Art history

An augmented reissue of the guide to the Tiskiwin museum in Marrakech, created by collector and anthropologist Bert Flint following his various travels through Transsaharian Africa.

An analysis of four museums by architectural historian Orietta Lanzarini, built between the 1940s and 1960s, and set up by four of the most groundbreaking Italian architects of the 20th century.

A journey of invention and experimentation through more than 200 pieces by international artists, observing the diversity not only of forms and decorations, but also of manufacturing processes of ceramic.

Tristan Tzara (1896-1963) is the poet through whom Dada arrived. In Zurich, he animated the Cabaret Voltaire with Hugo Ball; in Paris, he then inspired some surrealists in the making. If he was a great lover of Villon and Rabelais, his poetry is as iconoclastic as the music of Nurse With Wound, who composed for this edition of Minuits pour géants an unpublished piece lasting about ten minutes: On the Edge of the Outside.

Can the modern uses of prehistory shed new light on the modern experience of time and, thus, the art of this period?

This publication devoted to Otto Dix's print works (woodcuts, etchings, lithographs) showcases a collection from the Zeppelin Museum Friedrichshafen, Germany. A large iconographic thematic section and a series of essays revisit Otto Dix's favourite themes—the nude, the portrait, the city, religion and war—symptomatic of his desire to portray man holistically, from birth to death, as a creature of flesh, palpitations and blood.

Following the opening up of Japan to the West in the 1850s, artists, designers and makers across Europe became gripped by a new fashion for “Japonism”. The catalogue of the Louvre Abu-Dhabi exhibition focuses on the pioneering group of Parisian artists Les Nabis, their fascination for Japanese prints, and the importance of this cross-cultural influence in the development of the decorative arts.

Following the opening up of Japan to the West in the 1850s, artists, designers and makers across Europe became gripped by a new fashion for “Japonism”. The catalogue of the Louvre Abu-Dhabi exhibition focuses on the pioneering group of Parisian artists Les Nabis, their fascination for Japanese prints, and the importance of this cross-cultural influence in the development of the decorative arts.

American critic Isabelle Graw conducts an innovative genealogical study on the success of painting as a medium. Keeping a close eye on painting's fourteenth century theoretical foundations, Graw analyses the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers. It also includes conversations with artists who confront their vision with that of the author.

An historical account of walking as an artistic practice inside Surrealism, the Situationist International, and Fluxus.

In his “Book” George Brecht describes the specific nature of each single page, in a gesture that renders the printed matter a tautological object.

A comparative history of the ruins from the ancient East to the modern West.

Artists' book history.

Avant-garde in Italy between 1968 and 1976.

Experimental poetry, historical avant-garde, contemporary music, dance, visual arts, intermedia.

A previously unpublished text by Gilles Deleuze on Francis Bacon, with a set of contemporary readings of his Deleuze's writings on art, by philosophers and theoreticians of the various disciplines addressed (literature, cinema, music, art history...).

Nonprofit collective organizations in the 1960s-1970s.

A text by Christof Migone on a history of sound art and its relation to performance.

A collection of texts, most unpublished in French.

A collection of mostly unpublished essays, notes and letters which shed a new light on Warburg's last studies.

A sourcebook on serial publications.

The "Mnemosyne" of sexual identity.

These Ruins You See shifts between politics, history, heritage, and identity in an attempt to find, in the present, the vestiges of archaeological practice in Mexico.

A collection of conferences for an exibition.

The first critical edition treating a fundamental text by one of the principle actors of Fluxus.

Richard Huelsenbeck's En avant dada is his first proclamation of Dada in Berlin.

The fourth and last poem by Kippenberger, written several days before his succombed to illness. A short letter of adieu, with two portraits of the artist by Elfie Semotan.

Reproduction of the artist's book published in 1975.

A study of German Renaissance painters and the social movements of the time.

“Reading” of the famous Artemisia Gentileschi (1593-1633) painting Judith et Holopherne by contemporary artists(Buren, Kosuth, Paolini, Sonneman, Twombly...); texts by Roland Barthes, Eva Menzio and Léa Lublin.

Hartung's early watercolor works on paper (33 tipped in full page color illustrations, under boxset).

An essay on the birth of artistic manifestos in the 19th century, from Jacques Louis David to Gustave Courbet.

A pioneering study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called "monism"—the concept of a unity of matter and spirit—emerged and became increasingly popular among intellectuals, artists and scientists.

Eleven years after the publication of the first volume of Feminine Futures in 2011, this sequel explores the dance history of abstraction in the feminine, during the first half of the 20th century and continuations today, unfolding new research perspectives with a new body of rare or unpublished original photographs.

Drawing on a material, cultural and social history of art, Hugo Daniel proposes to understand the recognition and redefinition of drawing by the avant-garde in the 1950s and 1960s, between the questioning of artists, the evolution of critics and the projects of gallery owners and curators, to show how drawing is understood as a complex reality, in act.