Bøger udgivet af Editorial Tenov S.L.

The expert contributors to this lavishly illustrated volume, devoted entirely to Mies van der Rohe's Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion's genesis

A richly illustrated catalog, with biography, of artist Julio González. The sculptures of Julio González (1876-1942) were shown at MoMA in 1956, and our understanding of his influence on modern art has grown steadily since. This lavishly illustrated book offers a new, highly nuanced account of González's life, work, and legacy. Beginning with González's complex family relationships, Juan José Lahuerta explores the tensions involved as González sought to combine his craft with efforts to become a painter, as the Romantic, bohemian mentality of the late nineteenth century had idealized. Lahuerta also explores the importance of González's relationships with Picasso and other contemporaries, which helps us understand how, in the 1930s, his naïve artist's urge was replaced by a radical urge to make art that would break every taboo related to tradition, craft, and material. The second section of the book offers a stunning presentation of the new exhibition of the Julio González collection at the Institut Valencià d'Art Modern. The book will serve as a milestone in our understanding of González's work and influence.

A vivid portrait of Picasso's early life and the city he called home.   Part biography of the young artist, part guide to Barcelona, Picasso Barcelona tells the story of the relationship between Picasso and the city that saw him evolve into a modern painter. Rafart takes his reader on a journey through Picasso's early world, following in the artist's footsteps and discovering its sites through his eyes. On the way, he pauses to reflect on Picasso's many friends, his early works, and the places he sketched, painted, and lived. In this portrait of Barcelona at the turn of the century, Rafart conjures up haunting images of a city that no longer exists, but which served as the formative inspiration for an artist set to take the world by storm. Published in cooperation with the Museu Picasso, Picasso Barcelona marks the 50th anniversary of Pablo Picasso's death in 1973 and the 60th anniversary of the creation of his museum in Barcelona.

This book brings together for the first time all the material related to Joseph Beuys performance, the Action MANRESA, as well as a selection of critical texts that situate the action within its European context. Joseph Beuys performed one of his most radical pieces, the Action MANRESA, on 15 December 1966, at the Galerie Schmela in Düsseldorf. He was accompanied by Henning Christiansen and Bjørn Nørgaard. In 1994 these two Danish artists gave continuity to the original piece with the performance Manresa Hauptbahnhof (Manresa, Central Station), which was done in the very city that had given name to the earlier Beuys action. That same city was where in 1522 Saint Ignatius of Loyola had the revelations that led him to write the Spiritual Exercises, a text that wielded a powerful influence on the German artist. This book brings together for the first time all the material related to that second performance (including images, scripts and preparatory drawings), as well as a selection of critical texts that situate the action within its European context. Friedhelm Mennekes, an expert in contemporary art and a Jesuit priest, analyses the action by delving into its spiritual meaning, exploring the symbolism of the objects employed. The metaphor of the central station enables art critic Pilar Parcerisas to discover the city of reference and redraw the map of Europe, with unexpected connections between Manresa and Copenhagen. In the final essay, academic Peter van der Meijden, a specialist in the actions of these Danish artists, contextualises the two performances, which represented a meeting place for very different artistic personalities working on the cutting edge in creating a completely new kind of art.

Published in 1922 in Russian, Aleksei Gan's Constructivism was the first theoretical treatise of postrevolutionary Russia's emergent Constructivist movement. Fired with revolutionary zeal, it was unquestionably a declaration of war on traditional bourgeois art. Constructivism recasts artists and architects as Constructors, turning away from aesthetic or speculative problems in art and instead focusing on the fusion of art with everyday life in order to create a functional system of design, one in keeping with the great task of building the new communist society. This edition replicates Gan's original layout, which was one of the first experiments in Constructivist typography and graphic design, and it also presents a substantial introductory essay by art historian Christina Lodder that examines Gan's own odd, mercurial character and the tracks he left across avant-garde Russian graphics, architecture, film, and theater. Nearly a century later, Constructivism remains a powerful manifesto, and this new translation will help scholars trace its enduring influence on twentieth-century art and design.

Legible-Visible explores the relationship between print publications and audiovisual documents, two of the most important media in the social and cultural landscape of our time--and two forms that also define the evolution of contemporary art in the twentieth and twenty-first centuries.

In Albino, photojournalist Ana Palacios takes us inside a shelter for people with albinism and reveals what daily life is like for those living with the genetic condition in Tanzania. As Palacios documents, widespread ignorance of the causes of albinism has fed stigmatization, marginalization, persecution, and prejudice within the country. In addition to the social and physical threats that those with albinism face from other Tanzanians, they must also confront the strong possibility of skin cancer--a disease for which effective treatment options can be found in the West, but which in Africa tends to reduce life expectancy for those with albinism to under thirty years. Bearing witness to the efforts of a group of Spanish aid workers to promote health and education in Tanzania, Albino highlights their work on programs to improve patient treatment and training for local doctors. In these subtle, complex, and ultimately optimistic images, Palacios shows the moments of struggle, but also joy, that mark the lives of the residents of the shelter.

This beautifully illustrated book, the catalog for an exhibition on view at the National Museum of Art of Catalonia in Barcelona and coorganized with the Picasso Museum in Paris, explores important affinities between Picasso and Romanesque art. Using two key moments as starting points, Juan José Lahuerta and Emilia Philippot first discuss the summer of 1906, when Picasso stayed in the village of Gòsol in the Catalan Pyrenees, and then turn to 1934, as he visited the Romanesque art collections of what is today the National Museum of Art of Catalonia. Picasso's discovery of the Romanesque nurtured his interest in other "primitive" or ethnographic art, later echoed in such decisive works as Les Demoiselles d'Avignon. Importantly, while Lahuerta and Philippot avoid any attempt to trace direct Romanesque influences on Picasso--as they note, his work consistently escapes such linear accounts--they do demonstrate that Picasso's interest in the twelfth-century sculpture Virgin from Gósol, his lifelong fascination with the theme of the crucifixion, and his study of the skull all reflect elements that were also of major importance in Romanesque art and architecture. What these shared features allow, Lahuerta and Philippot ultimately argue, is not only a richer understanding of Picasso's work, but also a rediscovering and reinvention of Romanesque art in our contemporary moment, causing the medieval to become refreshingly and paradoxically modern.

When the Corbusian International Modern style, with its contempt for ornament, imposed itself on architecture, figures like Gaudi (1852-1926) were relegated to the sidelines. In this volume, Lahuerta situates Gaudi in his context and vindicates his fin-de-siecle bohemian modernity. Embodied in such powerful images as the equation of the spires of the Sagrada Familia with the flames rising from burning churches during the Tragic Week (1909), the story takes us to the Barcelona of the early twentieth century, when class struggle threatened to topple the prevailing capitalist model. Drawing on valuable first-hand documents collected over several decades, the author shows that Gaudi was not an isolated eccentric but an architect who was keenly aware of the major theories and outstanding works of his time and the creator of revolutionary technical innovations. His analyses of Gaudi's writings reveals a pioneer in the use of industrial processes to produce ornamental details that may seem handmade today. Equally novel was the way that Gaudi made use of his fame as a public figure, a 'media personality', thanks to the cartoons of the architect and his buildings in the popular press. His influence on avant-garde artists like Dali, who admired the edible appearance of the Casa Mila, or Picasso, fascinated by the eroticism of the Casa Batllo attest to the importance of his contribution to culture. This entertaining volume is part of Columns of Smoke, a series of publications in which Professor Lahuerta turns his perceptive eye on the official narrative of modernity and its protagonists and the relationship between architecture, decoration and the print media.

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Features overlooked aspects of modern architecture and photography and reveal a more nuanced-and plausible-conception of the world. This volume includes images tied to the history of twentieth-century architecture with anonymous graphic materials and pictures. It will redefine our concept of modernity.

Published in 1922 in Russian, Aleksei Gan's Constructivism was the first theoretical treatise of postrevolutionary Russia's emergent Constructivist movement. This edition replicates Gan's original layout, which was one of the first experiments in Constructivist typography and graphic design, and also presents an introductory essay.

A monograph on the work of contemporary architect Enric Miralles. Applying the mind of an artist to the work of another creator, it tries to unravel Miralles' creative process, to understand how his ideas were formed, refined, and made into physical objects that survive and thrive in a seemingly unsympathetic world.