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Benedikt Ledebur and Franz West Published on the occasion of the participation of Franz West's participation in the exhibition ILLUMInations, 54th Biennale di Venezia. 2011. For this installation,West moved the kitchen of his Vienna studio to Venice, turning it into an exhibition space where he installed a collection of art works by his assistants, friends and colleagues (including Michelangelo Pistoletto, Otto Muhl, Sarah Lucas, Urs Fischer, Gelitin, Jean-Marc Bustamante). The conversation between Franz West and Ledebur Benedict turns to Wittgenstein and Heidegger, language and space, "The democracy of ugliness" in art and the human need to philosophize. |
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| SCHLEBRÜGGE.EDITOR 2011,English/German 10.5 x 8.5" 40 pages $27.00 |
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Lisa Mazza, Julia Moritz Complicity is a micro-community alliance on the edges of established classification systems. In a variety of subversive possibilities of action unfolds its critical potential. Kritische Komplizenschaft / Critical Complicity is an exhibition and book project, which services three aspects of alternative, critical thinking: the intersection of macro-and micro-community, the dependencies and linkages of (critical) Arts and Economics and the conflicting legal / illegal. The aim is to present the formation of alliances and economic participation to meet critical and test variants that could have a sequel. Projects and texts by Alterazioni Video, Sabine Bitter & Helmut Weber, Dexter Sinister, Hans Haacke, Laura Horelli & Gerhard Friedl, Learning Site & Jaime Stapleton, Lisa Mazza, Julia Moritz, Felipe Mujica (with Juan Cespedes, Cristóbal Lehyt, José Luis Villablanca Johanna Unzueta), Olaf Nicolai, Ahmet Ögüt, Tanja Ostojic, Anna Scalfi, Barbara Steiner, The Bruce High Quality Foundation, Gesa Ziemer. With the reprint of a 1986 conversation conducted between Sherrie Levine, Peter Halley, Jeff Koons, Haim Steinbach, Ashley Bickerton and Philip Taaffe (excerpts) |
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Immediacy and Non-Simultaneity: Utopia of Sound Diedrich Diederichsen, Constanze Ruhm, editors In the last two decades there has been a significant boom in the cultural sensibility towards sounds and noise – a kind of sonic boom that can, following the second meaning of this term, be seen as a breakthrough of the sonic itself. In the wake of this phenomenon, the relationship between Fine Arts and sound as a material of production on the one hand, and the field of Sound Art which emerged since the 60s on the other hand was recalibrated. Questions surrounding issues of spatiality in the Fine Arts that gained in importance with the surge of intermedia installations were increasingly posed on the basis of experimental sound. Pop music has recognised its specific relation to the materiality of sound as its primary source and positioned it at the core of self-reflective projects. Through the ubiquity of individual and ever-present sonic markers such as mobile phone jingles and sound installations in public space, everyday life has become the scene of a continuous sonic semiosis. Undoubtedly, corporate sound design on the one hand, and advertising/branding machinery geared towards “sound logos”, on the other, have long since reacted to these novel sign systems. In cinema, the individual existence of the film soundtrack has developed in increasing detail in recent years - either by moving contrary to the direction of the tempo of actions on screen or to the montage structure, or by orienting along pre-existing music as well as cultural resonances beyond cinematic immanence. By now, those techniques have reached mainstream cinema as common means of production. With contributions by: Nora M. Alter,Michel Chion, Christoph Cox, Diedrich Diederichsen, Caryl Flinn, Barbara Flückiger, Tom Holert, Brandon LaBelle, Christian Petzold, Constanze Ruhm, Christian Scheib, Holger Schulze, Axel Stockberger, Terre Thaemlitz, and Hildegard Westerkamp. |
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| SCHLEBRÜGGE.EDITOR 2011,English/German 8.5 x 6.5" 264 pages $27.00 |
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Edited by Benedikt Ledebur With contributions from artists Clegg & Guttmann, Muntean & Rosenblum, Rudolf Polanszky, Tamuna Sirbiladze and Franz West Texts by Peter Cole, Ann Cotten, Franz Josef Czernin, Oswald Egger, Brigitta Falkner, Martin Guttmann, Barbara Köhler, Benedikt Ledebur, Andrew Lugg, Monika Rinck, Ferdinand Schmatz, Severin Schroeder, Ilse Somavilla, Ulf Stolterfoht and Oswald Wiener. The yearbook "The fucker," appears in its second Output. Designed by Franz West in the last year, Clegg & Guttmann, Benedikt Ledebur and Rudolf Polanszky as philosophical and poetic, artistic, new design of the famous Innsbruck "burner", the circle of artists and writers in the character of Wittgenstein has expanded this year. The Wittgenstein house in Vienna in April 2005 to the center of the manifestations that accompany the release of the new "fuckers" (exhibition, lecture series). |
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Edited by Benedikt Ledebur Dir Ficker, initiated by Franz West, is a resumption of the famous "Torch", by Ludwig von Ficker in Innsbruck's journal, etc. to whose circle Georg Trakl and Ludwig Wittgenstein belonged. The text and picture contributions of artists and writers and the interviews conducted by the Austrian poet Benedikt Ledebur with them revolve around the theory of language and philosophy of historical themes, reflecting the working methods of the participating artists and work on an aesthetic of modernity in the terminology of the collage. In the tradition of the "burner", but also the Dadaists and the Vienna group. Contributors: Michael Clegg, Martin Guttmann, Martin Kippenberger, Benedikt Ledebur, Albert Hehlen, Rudolf Polansky, Franz West, Peter Cole, Georg Trakl.With a poem cycle dedicated to Ludwig von Ficker |
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Exhibition catalogue "Mike Kelley / Franz West" (Angoulême), curator Catherine Bastide and Anne Pontégnie (10. 12. 1999 - 15. 1. 2000). |
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Franz West & Mike Kelley This publication accompanies the exhibition "Mike Kelley / Franz West" (Brussels, Angoulême), curated by Catherine Bastide and Anne Pontégnie Dialogue in which the artists reflect the development of their artistic oeuvre in the Avantgarde-scenes of Los Angeles and Vienna since the 1970’s. |
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