Like origami gone wrong
$34.00
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Résumé:
Simon Dybbroe M0ller's first monograph folds Modernist art history into something new. His interest stems in part from personal nostalgia and in part from intellectual fascination; he once told an interviewer, "You and I grew up in a society where a certain kind of provincial Modernism has had a major influence on how schools are constructed and everything. Furthermore,(...)
Like origami gone wrong
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$34.00
(disponible sur commande)
Résumé:
Simon Dybbroe M0ller's first monograph folds Modernist art history into something new. His interest stems in part from personal nostalgia and in part from intellectual fascination; he once told an interviewer, "You and I grew up in a society where a certain kind of provincial Modernism has had a major influence on how schools are constructed and everything. Furthermore, Modernism represents--and I guess it is almost a cliche to say--the last period of utopia, and a belief in actually producing truths." One installation, a darkened room with scattered light sources and projection screens, recalls both a party and the fusty setting of an academic conference; in another, a portrait of Le Corbusier emerges from a stain in the ceiling. Frieze magazine has called Moller's celebration of both the past and the uninterrupted march of artistic progress "a welcome alternative to thinking about art history as a daunting public library with strict rules for readers."
Kompendium
$37.50
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Résumé:
Kompendium is an artist book accompanying Danish performance and installation artist Simon Dybbroe Møller’s first comprehensive solo exhibition at the Frankfurter Kunstverein and the Kunstverein Hannover. His reflection on Conceptual art’s systematic processes and forms uses apparently rational processes to achieve quietly mystifying results. With his vivid taste for wit(...)
Kompendium
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$37.50
(disponible sur commande)
Résumé:
Kompendium is an artist book accompanying Danish performance and installation artist Simon Dybbroe Møller’s first comprehensive solo exhibition at the Frankfurter Kunstverein and the Kunstverein Hannover. His reflection on Conceptual art’s systematic processes and forms uses apparently rational processes to achieve quietly mystifying results. With his vivid taste for wit and formal exactitude, the artist sets all manner of references, quotations and re-creations in an unfamiliar setting. The first part contains texts by nine different authors which illuminate the main ideas of individual groups of work. Each contribution is reproduced as a facsimile from a previous book. The second part documents most of the artist’s works to date.