Jeroen de Rijke and Willem de Rooij, collaborators since 1994, had just represented the Netherlands at the 2005 Venice Biennale and opened their first New York solo show at Friedrich Petzel Gallery when de Rijke died traveling in Africa. This representative sampling of films, photographs and bouquets documents their time together.

Jeroen de Rijke & Willem de Rooij

Arts & Photography

Verwoert, Jan

Lütticken, Sven

Ruf, Beatrix

Bussel, David

Ydema, Onno

History & Criticism

JRP|Ringier/Kunsthalle Zurich

Andrea Fraser (German Edition)

Controversial, provocative and poignantly humorous, American artist Andrea Fraser (born 1965) is one of the most influential and pioneering figures of her generation and has been captivating a devoted audience for more than 30 years. She employs a wide range of media, including prints, photographs, installations and performances as well as texts and videos, time and again reformulating the same fundamental questions: what do we want from art, how do we view it and how does the art market distribute it? This richly illustrated catalogue presents a full overview of the artist's career for the first time. It assembles the early Four Posters (1984) as well as her famous performances such as Museum Highlights (1989), Inaugural Speech (1997) and Official Welcome (2001/03), linking them with her most recent videos.

Andrea Fraser

Breitwieser, Sabine

Jackson, Shannon

Individual Artists

Hatje Cantz

The object as obstacle or obstruction, and of the artwork as an aesthetic and political objection. 
Forms of Abstraction engages with abstraction not as a formal option in art, or as an airy theoretical speculation, but as an operational force that has redesigned our world, and continues to do so. What Alfred Sohn-Rethel has called the “real abstraction” of value-form molds the world, and does so in conjunction with the real abstractions of the law and of technoscience.\nIn this first volume, Objections, Sven Lütticken takes his cue from the Latin root of object, obiectum—which refers to something put before the subject, something thrown in one's way—pursuing this sense of the object as obstacle or obstruction, and of the artwork as an aesthetic and political objection. Lütticken sees artists engaging with materiality and value, with subatomic particles and radiation as well as with the objectification of human and nonhuman organisms. Along the way, we encounter theoretical objects such as the fetish, the plaster cast, the patented bacteria, the buried radioactive container, and the contemporary artwork itself. Lütticken analyzes contemporary art as a set of aesthetic practices revolving around problematic and questionable objects that can act as productive objections. 
Among the artists discussed are Agency, Kader Attia, Stanley Brouwn, Antje Ehmann and Harun Farocki, Andrea Fraser, Hans Haacke, Carsten Höller and Rosemarie Trockel, Natascha Sadr Haghighian, Sean Snyder, and Jonas Staal.

Objections, Volume 1: Forms of Abstraction

Sternberg Press

In recent years, the theory of art's autonomy appears to have been confined to the annals of Modernism.If contemporary history, political interventions and critiques of Eurocentrism have shown us anything, it is that art and its institutions are thoroughly socially determined, that art no longer operates in a separate or protects sphere of its own.Researched and authored by Sven Lütticken, an art historian and critic who teaches at Vrije Universiteit Amsterdam, this ambitious study seeks to test such assumptions, arguing that autonomy, far from a romantic naiveté, retains its conceptual and political purchase.Bringing together a wide range of thinkers - from Theodor W. Adorno to Aimé Césaire, Friedrich Schiller to Andrea Fraser, Peter Bürger to Elizabeth Povinelli - and covering a broad set of themes - from German Idealism to institutional history, media theory to political sovereignty - this critical reader foregrounds autonomy as something dynamic and shifting, something to be critically struggled and fought over lest it be relinquished.Art and Autonomy offers an essential theoretical introduction to the field while leading the debates in new directions.

Art and Autonomy: A Critical Reader

Walther Konig

These days, the term “reenactment” usually refers to live reconstructions of historic events, often of a military nature, performed by hobbyists. Civil War reenactments are the most popular in the United States, while European enthusiasts most often engage in recreations from the Napoleonic era. Visual art has its own versions. Recent years have brought many reenactments of historic performances from the 1960s and 1970s, works which otherwise would exist only in photos, videos, and text descriptions. But what exactly is being reenacted, and what is the effect of the representation? What meaning is resurrected out of this “doubling”? In the exhibition Life, Once More, contemporary works and texts by Mike Bidlo, Bik Van der Pol, Rod Dickinson, Omer Fast, Andrea Fraser, Robert Longo, Eran Schaerf, Catherine Sullivan and Barbara Visser reflect on these timely (and timeless) questions.

Life, Once More: Forms Of Reenactment In Contemporary Art (Performance Art)

Phelan, Peggy

Allen,Jennifer

Schaerf, Eran

Witte de With Publishers

Since 2004, Open has conducted an interdisciplinary investigation into the changing conditions of public space, fostering new ideas about the public sphere and focusing on the impact of current processes of privatization, mediatization and globalization on society and cultural production. This volume collects key texts from Open, published between 2004 and 2012.

Open! Key Texts, 2004-2012: Art, Culture & the Public Domain

Groys, Boris

Ernst, Wolfgang

Holmes, Brian

Architecture

nai010 publishers

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