in our built environment – praising instead the solo designer and his ground-breaking work. 

 Since World War I, the social role of the architect (in terms both of his or her place in social hierarchies and of his or her contribution for social betterment) seems to have been primarily tested, and largely consolidated, in 'departmental architecture'. Yet the work of county, city and ministerial architects, heads of department in welfare commissions, guilds and cooperatives, is seldom discussed as such: its specificity as the product of institutional initiatives and agents, as the outcome of negotiation between individual and collective agendas, remains little explored, even when authors celebrate the many public-designed projects that are part of the canon. On the other hand, commercially driven architecture and the business side of the profession are still anathema for many, despite being essential factors in the discipline's position in society.

Footprint 17 addresses the architectural production of those who played their part in inconspicuous offices and unexciting departments, and that contribute insights to discuss the place of the architecture of 'bread & butter' in architectural history studies and in the politics of architectural design and theory. 

This issue of Footprint explores intellectual frameworks, didactic practices, research methods and analytical instruments that project the disciplinary focus further than the work of the 'prime mover', discussing the relevance of 'salaried' architects and institutional agency in shaping the spatial and social practices of the everyday. 

With text contributions by: Ricardo Agarez, Nelson Mota (editors), Nick Beech, Amir Djalali, Andri Gerber, Ellen Rowley, Tim Gough, Elizabeth Keslacy.  A visual essay by João Paulo Martins, Sofia Diniz. And review articles by Karen Lisa Burns, Justine Clark, Jullie Willis; Tahl Kaminer; Javier Arpa.

Footprint is an academic journal dedicated to publishing architecture and urban research. Architecture and urbanism are the points of departure and the core interests of the journal. From this perspective, the journal encourages the study of architecture and the urban environment as a means of comprehending culture and society, and as a tool for relating them to shifting ideological doctrines and philosophical ideas. The journal promotes the creation and development – or revision - of conceptual frameworks and methods of inquiry. It is engaged in creating a body of critical and reflexive texts with a breadth and depth of thought which would enrich the architecture discipline and produce new knowledge, conceptual methodologies and original understandings.

978-94-90322-64-9

Meagan Kerr

144

19 x 25.7 cm

paperback

Release date: Spring/Summer 2016

English

Copy editor: Heleen Schröder

Published in cooperation with Architecture Theory Chair (TU Delft) and Stichting Footprint: http://footprint.tudelft.nl/ 

For a subscription: Bruil & Van de Staaij 

With contributions by

Patrick Healy, Andrej Radman (introduction), Stefan Koller, Lutz Robbers, Jolien Paeleman, Frances Hsu, Ross Lipton, Sarah K. Stanley, Rodrigo Rieiro Díaz, Stéphane Symons, Stephen Michael Witherford    

In Das Passagen-Werk Benjamin cites a letter from Marx to Ruge, 'the reform of consciousness consists solely in [...] the awakening of the world from its dream about itself.' This idea of awakening recurs in Benjamin's methodological considerations and his many metaphors during the final thirteen years of his life. Benjamin set himself the pedagogical task of awakening 'the image-making medium within us, raising it to a stereoscopic and dimensional seeing into the depths of historical shadows.' His ambition was to develop the art of citing without quotation marks, a concept intimately related to that of montage.

The importance of architectural theory for Benjamin is most evident in his last work. From his writings on Berlin childhood, his essay on Moscow and Naples, Benjamin's interest in urban topography can be seen to develop into a full analysis of the city, by developing a method which he refers to as physiognomic and in which, inspired by contemporary surrealist practise, the method of montage becomes critical for his showing how the 'now of recognition' in the image opens the historical to awareness, and constitutes the reality of history. He cites Giedion and sees his own work as engaged in a similar task: 'just as Giedion teaches us to read off the basic features of today's architecture in the buildings erected around 1850,' Benjamin writes, 'we in turn would recognise today's forms, in the life and in the apparently secondary lost forms of that epoch.' 

It was a matter of immediate concern for Benjamin to examine the secondary, the excluded. By a displacement of the angle of vision a positive element would emerge, something different from that previously signified. History is in the nuance, the dialectical contrast as revealed in Benjamin's Parisian studies of the expressive character of the earliest industrial architecture, machines, department stores and advertisements. Nevertheless, as is clear from his note of the comment from Max Raphael's Proudhon, Marx, Picasso, Benjamin reproaches Marx for not having advanced along this way in the full measure of the possibilities of historical materialism.

Footprint 18 investigates the following issues: what Benjamin understands by the 'constellation of awakening', how he conceptualises 'dialectical images', his deployment of montage, his refusal of a conception of either progress or decline, and his undertaking to show that the images belong not only to a particular time but attain legibility only at a particular time. Famously, according to Benjamin, image is that wherein what has been comes together in a flash with the now to form a constellation. With regard to the architectural theory Benjamin engaged directly with the tectonic tradition, especially the work of Bötticher. He posited the tectonic unconscious and the deployment of optical instruments as crucial for understanding the development which architecture carried from the luxus capitalist forms of commodity. In light of technical innovations in iron and glass, it expressed a form of projective dream work of the architectural around material realisations as products of the industrial revolution, with long consequences for the future. 

Footprint is an academic journal dedicated to publishing architecture and urban research. Architecture and urbanism are the points of departure and the core interests of the journal. From this perspective, the journal encourages the study of architecture and the urban environment as a means of comprehending culture and society, and as a tool for relating them to shifting ideological doctrines and philosophical ideas. The journal promotes the creation and development – or revision - of conceptual frameworks and methods of inquiry. It is engaged in creating a body of critical and reflexive texts with a breadth and depth of thought which would enrich the architecture discipline and produce new knowledge, conceptual methodologies and original understandings.