Bøger udgivet af Ediciones Poligrafa

Text by Sally Yard. Interview by Harold Rosenberg, James T. Valliere.

Interfunktionen, an art journal which published 12 issues between 1968 and 1975 in Cologne, was founded in 1968 as a form of protest by artists who had no affinity with the critical lines that were redrawn at Documenta that year. The review was of considerable importance as a vehicle for propagating pro-European ideas and as a union between artists in Europe and the United States, irrespective of the predominating movements of the time. It contained both theoretical and practical contributions, with the intervention of creators who defined and illustrated their artistic strategies. Directly linked to the most prominent figures in the Düsseldorf Kunstacademie, such as Joseph Beuys, Jorg Immendorf and Sigmar Polke, it also boasted the involvement of the most spirited and reflexive artists of the times, from Vito Acconci and Marcel Broodthaers to Bruce Nauman and Dieter Roth. Interfunktionen, as its name indicates, was an inter-disciplinary publication, open to all artistic genres and with no restrictions as to media. This book is produced in collaboration with Fritz Heubach, the review's first editor, and depicts the experience of those years by means of original documents--some of them hitherto unpublished--artworks, and artists' writings.

Working towards the melding of her artistic work and the discipline of architecture, Cristina Iglesias has long been preoccupied with exploring notions of space and of a space within a space. The sheer scale of her sculptures invites viewers to walk around and occasionally through her pieces. On a more microscopic level, Iglesias has remained fascinated by details, with data that deliberately distracts or skews the perception of abstract forms. Rich surfaces, such as cast impressions of local and exotic flora, become progressively consuming as the viewer approaches them. This publication is the first mongraph on the artist, and includes a consideration of work done in collaboration with architects Abalos & Herreros and Paul Robbrech.

Along with his extensive activity as a sculptor over the past two decades, in which he uses materials such as glass and brick to create architectural spaces and other pieces both small and large, the Spanish artist Jaume Plensa has also been exploring art through writing and theory. This monograph includes both visual documentation and a large selection of his writings.

The second volume of the complete oeuvre of artist Antoni Tapies.

Designed in the second half of the 90s, the Jewish Museum in Berlin opened in September 2011. The modern architectural elements of the Libeskind building comprise the zinc façade, (described as "An irrational and invisible matrix"), the Garden of Exile ("which attempts to completely disorient the visitor [and] represents a shipwreck of history"), the three Axes of the German-Jewish experience, and the Voids (which refer to "that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes"). Together these pieces form a visual and spatial language rich with history and symbolism. In the words of the architect: "The official name of the project is ''Jewish Museum'' but I have named it ''Between the Lines'' because for me it is about two lines of thinking, organization, and relationship. One is a straight line, but broken into many fragments; the other is a tortuous line, but continuing indefinitely." In some way, Libeskind imagines the continuation of both lines throughout the city of Berlin and beyond.

Marcel Broodthaers (Brussels, 1924-1976), flourished as a poet before becoming an artist in 1964. He was a pioneer of intermedia and site-specific installation art, but above all else he was an in-depth theorist who ranged widely over the visual arts in his writings. Broodthaers'' work is widely recognised for its movement and combination of mediums: performance, film, text-based work, etc. Often overlooked, his artworks include genuine research into the nature of language, giving a conceptual continuity to all his practice.Of himself, Broodthaers said: "I am the result of (literary) experience - that''s perhaps a little strong; let''s say of a taste for literature definitely; that was my starting point; however, I do think I am now able to express myself on the edge of things, where the world of plastic arts and the world of poetry might possibly, I wouldn t say meet, but at the very frontier where they part." This fully illustrated collection of Broodthaers'' writings presents his early poetry in a comprehensive selection of statements and critical essays, some previously unpublished while others were originally published in newspapers and art magazines and are collected here for the very first time. All of this, together with his so-called open letters, interviews, preparatory notes, and scripts, introduces us to his solid thinking on politics, economics, nationalism, publicity, institutional politics, and culture.The essay that serves as the book''s introduction, written by Gloria Moure (editor of this volume) examines the artist''s approach in relation to the linguistic turn in art practices of the 1960s, and its legacy in contemporary art.

Held at a single venue over a 12-month period (Jan-Dec 2010), Domino Canibal project in Spain allowed successive artists to create original works by reinterpreting, demolishing, appropriating, and canibalising the work of preceding artists. This title offers an overview of the project.

Louise Bourgeois was an immensely influential sculptor and one of the iconic figures of twentieth and early twenty-first century art. She died in May 2010, aged ninety-eight. This title collects images chronicling the last year of Bourgeois' life.

Showcasing the best design work from some of the 20th century's finest architects, this series is dedicated to showcasing the very best in furniture and object design from some of the most important architects of the Twentieth-century. It also includes a complete illustrated chronology of their works.

The fourth volume of the complete oeuvre of artist Antoni Tapies.

Throughout his career, the American Pop artist Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world, and can even be said to have changed the course of art history. In the 1950s, Rauschenberg redefined the very materials that art could be made of, rebelling against the predominant Abstract Expressionism of the time with the impeccable logic that, "I think a painting is more like the real world if it''s made out of the real world." This book analyses Rauschenberg''s seminal works - from his combines (urban trash on painted surfaces) to his silk screens. The author also discusses some of the artist''s more recent projects, including ROCI, Rauschenberg''s own exhibition organisation that showcases diverse artists from all over the world. Through beautiful photography and authoritative text, here is a well-rounded overview of one of the world''s most pivotal artists.