Bøger udgivet af KIITO SAN

The interventions of Swiss artist Peter Regli (born 1959) in natural and urban landscapes are documented in this richly illustrated volume surveying more than three decades of the artist's production. Encompassing sculpture, performance and photography, Regli's work blurs boundaries between the art object and the everyday environment.

Bound in a tête-bêche format as a reversible book with two front covers, Urs Fischer: Yes documents two iterations of the ongoing collaborative project of the same name orchestrated by Urs Fischer (born 1973), which has brought together thousands of collaborators from all walks of life-schoolchildren and adults, artists and amateurs-to make objects out of clay. Yes has populated numerous locations with clay figures, including the warehouse-like space of the Geffen Contemporary at The Museum of Contemporary Art, Los Angeles, and the sun-washed terrain surrounding the Deste Foundation's project space in a former slaughterhouse on the Greek island of Hydra. In this volume, installation photographs from both locations capture what entropy adds to the project: the unfired clay sculptures disintegrate over time, creating continuously changing landscapes of fragmented, crumbling forms.

The Making of Yes features photographs by Cassandra MacLeod documenting a vast collaborative project by Urs Fischer with contributions by 1,500 individuals who were invited to work in clay over the weeks preceding the opening of Fischer's retrospective exhibition at the Museum of Contemporary Art in Los Angeles. All were asked to join Fischer in making figures and animals out of clay, allowing for variation within a theme so that the possibilities for style, structure, scale and finish would be open to exploration while preserving the unity of the project. Filling the expansive spaces of the museum, the unfired clay forms disintegrated over time to create a fantastical landscape of fragmented figures. The lively photographs in this volume convey the hands-on sense of fun and excitement the individual participants experienced from partaking in this exuberant project.

This volume brings together two separately exhibited series of silkscreened paintings produced in 2018 by New York-based artist Fischer, who composed the collective 57 works entirely in an iPhone app.

Phantom Paintings gathers several series of paintings on aluminum panel produced over the last three years by the Swiss artist Urs Fischer (born 1973).From far away many of these paintings appear to be large-scale gestural abstractions, but on closer inspection the viewer detects total flatness--the abstract paint marks were actually photographed and silkscreened on top of images of personal spaces, creating an image of abstraction rather than the abstraction itself. This process allows a largeness of motion and an immediacy, as two representational systems clash. In other works, the abstractions obstruct images taken from vintage Hollywood publicity headshots as well as close-up photographs of the artist's own face. Finally, bold paintings on cutout aluminum panels push the limits of line, color and shape, transforming facial features into intersecting organic shapes that slide and mutate in a new form of landscape painting.

Marianne Vitale: Train Wreck is the artist's wry look at the infancy of the American railroad, an age mythologized even in its own time as a period of industrial progress and the heroic conquest of the American frontier. But this progress was fitfully achieved, punctuated by incredible, shocking disasters. In a new artist's book, New York-based artist Marianne Vitale (born 1973) reproduces black-and-white archival photographs of train wreckage on soft, plastic pages, creating an incongruous merger of content and container in a sculptural, compulsively tactile object. Each of the waterproof, pliable plastic pages of this book features a different locomotive carcass or caboose skeleton for readers to re-contort at their leisure. The contrast between the indestructibility of this playtime "bath" book and its imagery depicting the tragic frailty of industrial America's iron workhorses is at once striking and amusing.