Art & medias / information / communication / media studies

First monograph.

A collection of influential essays by Boris Groys.

First monograph, including an essay by Michael Newman as well as Price's own critical take on his practice.

An exploration of the artist's use of language and images as a means of representation that further the reach of the real (first of a series engaging with publications as a primary medium of practice, enabling artists to explore the inherent constraints and possibilities of the printed document.

A children's book by Philippe Parreno, illustrated by Johan Olander.

A giant zap through Warhol's television universe; a journey through the artist's obsessions, his fascinations, his loves, his surprises and fears.

First monograph.

A reconstruction of the book project from the artist's archives.

Exhibition catalogue around art and low resolution in new technologies.

The art of advertising.

More than 2000 illustrations chosen from newspapers: the most complete compilation to date of Peter Piller's collection of found images.

What it means to be «à la mode» today.

Comprehensive monograph following the development of Alfredo Jaar's work, with texts by Georges Didi-Huberman, Jacques Rancière...

Baldessari's cinema works on DVD.

The first monograph devoted to these two young American artists.

A large format for this very 60's issue of the digest of magazines, based on the Jakob Bolotin archives.

Documentation of the O-ist religion created by Shaw.

A project by the Swiss artist for his exhibition at Pasqu'Art in Bienne.

The book constitues the first « exhibition » of the drawings by the artist.

Leporello.

Artist's book: a series of collected photographs, derived from advertisements, referring to the father figure.

Always There offers a comprehensive survey of American artist Julia Scher's work. The artist's installations and performances have always featured a complex relation to techno-social control, demonstrating our complicity in the proliferating technologies used to surveil both our physical and virtual identities.

A sad and violent issue, coming after September 11.

Foreword The Rodin Gallery has benn the site of an outstanding series of exhibitions featuring a wide spectrum of contemporary artists and including works such as The Gates of Hell and The Burghers of Calis by modern sculpture's seminal artist and master, Auguste Rodin. Thus it gives us great pleasure to develop for the first time a collaborative work with Le consortium, a leading contemporary art center in France on the occasion of the presentation of Wang Du's Disposable Reality. Wang Du, who was trained as sculptor in China within an academic tradition, works with images taken as readymade from newspapers, magazines and advertisements and transforms these two dimensional media images into three dimensional painted sculptural works with his own masterly skill. Through the information conveyed by articles on politics, economics, society, sports, leisure and fashion the artist expresses his feeling, often in a pointed, satirical manner, about the ordinary and our social reality. In this exhibition I believe there is special meaning in seeing the direct confrontation and dialogue between the works of Rodin, which deal with human emotions and those of Wang Du, which deal with contemporary issues in our daily life with sculptures as a common denominator. The vocabularies of contemporary art have expanded so much that somtimes we have a tendency to consider painting and sculpture to be outmoded media fot artistic expression. However, it is high time to demonstrate that it is not the medium which matters, but how it is used. Ra Hee Hong Lee Director, Samsung Museum of Modern Art

An anthology of Parreno's writings.

Catalogue accompanying Jim Shaw's first retrospective.

Invited by Marie de Brugerolle, a group of artists look at the work of John Baldessari.

A selection of René Berger's lectures and the proceedings of a symposium he had organized around art, technology and communication.

This first comprehensive survey of Joseph Kosuth's work with public media centers on his pioneering project The Second Investigation (1968–74).

The first French translation of Vivian Sobchack's work, Le corps du film – Une phénoménologie de l'expérience filmique offers a new perspective to the phenomenological tradition through an interrogation of our cinematographic experience and, more generally, of our relationship to screens.