Bøger udgivet af Poligrafa

The Austrian artist collective G.R.A.M. was founded in 1987 by Günther Holler-Schuster, Ronald Walter, Armin Ranner and Martin Behr. G.R.A.M. Reenactments 1998-2011 provides the first overview of their comic-political performances, recorded in photographs and video works, which include reenactments of Hitler's bodily gestures, Yugoslav dictator Josip Tito's promotional images and Lenin's body in the Red Square mausoleum.

Catalog of an exhibition held at the Museo Nacional de Bellas Artes, Santiago, Chile, January 13-March 19, 2017.

Parallax offers an overview of the elegant photographic work of British art dealer and gallerist Michael Dunev (born 1953). With images from time spent in Peru, Mexico, the United States and Europe, this book traces his personal development in photography since 1970.

This beautifully produced volume is the updated and revised edition of Polígrafa's 2005 publication of the same name, which was designed and conceived in collaboration with the artist and includes documentation from his private archives. Sigmar Polke: Paintings, Photographs and Films is also the only publication to include a critical overview of the artist's films, and to examine the abiding import of Goya's painting, "El tiempo de las Viejas" ("The Time of the Old Women"), to Polke's oeuvre in general. (The new cover shows Polke photographing this painting in The Beaux Arts Museum in Lille, France.) Throughout, the volume demonstrates how Polke interpreted images of reality rather than reality itself, while also satirizing tendencies in contemporary painting, interrogating the role of the artist as author, dismantling the visual rhetoric of media photography and always embarking upon the most magnificent flights of imagination. Sigmar Polke: Paintings, Photographs and Films affirms the artist's oft-quoted observation that "there has to be an element of risk-taking for me, in my work."

Published to accompany an exhibition at the Centro Atlaantico de Arte Moderno-CAAM, Las Palmas de Gran Canaria, 22 March-2 June 2013.

Cuban-American artist Enrique Martínez Celaya (born 1964) embraces painting, sculpture, photography and writing, inspired by sources as diverse as Nordic poetry and quantum physics (Celaya initially trained as a physicist). Featuring new and unpublished works, this volume is his first comprehensive monograph.

Art Situations is the name of a new private initiative in the Iberian Peninsula that aims to promote younger contemporary artists from that region with an annual exhibition and publication. The project is directed by Pilar Forcada; each year, ten emerging artists are selected by a committee, and the first iteration is held at arts Santa Mònica. The ten Spanish and Portugese artists selected are Mauro Cerqueira, Pepe Cifuentes (in collaboration with flo6x8), Patricia Dauder, Carla Filipe, Nuria Fuster, Santiago Giralda, Jaime de la Jara, Miki Leal, Juan López and Francesc Ruiz. All of these artists were born during the final throes of Franco's dictatorship and studied art during the early years of democracy and Spain's and Portugal's integration into Europe; their work spans a variety of media, from painting and sculpture to video and performance.

Spanish sculptor Fernando Sinaga (born 1951) makes large-scale freestanding or wall-mounted monochromatic sculptures that draw heavily on the industrial patina of American Minimalism. Published for Sinaga's June 2011 retrospective at the MUSAC Museo de Arte Contemporáneo de Castilla y León, this volume surveys the sculptor's output of the past 30 years, also including his prints and drawings.

This is the third volume in Poligrafa's multivolume Julio González: Complete Works project. Credited with introducing Picasso to welded sculpture, González was also an important influence on the American Abstract Expressionist sculptor David Smith. This monumental project is published in collaboration with the Instituto Valenciano de Artemoderno in Spain, which possesses the largest collection of González's work.

Josep Lluís Mateo (born 1949) is one of Spain's--and Europe's--most prolific and visible architects, as energetic as a teacher and lecturer as he is an architect. Mateo has designed corporate headquarters, housing units, office blocks and hotels throughout Western Europe, and has also renovated urban centers in Gerona (Spain) and Castelo Branco (portugal). this volume looks back at nearly 30 years of Mateo's built structures, as portrayed by the architectural photographer Adrià Goula. As well as buildings from the 80s and 90s, it also looks at his most important projects of the past few years, from the Banc Sabadell Headquarters renovation (2004) and the Factory office building in Boulogne-Billancourt, France (2010) to the PGGM Headquarters in Zeist, Holland (2011) and the Catalonian Film Theater in Barcelona (2011). Interspersed among Goula's photographs are Mateo's observations and musings on architecture.

Fernando Prats' "Gran Sur" project was inspired by Ernest Shackleton's newspaper advert soliciting recruits for his fateful Antarctic expedition. Through a compendium of photographs and archival materials, Prats' installation, recorded in this volume, draws out the implications of the blackly humorous advert to resonate with larger experiences of migration and dangerous travel.

The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. "The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience," stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community. ''Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time," Medvedow has said.

"Close Distance" is both an exhibition and a collaborative artist's book by Portuguese artist Juliao Sarmento and British writer Adrian Searle. Searle reviews Sarmento's output in painting, sculpture, installation, performance and film, which for Searle "speaks of sex, violence, the repressed, the unconscionable and the deliberately--provocatively--inexplicable."

This is the inaugural volume of a planned seven-volume catalogue raisonné on the Spanish sculptor Julio González (1876-1942). The son of a goldsmith in Barcelona, González studied painting and sculpture from an early age. Upon moving to Paris in 1900, he joined the company of fellow Spanish artists such as Juan Gris, Pablo Gargallo and Pablo Picasso. Today, González is primarily known for his work in welded iron. Abstracted figures such his "'Monsieur' Cactus" (1939) show a connection to the Cubist sculptures of Picasso, with whom González worked closely from the 1920s onward. Credited with introducing Picasso to welded sculpture, González was also an important influence on the American Abstract Expressionist sculptor David Smith. This monumental project is published in collaboration with the Instituto Valenciano de Arte Moderno in Spain, which possesses the largest collection of González's work.

Catalog of an exhibition held at the Museo Guggenheim, Bilbao, Spain, February 14-May 18, 2014.

Catalog of an itinerant exhibition held at the La Virreina, Centre de la Imatge, Barcelona, Spain, Mar. 26-May 24, 2010, and at the Centro Cultural Montehermoso Kulturunea Vitoria, Spain, Oct. 19, 2011-Jan. 15, 2012.

Picasso 1926-1939: From Minotaur to Guernica focuses on a key phase of transition in Picasso's art, from his numerous depictions of the Minotaur myth in the late 1920s and early 1930s to his majestic and tragic 1937 masterpiece, "Guernica." The Minotaur, contained in a labyrinth where it was fed Athenian youths, serves in part as a metaphor for destructive bestial drives under containment, but in Picasso's works on the theme, the Minotaur is set free into the world, where it frequently finds itself stumbling and dumbstruck. This expression of destructive drives finally culminates in the terrible aerial bombing recorded in "Guernica." From Minotaur to Guernica is authored by Catalan poet Josep Palau i Fabre (1917-2008), one of the artist's earliest admirers and experts, who has made several close analyses of other phases in Picasso's prolific career. The volume is housed in a printed slipcase.

The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof terraces above. (Two subsequent expansions to the building were designed by Jaume Freixa, a pupil and longtime colleague of Sert's.) After the first major retrospective of Miró's work occurred in Barcelona in 1968, the artist decided to set up a building to make his work and the work of other contemporary artists permanently accessible to the public. To design the foundation's home, he tapped his old friend Sert, a pioneer in the introduction of modern architecture in Catalonia, who had first met Miró in 1932 and worked with him on the Spanish (Republican) Pavilion at the Paris World Fair in 1937. This volume, one of a series of monographs on new museum architecture, provides a careful look at the design of one of Europe's premier art institutions, and includes an interview with the architects responsible for the recent expansions.

When the New Museum, long a champion of downtown New York culture and unconventional art, announced that it would build itself a new home on the Bowery--a mostly bleak strip of flophouses and restaurant-supply storefronts--the art world wondered what this move would mean for the museum, and, just as important, how the museum would look. Tokyo-based architects Kazuyo Sejima and Ryue Nishizawa of SANAA (winners of the 2010 Pritzker Prize) received the commission in 2002; their new New Museum, which opened in December 2007, looks like a dramatic tower of seven rectangular boxes, stacked irregularly atop one another with edges protruding to the sides and front, and clad in a seamless anodized-aluminum mesh that dresses the whole of the building in a delicate, filmy, softly shimmering skin. With windows just visible behind this porous scrimlike surface, the building appears as a single, coherent and even heroic form that is nevertheless mutable, dynamic and animated by the changing light of day--an appropriate visual metaphor for the openness of the New Museum and the ever-changing nature of contemporary art. This monograph treats the institution's design and construction in depth, through images, writings and an interview with the architects.

This first volume of a two-volume edition features a decade of work by Lisbon-born multimedia artist Julião Sarmento, who represented Portugal in the 1997 Venice Biennale. Volume 1 collects series from 1990-1992: "Dias de Escuro e de Luz," "Emma," "O Rostro das Palavras," "Pina," "New York" and "O Percurso do Sol"; volume 2 will focus on Sarmento's text-based paintings, such as "What Makes A Writer Great" (2000-2001), produced as an ironic discourse on the subject. Sarmento in fact has a particular relationship to writing: "I function almost as a writer, not in the classic sense, but simply in the sense of writing with images." Sarmento's expressive, often figurative work addresses this very tension between text and image through a combination of film, video, sound, painting, sculpture and installation, often describing psychologically charged moments of sensuality, voyeurism or transgression.

Foreword by Barbara Dawson. Text by Rebecca Daniels, Martin Harrison.

Catalan painter Albert Rfols-Casamada shares a strong spirit, a refined sensibility and a formal asceticism with lyrical abstractionists Helen Frankenthaler and Richard Diebenkorn. "Vision and Sign" is his most complete monograph to date and an essential reference.

The peaceful monolithic language of Chipperfield's architecture is evidenced in his design for the third and final building in a complex for the German clothing retailer Ernsting. Chipperfield's building stands on a greenfield site in the small town of Coesfeld-Lette, just west of Münster; its companions are two distribution centers built in the late 1990s by Fabio Reinhardt and Bruno Reichlin with Santiago Calatrava, and by Shilling Architects. Chipperfield's structure completes the Ernsting compound and provides office space for business and retail managers as well as a Research & Development department. Christian Richters' and Edmund Sumner's photographs of Chipperfield's architecture reveal its harmonious relationship with the organic curves of Peter Wirtz's landscape design, while Jay Wolke's photographic studies of the workplace illustrate the highly successful collaboration between client and architect that created a freedom-filled place for Ernsting's employees to think and work.

"Iconography considers a major period in Riera I Arago's long career and considers the principal motifs--planes, submarines, stelae, the Aral Sea, islands--that form the alphabet of his artistic idiom. In an oeuvre where reality and fiction blur together, astronomy, botany, mathematics, and mysticism all come into play.