Die Publikation zeigt, wie in detektivischer Kleinarbeit das scheinbar unlösbare Rätsel kurz vor seiner Lösung steht. Sie gibt ausserdem einen einmaligen Einblick in das Leben einer einfachen Person des 19. Jahrhunderts und beschreibt den Alltag von Handwerksgesellen, die harten Arbeitsbedingungen – aber auch Freizeit und Vergnügen. 

ca. 220 Seiten, 120 Farbabbildungen,

Klappenbroschur

17 x 24 cm

CHF 39.–/ € 26,–

ISBN 978-3-85616-507-9

erscheint Oktober 2010

The Ronald McDonald of Revolution reproduced  by a photograph taken by Alberto Korda on March 5, 1960 at the La Coubre memorial service.

Einerseits reflektieren sie nicht selten gegenwärtige Machtverhältnisse und versuchen sie ästhetisch zu untergraben, andererseits affirmieren sie diese bisweilen unreflektiert und reproduzieren sie somit.

Diese Zeichen der Zeit dialektisch zu deuten, also im Widerspruch und in seiner Widersprüchlichkeit zu denken, ist eine Grundvoraussetzung dafür, dass Street Art auch weiterhin kritisch und interventionistisch wirken kann.

RUE en KIT ist eime Sammlung von Strassenkust zwischen Bangkok und Buenos Aires.

Mit Arbeiten von:

FKDL

Mosko & Associetes

Jef Aerosol

Artist Ouvrier

Miss.Tic

Speedy Graphito

Nemo

Blek le rat

C215

OBEY

Mr.Brainwash

Jana & js 

Ludo

MIMI the Clown 

Titi from Paris

PMP aka BLeep

Bs. As. Stncl

Chu

Gualicho

Pum Pum

RUN DONT WALK

Sonni

Vomito Attack

und weitere ....

ISBN: 978-3-85616-486-7

96 Seiten,

21 x 28 cm,

130 Farbabbildungen,

broschiert

CHF 29.00 / € 19.00

Order @ CMV

Der Katalog zeigt Werke von fünfundzwanzig Künstlern und Künstlerinnen aus der Schweiz, aus Deutschland, den USA, der Türkei und Holland, die im Rahmen der Werkschau ‹LICHT FELD› präsentiert werden. Die unabhängige Ausstellungsserie zeigt im Jahr 2009 Arbeiten zum Thema Finanzkrise sowie politisch motivierte Werke.

Künstlerliste:

Carlo Aloe - Basel

Alexander Bagrat - Moskau / Monte Carlo

Katharina Berthold

Andreas Blank

Maurice Calanca - Basel

Wayne Coe - NYC

Peter Dauphin genannt Muth - Nürnberg

Marc Fasnacht - Basel

Pawel Ferus - Basel

Fredy Hadorn - Basel

Tarek Abu Hageb - Basel

Terrenceo Hammond - NYC

Alexis Hubshman - NYC

Daniel Karrer - Basel

Sandra Kunz - Basel

Enrico Luisoni - Muttenz

MARCK - Zürich

Luigi a Marca - Roveredo / Zürich

Katrin Zuzáková - Roveredo / Zürich

Barbara Meier - Basel

Hubert Kretzschmar - NYC

Markus Schweizer - Basel

Kathrin Siegrist - Basel

Daniel Spehr - Basel

Damla Tamer - Istanbul

Billi Thanner - Wien

Peter Philippe Weiss - Basel

All over the world, the street has become a public art gallery of visual icons, each city with permanent collections and temporary exhibits, each country with its own much-loved identity.

Cuba has a unique place in these international street galleries. 

Its colonial past and its Revolution, invoked everywhere in utopian images, have created something vibrantly distinct. Beyond the ideology, this is the venue to enjoy the nostalgia of the chrome trim and high tail fins of 1950s automobiles, the locale for Cohiba cigars, pre-Revolution Advertisingsigns, Crystal and Bucanero beer, the ever-popular Bacardi and all the excitement of the Buena Vista Social Club.

The visual street language of Cuba has been dominated by government probaganda since the Popular Revolution of 1959.

Hand-painted revolutionary images are a recurrent motif on the island`s billboards and murals.

In the 1960s, Che Guevara achieved iconic status and his image rapidly came to symbolize populist revolutionary politics and culture.

It remains equally popular today, both on government probaganda and tourist souvenirs.

Over four centuries preceding the Revolution, Spanish colonialism, Roman Catholicism, the African slave trade and American capitalism have established an enduring influence on Cuban culture, and its contemporary street imagery reflects this heritage.

Though officially secular, Cuba has two principal faiths, Roman Catholicism and Santeria, which are both undergoing a renaissance. 

Catholic imagery is evident on Cuba's Spanish colonial churches, shrines and in its cemeteries. 

Santeria, the 'rule of saints', is a fusion of Yoruba tribal beliefs and Catholicism, resulting in vibrant imagery interwoven by African slaves and their descendants.

Fifties and sixties design proliferates in Havana. 

Classic American cars cruise past 1950s hotels nostalgically evoking an era of pre-Revolution tourism and commerce. 

Original fifties signs and wall paintings fade away in all corners of Cuba. 

State and public imagery is often rendered in 1960s psychedelic and op art styles, and slabs of fluorescent colour are silkscreen printed on Cuban cinema posters in pop art designs.

The recent reintroduction of private enterprise is mirrored in the appearance of rare advertising.

An increasing number of signs for accommodation, food and travel services indicate the growth of a de facto dollar economy. 

Branded consumer goods increasingly bypass the US trade embargo, fulfilling aspirations the Revolution failed to nourish.

The lines between revolutionary socialism and capitalism are blurring around tourism, which has become Cuba's principal hard currency earner.

Tourism has stimulated the creative development of indigenous imagery, and street markets heaven with cliched Cuban souvenirs, tailored for the hand luggage of foreign visitors.

The Revolution made Cuba the object of world attention, the focus of a tense political confrontation between opposing superpowers. 

Surviving almost half a century of radical change, Cuba now faces the supreme challenge to its ideological survival: a free market economy. 

Its street imagery is moving gradually from propaganda towards persuasion.

Street graphics are transient, with change often being imperceptible until seen retrospectively.

This book represents a subjective view of that ephemeral process in the year 2009. 

These photographs are a record of Cuban street imagery at a defining moment in the country's history .

This lexicon of images illustrates phenomena that could exist anywhere: folding tables and blankets become temporary shops for street vendors, plastic bags indicate broken parking meters and empty shops anticipate future development.

"Placemark" lat=6.76872777845, lon=80.9582888891

ALLAN KAPROW

On June 13, 2005, three ice structures of various shapes and sizes were built in front of Basel exhibition centre, on the roof of the car park opposite, and in the arcades of the Kunstmuseum Basel.

They were left to melt.

ISBN 3-88375-996-1

19 x 15 cm, 72 pages

Edited by Hauser & Wirth Zürich London

Published by Walter König, Köln

Designed by FLAG

BIS ICH RUH IN DIR

DAS BILDHAUERISCHE WERK

Mit Texten von Robert Schneider

Gestaltung: Havlik & Schaufelberger

Verlagsbüro: v.Brandt, Mannheim

346 Seiten, 197 farbige Abb., 24 x 34 cm
Leinenband mit Schutzumschlag

ISBN-13: 978-3-926260-68-0

ISBN-10:3-926260-68-8

ISBN 978-3-85616-319-8
98-seitig, 4-farbig
CHF 29.00

Order @ CMV

The book came about through an unexpected collaboration between  Daniel Spehr and Kathrin Schulthess. It seems that they both had similar callings to document the city’s “visual grammar” or “psychogeographical reliefs”. Whatever you call it, the harmony of vision between these photographers seems to resonate with an unselfish recording of the eclectic fabric that makes up the mighty capital. All those bums you didn’t have the guts to snap, all those drains you couldn’t be bothered with, all those crossed out swastikas that make you wonder how the hell underground skinhead cults still exist… they’re all in this tidy little book as if it were your own personal, patiently-built collection.

‘Out of Series’ takes you on a pictorial journey that is distinctly Buenos Aires. On first sighting, it’s almost like the photographic memory of your subconscious has been presented to you. All those intricacies that appear trivial at first but prove to be symbolic of a place’s character are captured here like the hidden habits of wild animals. It’s a stark portrait of the contradictions and chaos that make up Buenos Aires but the specimens collected here also echo even more universal rhythms. Wild-style graffiti, Carlos Gardel murals and decorated house numbers, for instance, seem to be the visual scream for colour and chaos amongst grey Urbania like a romantic’s backlash against modernism.

If it was the book’s intention to be thorough, then it has done well. The vastness of this visual archive is dense without being dull and observant without being tedious. Colour is embraced but the voids are not avoided. If you know Buenos Aires, take a look at this, it feels a bit like your scrapbook. If you haven’t, all the better. 

El muestreo fenomenológico de Buenos Aires que aquí presentamos se trata de una basta recopilación de imágenes a través de un procedimiento de tipologización de la información visual que ofrece esta ciudad al paseante. Sobre una base de más de 6.000 imágenes que resultaron de los archivos unidos de tres fotógrafos de distintas nacionalidades se editó este libro, de una riqueza visual insospechada, con más de 1.700 fotografías. Este trabajo forma parte del proyecto de Registro Gráfico de la argentinidad y es a la vez un documento de un estado de la urbe, así como un simpático regalo para el porteño y el turista.