Douglasism book online order

[도서] Douglasism (lajka 8)

저자 킴킴 갤러리 | 출판사 워크룸 프레스

정가 : 17,000원 Published by workroom press Sep. 2015 Seoul

http://www.kyobobook.co.kr/product/detailViewKor.laf?ejkGb=KOR&mallGb=KOR&barcode=9788994207582&orderClick=LAG&Kc=

http://www.aladin.co.kr/shop/wproduct.aspx?ItemId=67219080

http://www.yes24.com/24/goods/20634255?scode=032&OzSrank=1

From the Bunker, Archive No. 2: Douglas Park’s Archive of London 1990s Art Ephemera

 

From the bunker archive No. 2
@ Barbican Bunker 

publication and project by Douglas Park with Arnaud Desjardin
Dec. 2018
London

https://www.facebook.com/photo.php?fbid=10215455621438585&set=a.1307227235645&type=3&theater

This second volume from the Bunker series is an edited selection of private view exhibition cards from 1990s London as extracted from the much larger collection of Douglas Park, artist and witness of the period.

• Publisher
  The Everyday Press
• City
  London, UK
• Year
  2019
• Pages
  200 p.
• Dimensions
  24 x 17 cm.
• Cover
  Paperback
• Binding
  Perfect Binding
• Process
  Laser Printed
• Color
  Color

https://www.printedmatter.org/catalog/52599/

Michael Dans – When the Water Clouded Over

When the Water Clouded Over is a renowned photography project and photo book by Belgian conceptual artist Michaël Dans. Over two years, he meticulously created and photographed floral still-life installations, ultimately using a darkroom process to let the decaying flowers fade and "come back to life" in striking new forms.

26.09.20 - 31.01.21

Musee de la photographie, Charleroi 

It all began with the photograph of a still life at his grandmother’s home ...
For more than two years, Michaël Dans created and also photographed floral installations from vases, fabrics or wallpapers rummaged or borrowed here and there with a methodology and a concern for detail and staging identical to those of a still-life painter.
And Nature regains its rights in the secrecy of his photo laboratory; with everything then coming back to life ... Flowers are sublimated, whether they are natural or not, with their buds barely open, in full bloom or wilted.

“Allegories of kitsch? Bad taste? Not so sure. Michaël Dans needed tenderness as much as acumen to accompany these old ladies to their final resting place. His sensitivity is reflected in his portrait of them, far removed from the pictures to be found in the catalogues of florists and garden centres, and he offers us armfuls of pictures like the glossy postcards people used to send in the old days, decorated with phrases in golden letters,” writes Xavier Canonne.

Some forty-five compositions will blossom on the walls of the Museum.

Michaël Dans graduated with a painting degree from the ESA Saint-Luc Art School in Liège and his work has been featured in an increasing number of solo and joint exhibitions. Just like the itinerant life he has led, living in turn in Liège, Amsterdam, Helsinki, Berlin, Antwerp ..., Michael Dans expresses himself with techniques as dif- ferent as installation, performance, sculpture, drawing or photograph. This diversity is also to be found in the subjects addressed (death, loneliness, eroticism, childhood, etc.) and the formats used: from the drawing to the giant Mikado including the throwing of seventeen precious stones in a meadow at the time of Kunst & Zwalm. From his beginnings, this eclecticism was an opportunity for him to get away from any type of categorisation and surf with ease through the codes of contemporary art. In this way, Michaël Dans always enrols his artistic proposition in a specific relationship with exhibition contexts (architectural, conceptual, etc.) so that it generates its own relevance. In a subtle and entertaining way, he takes advantage of the different work opportunities he is offered in order to build interventions in a constantly shifting perspective, distracting the onlooker with the art of diversion. On the borderline of objects and attitudes, he creates message-bearing works transmit- ted with the help of a cynical and critical humour on a background of melancholy, introspection and eroticism.

After his studies in the Rijksakademie in Amsterdam, Michael Dans notably exhibited at the Centre National d’Art et du Paysage de Vassivière (France), at the BPS22 in Charleroi, at L’Espace 251 Nord in Liège, at the Galerie Le Sous-sol in Paris, at the Galerie Aliceday in Brussels, at the Zachęta Gallery in Warsaw, at the Quartier 21 in Vienna, at the Wiels in Brussels, at the Virgil de Voldère Gallery in New York, at Le Lieu unique and at the Galeries Lafayette in Nantes, at the Galerie Nadja Vilenne in Liège.

https://museephoto.be/news/55/65/Micha%C3%ABl-Dans.-When-the-water-clouded-over/d,ExpositionsTemporaires-Gabarit-Article.html

publication

23x34 cm, 96 pages couleurs

Couverture cartonnée + embossage + jaquette en couleurs
Fr/En/Nl

Textes : Jean-Michel Botquin et Douglas Park.

décembre 2018

Jan. 2018
Antwerp

https://www.facebook.com/photo.php?fbid=10215562477429918&set=pcb.10215562478789952&type=3&theater
http://www.editionsducaid.com/produit/michael-dans-when-the-water-clouded-over/?fbclid=IwAR0XzxKVMjyd3Sn2D_x8WIFJf9VYWSae4b-yCpX3y222upxPxuAGtYpIyJs

Douglasism logbook 2013-2019 cover design

 

Sep. 2013

Sep. 2019

Seojong

Douglasism Book in Antwerp

 

https://www.instagram.com/p/B6bIpEdARlt/
Dec. 2019

A Parcel from Douglas Park

 

Aug. 2011
Paldang

Douglasism book @ ARTISTS PRINT 2016

ARTISTS PRINT 2016 @ BRASS - Centre Culturel de Forest, Brussels

Artists Print V was the 2016 iteration of the annual artists' book and micro-publishing fair held in Brussels at BRASS (Centre Culturel de Forest). Taking place in September 2016, the event brought together a curated selection of European artists, micro-publishers, and institutions to showcase printmaking, art books, and limited-edition multiples. 

Douglasism book; presented by Komplot

https://www.facebook.com/photo.php?fbid=10154655724255209&set=a.10153012964745209.1073741826.522495208&type=3&theater

Douglasism 더글러시즘

킴킴 갤러리 지음, 워크룸 디자인 | 워크룸 프레스, 1만 7000원
그레고리 마스와 김나영이 설립한 비영리 조직 킴킴 갤러리는 2013년 서울에서 열린 ‘더글러시즘 페스티벌’에 관한 기록을 바탕으로 영국 작가 더글러스 파크(DouglasPark)가 지난 20년간 펼쳐온 활동을 다양한 층위에서 살폈다. 비평가, 전시 기획자로 활동하는 더글러스 파크의 작업에 대해 읽다 보면 현재 런던 예술계를 한눈에 조망할 수 있을 것이다. 

http://mdesign.designhouse.co.kr/news/newbook_view/101?per_page=5&sch_txt=

더글라시즘 Douglasism BOOK

더글러시즘 Douglasism

킴킴 갤러리 지음, 워크룸 디자인 | 워크룸 프레스, 1만 7000원
그레고리 마스와 김나영이 설립한 비영리 조직 킴킴 갤러리는 2013년 서울에서 열린‘더글러시즘 페스티벌’에 관한 기록을 바탕으로 영국 작가 더글러스 파크(DouglasPark)가 지난 20년간 펼쳐온 활동을 다양한 층위에서 살폈다. 비평가, 전시 기획자로 활동하는 더글러스 파크의 작업에 대해 읽다 보면 현재 런던 예술계를 한눈에 조망할 수 있을 것이다. 

http://mdesign.designhouse.co.kr/news/newbook_view/101?per_page=5&sch_txt=

Douglas Park Greatest hits

https://www.facebook.com/photo.php?fbid=1141979245846955&set=p.1141979245846955&type=3&theater
Dec. 2015

Good Times (2012)

published by Komplot

Good Times & Nocturnal News is a nomadic newsprint art publication founded by artist Carl Palm in 2012, which has frequently collaborated with and been presented at the Brussels-based independent art collective and project space Komplot.

Issue #1 of the newsprint series was co-published by Carl Palm and Komplot in Brussels in 2012, with subsequent issues and related presentations hosted in its space.

Nov. 2015
Brussel

Douglasism Book Launch: seen by Martin Sexton & others

Strange preternatural events from Douglas Park and his book/cd exhibition 'Douglasism' this eve - first I see Rut Blees Luxemburg looking beautiful and exactly the same as she did 17 years ago when this photo was taken at the Foundry - as Douglas says of their relationship: 'a match made at swan vesta' then almost simultaneously a community refuse bin catches fire in the large estate as Douglas and I exit..Rut is nowhere to be seen - but not before I gaze both with fondness and longing at the book pages recording the event: 'The Gallery Has Been Completely Vandalised' from Douglas's particular performance, making the evening at the Alfred Camp Gallery in 2000, but then I see Bob AndRoberta Smith pulling the shutters down as if for a lock-in and I am excitedly thinking of re-run..but I am rewarded by the bin fire at least..then finally Douglas reads on the street only for Paul Sakoilsky to have both his drinks inexplicably auto-destruct in front of us..'must be psychic forces' he mutters..special evening with that old Douglas Park magic.

Oct. 2015
London
photos via facebook by Martin Sexton, Paul Sakolisky, Calum F. Kerr & Keef Winter
https://www.facebook.com/photo.php?fbid=10207989047748115&set=pcb.10207989050548185&type=3&theater
https://www.facebook.com/photo.php?fbid=10154073573731165&set=a.10153030317156165.1073741851.725701164&type=3&theater
https://www.facebook.com/photo.php?fbid=10153185982131463&set=p.10153185982131463&type=3&theater
https://www.facebook.com/photo.php?fbid=776594762467610&set=a.315105718616519.1073741825.100003512793919&type=3&theater

Life Live - The French Perspective (1997)

by Mick Finch

Contemporary Visual Art Magazine (N°14), 1997.

The ambiguity of all 'revolutionary art' lies in the fact that the revolutionary aspect of any particular spectacle is always contradicted and offset by the reactionary element present in all spectacles. Guy Debord Paris has recently hosted two major shows surveying aspects of British art.A Century of British Sculpture at the Jeu de Paume last summer traced the history of an English-based avant-garde, placed under the unsteady umbrella of sculpture. Life/Live attempted to survey the most recent forms of so-called radical artistic practice to have emerged in Britain since the late-eighties. Central to the exhibition was a review of the artist-run spaces that have proliferated in London and other British cities over the last decade. But on another level, the exhibition singled out the work of particular artists who, having cut their teeth exhibiting in independent spaces, could now be described as mainstream. An older generation of artists including John Latham, David Medalla and Gustav Metzger were also represented, bringing to the selection a historical perspective and sense of tradition of practice. The implied tradition was broadly conceptual, and the majority of the work fell into the categories of installation, photo-based work, documents, video and film. The exhibition's title, Life/Live, implies that the broad character of work shown is a type of realism. The catalogue reinforces this view, describing the 'abject' feeling that runs through the selection as an engagement with social, ephemeral and everyday issues. Much of the work consciously revisits 'radical' aspects of a historical avant-garde - especially that of the 1960s and 70s. Suzanne Pagé highlights one example of this in her preface to the catalogue, where she describes a Situationalist spirit as being at work within the British scene today. This observation is in many ways true. A preoccupation with cities and spectacle (the English equivalent to spectacle in this case being mass entertainment) was shared by the Situationalists, who were active between 1968 and 1972. What is not clear is how much the artists selected for Life/Live really share with Situationalist aims. That group was a highly politicised movement which described the phase of capitalism emerging in the 1960s in terms of a globalisation of consumer culture where spectacle or entertainment would be the mechanism to produce a public necessary to sustain consumerism. The Situationalists were in essence political activists who tried to act in defiance of the 'spectacularisation' of society because they saw that unless this mechanism of consumerism was opposed, 'revolution' was not viable. Guy Debord's writings were at the heart of Situationalist thinking and his book The Society of the Spectacle has had much influence on a younger generation of artists in the last few years. Similarities between Life/Live and the Situationalists may, however, be only skin-deep. The quote of Debord's which prefaces this article contains the dilemma that contemporary artists face if they wish to make 'radical' art. The predominance of large-scale video, installation and photography in the exhibition directly addressed forms of spectacle. French critics have been quick to pinpoint the contradiction which lies unresolved in the Life/Liveartists' use of these media. Reviewing Life/Live for Art Press, Eric Troncy quoted an extract from the exhibition catalogue by Gregor Muir. Muir's observation epitomises a largely French critical perspective which has not exported to British shores: 'We are talking about a generation traumatised by the visual sensationalism of the entertainment industry. What I'm sensing of late is that artists have seized upon video as a means of forging a working relationship with the mass-media. This is borne out in the recent trend for video projections on a cinematic scale which acknowledge all the seductive qualities of cinema whilst revealing how certain artists are seduced by a moving image - that big - of their own making. More than anything, artists are seduced by the spectacle of video projection, often without questioning the fundamental principles of spectacles in terms of heavy-handed posturing.' The underlying question in Muir's observation is what, if any, is the radical nature of an art form which uses the apparatus of spectacle? Political radicalism can be positioned on the left or right, but Debord states that anyvanguard using spectacular forms may find that its best intentions are 'offset by the reactionary element present in all spectacles'. This reactionary element is most certainly present in the British scene shown byLife/Live - the apolitical or anarchic gloss of the scene does little to conceal this fact. This reactionary element emerges as a product of the very public this art addresses The 'Brit Pack' have become a media phenomenon which is quite unprecedented in the British scene (with perhaps the exception of the 'Tate Bricks' scandal many years back). What has changed drastically is that many Brit Pack artists have become media personalities like pop stars. Few readers of tabloid papers would have linked Carl Andre's name to the Tate Bricks, whereas Damien Hirst has become synonymous with sharks and divided cows. The power of Saatchi in this relationship is enormous. A Saatchi purchase legitimises work and types of artistic practice, acting as a bridge into museum spaces. it is also significant that the 'abject', or 'grunge', aesthetic at work in Brit Pack art has for many years been prevalent in advertising images. Embedded in fashion photography, pop videos and advertising is a grunge attitude which another generation would cynically describe as the aestheticisation of alienation - 'let's feel good about being down' (the blues were an even older phase of the same process). Art is mirroring marketing and vice-versa. In France a 'public' of this type does not exist. The French simply do not have a tabloid media which shocks its readership by sensationalising what is passing for art in 'high culture'. Perhaps weary after more than one hundred and fifty years of épater les bourgeois, the French simply accept that avant-gardism seeks shock effects. The lack of a highly 'mediatised' visual art scene in France is probably due to the fact that there is just no audience for it. The lack of a powerful advertising mogul/art collector in Paris is also noticeable. So why are the French, institutionally, spending so much time and money surveying the current British scene? One cynical explanation refers to the election victory of the right wing RPR party under Jacques Chirac, who is keen to transform the French economy by means similar to those of the Thatcherite agenda of the 1980s. So far his attempts to do this have met with considerable public opposition, but nevertheless he has been cutting funding in various public-sector fields: the arts in France have been a prime and easy target. There is a feeling in France that the massive state funding of the arts does not parallel the success and the quality of work made by its artists. One French artist I met at the Life/Live opening simply said that he felt the exhibition was a signal to the French artistic community, showing how it should operate under free market conditions. if public money dries up, French artists will have to take their chances. The privatisation of French culture will perhaps prompt its artists and administrators to examine the British art scene as a model of how the artist functions as entrepreneur. This reveals a view of the contradiction bound up within the 'Brit Pack' avant-gardist posture which Debord identified long ago. Without its media gloss and glamour, the Brit Pack appears to some Gallic audiences as a group of cultural entrepreneurs running independent spaces which mirror the institutional structure of the 'official' art world. To be an 'outsider' and in the vanguard is a tactical position which always has its eye on insider structures. Another French artist I spoke to, who practises as an installation artist, lamented the British scene's lack of any real intellectual, critical, theoretical or political ground. He gave me a critical essay, by a British group called Poster Art, entitled 'They're All Going Down'. The essay gives an account of the Brit Pack as being simply the products of a right-wing, free-marketeering enterprise culture. They indicate one of the major problems of British criticism when it deals with the contemporary scene: 'There is almost no criticism. Evening Standard art critic Brian Sewell is held up as a kind of ultimate old fart bogeyman, tainting any negative criticism with the same old fart's brush. it is only recently that the media has come to grips with contemporary art at all, so there is a total lack of historical context. The writers who are scared of becoming Brian Sewell retreat into fawning description.' Negative criticism of the Brit Pack on its home soil tends to be as reactionary as the art it is rallying against. Sewell is the extreme of this. Since the mid-eighties, after the School of London hype, there has been inertia. Critics tends to challenge the contemporary scene on the grounds that it is 'non-art', asserting in their defence the 'true' art values which are invariably species of humanistic painting and sculpture. The political gulf between the Brit Pack and the Fogeys seems about as wide as that between Thatcher, who was 'not for turning', and Major in his 'back to basics' phase. There is, however, a body of criticism, theory and history that is not being mobilised in the face of the Brit Pack phenomenon. The space available in this article does not permit an extensive exploration of this, but it is worth mentioning some other non-Fogey examples of what the negative end of the polemical response to Brit Pack art might be. One only has to examine the discussions in the 1960s and 70s for support. Art and Language practised within the context of the international conceptual avant-garde, but came to question that practice - mainly as it seemed to serve the very system that it set out to oppose. This started to become clear in the late 1960s - particularly after the exhibition When Attitudes Become Form, which in 1969 became known as the seminal survey exhibition of conceptualist art. Philip Morris sponsored the event, and a statement by the president of the company was printed in the ICA catalogue. Although it is a short text, it still makes interesting reading and proves that, even during the heady days of the sixties, corporate capitalism was quick to identify itself with avant-garde practice. Progressive aspects in the arts could, by association, benefit the progressive ideology of business interests: 'The works assembled for this exhibit have been grouped together under the heading new art. We at Philip Morris feel it is appropriate that we participate in bringing these works to the attention of the public, for there is a key element in this new art which has its counterpart in the business world. That element is innovation - without which it would be impossible for progress to be made in any segment of society.' For this reason groups like Art and Language became resolutely anti-avant-garde in their position, and more and more absorbed in a Marxist-based critical framework. interestingly, this suspicion of an avant-garde stance involves a deep but critical reading of Clement Greenberg's writings, particularly his essay 'Avant-Garde and Kitsch' of 1939. The art and social historian T. J. Clark, in an essay titled 'Clement Greenberg's Theory of Art', discusses kitsch in a way which seems to sum up the mechanisms powering Brit Pack art today: 'Kitsch is the sign of a bourgeoisie contriving to lose its identity ... It is an art and a culture of instant assimilation, of abject reconciliation to the everyday, of avoidance of difficulty, pretence at indifference, equality before the image of capital.' Michael Finch is a British artist working in France. Life/Live was at the Musée d'Art Moderne de la Ville de Paris, October 1996 - January 1997, and continues at the Centro Cultural de Belém, Lisbon, until 21 April 1997 http://www.mickfinch.com/life_live.htm The Printed Catalog: Documented layouts, pages, and distinct multi-volume book covers published to accompany the French and Portuguese iterations of the show.