Kama Sutra

Produktbeschreibung

second edition.

Produktbeschreibung

FOOTNOTES TO ONE'S OWN PRODUCTION --- In Liner Notes we introduce a number of books produced in recent years by book designers who had studied at the Leipzig Academy of Visual Arts. However we weren't attempting to identify commonalities between these designers or the foundations of a 'school', but rather the very different approaches and attitudes which are evident in their work. However, the definition 'in their work' is rather misleading, because two of the editors, Markus Dreßen and Lina Grumm, had themselves studied book art and graphic design at the Academy of Visual Arts Leipzig while the other two, Anne König and Jan Wenzel, were involved in several of the publications as authors. Thus Liner Notes is also about our own books and the communicative networks in and around the Academy of Visual Arts in which we participate ourselves. ALIENATING EFFECTS --- How to talk about your own work? What would be an appropriate mode to rigorously avoid the obtrusive, marketing-like appearance all too prevalent in many self-presentations? Which aesthetic attitude would allow you to observe yourself from a playful distance? In Bertolt Brecht's 'Lehrstücken' [Learning Plays], especially in the Messingkauf Dialogues [Buying Brass] which spell out his theory of drama, we discovered performative models which could make our own positions and those of others visible. We liked Brecht's experimental setting which allegorised everyday speech and behaviour. We liked this gestural form of contradiction and affirmation, of exposure and concealment, of simplification and completion, because it allows the portrayal of a highly complex self-concept. This book is published as an english text supplement to »Liner Notes. Gespräche über das Büchermachen, Leipzig z.B., Spector Books 2009.

Produktbeschreibung

Judith Raum even running -- The publication both documents Judith Raum's solo-shows at uqbar, Berlin and The Return, Dublin and translates the lecture performance harmless entrepreneurs (2011), which was shown at both locations, into a book format. The works presented in the exhibitions deal with modes of production and material culture within German economic imperialism in the Ottoman Empire during the early 20th century. They reveal moments of improvisation and makeshift solutions within the construction of the Baghdad Railway, a continental route of transport, which was supposed to make the resources and markets of Anatolia accessible for a variety of German businesses. The publication contains the complete lecture performance script, historical correspondences from archives in Germany and Turkey documenting the attempt of a technical and entrepreneurial instrumentalization of material and landscape carried out under the leadership of Deutsche Bank, photographic archival material as well as essays by Suhail Malik on Raum's work revealing the interdependence between early forms of globalized trade and modern international-financial-statehood, and a reflection by Jonathan Carroll on the precariousness of form in Raum's installations. -- November 2011, German/English 21 x 29,7 cm, 72 pages, color, softcover - Design: HIT - Published by Verlag der Universität der Künste Berlin - ISBN 978-3-89462-208-4

Produktbeschreibung

Was genau suchen Leute an Ferienorten, wo ihr Erspartes für den Jahresurlaub draufgeht? Was wollen sie dort? Es könnte um angenehme Gefühle gehen, außergewöhnliche Sensationen, zweckfreies Handeln, die Entbindung von Pflicht und Unterordnung, das Erleben von Freiheit oder dem, was dafür ausgegeben wird. Es ist möglich, einen verrückten Hut zu erwerben. Ein erfolgreich erworbener verrückter Hut ist in Blackpool, England, eine Exzentrizität, mit der man nicht allein dasteht. Es ist der außerordentlichste Hut, einer, den niemand sich vorher hätte ausdenken können, und doch tragen ihn in dem Augenblick, wo jemand ihn zu seinem ganz besonderen verrückten Hut erklärt, bereits alle. Niemand kann den genauen Zeitpunkt benennen, in dem der beliebige verrückte Hut zu der Mode geworden ist, als welche ihn jetzt alle tragen. Das wäre ein Fall für Mass-Observation. Letztes Jahr war der verrückte Hut eine mannsgroße Krabbe aus Plüsch, die man sich auf den Rücken schnallte, genauer: die sich am Samstagabend alle auf ihre Rücken schnallten. Dieses Jahr ist es ein orangefarbener Kegel aus Stoff mit weißem Querstreifen, wie jene Plastikhüte, mit denen man Unfallstellen markiert. Also Hut und Hinweiszeichen zugleich. Seht her: ein Hut! Ausschnitt aus Katha Schultes: "These delight to stand and stare" - Mass-Observation in Blackpool, Lancashire Der Essay ist Teil dieser Publikation.