Fine Art - October 2021
Fine Art - October 2021
Fine Art - October 2021
This book - published following the eponymous exhibition at Centro per l'arte contemporanea
Luigi Pecci, Prato, in 2019-2020 - offers an overview on the history of Soviet and post-Soviet art
from 1970 to the present, presented through essays of thirty authors and the works of more than
fifty artists. In the exhibition works from the collection of the Centro per l'arte contemporanea Luigi
Pecci have been put in dialogue with loans from Italian and international collections, to compose
a complete "galaxy" of the main strands of artistic research developed in the former Soviet
republics, from Russia to the Baltic, from the Caucasus to the most remote provinces of central
Asia.
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Around 1500, portraiture flourished like never before. Throughout Europe, major Renaissance
artists such as Antonello da Messina, Hans Memling, Albrecht Durer, Hans Holbein the Younger,
and Sofonisba Anguissola produced lifelike portraits at the highest artistic level. Not only did they
immortalise royalty and nobility, but for the first time in history increasing numbers of wealthy
merchants, renowned scholars, and others with status, power, and ambition were painted as well.
Presented by the Rijksmuseum, 'Remember Me' unites international masterpieces with
surprising, lesser-known works to tell the personal stories of the individuals portrayed.
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Beekman – Paintings
nai010 publishers 2021 ISBN 9789462086340 Acqn 31934
Pb 24x30cm 312pp col ills £45
Dutch painter Tjebbe Beekman's oeuvre is composed of large paintings of rough urban
landscapes and interiors. They are characteristically layered and include a multitude of materials:
Beekman works in acrylic paint, but also incorporates rope, iron wire, and sand in his works. His
dynamic compositions are balanced and carefully composed on the basis of photographs; his
chaotic images bring rhythm, structure, and order to a neglected and bankrupt world. His work
has become increasingly complex in recent years, its visual idiom and colour palette linked to the
work of Henry Moore, Pablo Picasso, and Max Beckman.
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The legacy of the world-famous surrealist is summarised by Magritte expert Julie Waseige, who
made a selection of no less than 400 images from an oeuvre of thousands of artworks. Naturally
the book shows his most important and well-known pieces, but it also contains a number of less-
known works, such as gouaches, drawings, sculptures, and even painted bottles. In short, a
surprising perspective on Magritte that will charm aficionados and amateurs alike. Interspersed
with many archival photographs, the book is divided into seven chapters and follows a
chronological order, from his posters and abstract experiments in the 1920s to the masterworks
of the 1950s and '60s.
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'Shifting Views on Italian Art' develops a critical analysis of the format of the curatorial residency
as a research model, focusing on the experience of the Young Curators Residency Programme
by Fondazione Sandretto Re Rebaudengo. The leading exponents of the Italian art system, its
institutions, its spaces and narratives become the object of an intensive exploration through a
multiplicity of perspectives, interests and theoretical approaches, underlining potentialities and
limits of this format. The book also offers a comprehensive survey on recent Italian art through
the extensive documentation of the final exhibitions that took place between 2007 and 2020.
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In this humorous collection of drawings, the Swiss illustrator, animator, and visual designer writes
one-liners to accompany sketches of drains, faucets, household cleaners, and rubbish. A cleaner
cloaked by a washcloth next to a simple drain seems resigned as it says, "I constantly worry
about my liquidity". Spilled toothpaste and a leaky foam pump rest on their sides, exclaiming, "But
instead we got wasted". A hand soap dispenser gazes pensively into the bathroom mirror. Pasal
Osterwalder's artistic projects and commissioned work in the field of literature, culture, and music
often focus on imparting knowledge, especially for young people.
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Jesper Just's immersive video installation 'Intercourses' first appeared in the Danish Pavilion at
the 2013 Venice Biennale. The film is set in a suburb of the city of Hangzhou, China, which is
built as a full-scale architectural copy of parts of the French capital of Paris. In contrast to many
other replicas of cities around the world, people actually live here. As the film follows three African
men moving through the city, Chinese signs and towering skyscrapers clash with the artificial
Haussmann boulevards and a smaller version of the Eiffel Tower. Using poetic and sensuous
images, Just thematises highly relevant subjects, such as a sense of cultural belonging,
globalisation, and alienation.
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Rooted in the apartheid era, the racist term "play-white" connotes a black or mixed-race person
who lived as a white person. South African artist Bianca Baldi draws from research on biomimicry
- for instance, the use of rapid adaptive camouflage by cephalopods - and her own family history
to reflect on racial passing and the instability of racial identities. She also looks to literary
precedents, such as Nella Larsen's novel 'Passing' (1929). In this way, her video installation
'Play-White' alternates between layers of visualisation and moments of discretion in order to
explore questions of presence and evasion, beyond their broadly accepted representation in
black and white.
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Amid Hong Kong's massive protests and increasingly severe government crackdown in the
summer of 2019, graffiti proliferated in the city and became an iconic expression of dissent. Hans
Leo Maes documents and inventories the different forms taken by the incessant work of state
officials to cover up, hide, or attempt to remove these inscriptions from the public space. In this
publication, the smudged markings at tram stops are particularly highlighted, where the combined
action of graffiti and attempts at erasure have resulted in unique, ghostly images with a plasticity
that refers to current forms of post-graffiti and contemporary art, questioning the mechanics
behind the state.
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In 1930, German film composer Friedrich Hollaender wrote "Wenn ich mir was wunschen durfte",
famously performed by Marlene Dietrich. It inspired the foundation of Dora Garcia's exhibition 'If I
Could Wish for Something' and this accompanying publication. The song serves as a powerful
expression of a complex concept: sadness as political strength. Garcia in turn connects this
concept with women's struggles for emancipation. Disappointed in the promise made to them by
revolutionary movements, which for now remains unfulfilled, women are seeking to transform this
feeling to overcome the temptation of victimhood and open up the possibility of an ethical
encounter.
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Featuring a selection of drawings from Fontaine's ongoing project 'A Gloomy Masturbation' this
book takes the reader on a trip through the artist's mind. The work functions as part diary, part
fantasy, and part information, chronicling her own chronic sickness, fixating on her many failed
romantic relationships, and exploring therapeutic theories of the mind and the precarious political
situations of our time. Expect tragic comedy, slippery statements, radical honesty, and total
teenage angst.
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Published in conjunction with an exhibition at the House of Electronic Arts in Basel, this book
features cutting-edge artists who engage with the structure, technologies, and aesthetics of the
global video game industry. These young creators use the latest technologies for game
production, making virtual and augmented reality experiences, immersive environments,
interactive stories, and multimedia installations. By spurning the commercial and leisure-oriented
logic of video games, they succeed in making uncompromising, progressive works that address
identity construction, gender issues, and social change. With Lu Yang, Nicole Ruggiero, Theo
Triantafyllidis, Keiken, and others.
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In her work, visual artist Natasja Kensmil deals with the recurring themes of power and the
consequences of its abuse, with abundant references from mythology, religion, and history. Her
particular fascination is with the hidden, mysterious, and murky sides of history. This volume
presents an overview of Kensmil's oeuvre, from 1998 to her most recent works. Her paintings and
drawings delve into the question of the intrinsic monstrosity of human nature, where motifs
emerge through thick layers of paint and monochromes are explored with detail and nuance.
Texts by Marlene Dumas, Hendrik Folkerts, Robbert Roos, and Wieteke van Zeil offer insight into
Kensmil's subjects.Natasja Kensmil is recipient of the prestigious Johannes Vermeer Prize in
2021.
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"From political ornament to bottom feeder, narcissist to voyeur, victim to culprit, the role of the
artist is ridiculous, and one I take very seriously". With this, Kasia Fudakowski launches herself
into an autobiographical catalogue, a rolling definition of how her role as an artist has evolved up
to this point. The texts in the book trace around fifteen years of art making and thinking, using
both anecdotal fragments from her own life and those of others she admires. As such, it offers an
opportunity to take stock of Fudakowski's ongoing, journal-like body of work while raising
questions about the role of art and the role and responsibility of the artist towards herself and
towards society.
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A portrait of Jean Dupuy through a film by Gilles Coudert and a collection of unpublished texts.
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