Claiming that the museum is not enough means asking what a museum should be and do, eventually questioning the role of cultural institutions in society. Through conversations, stills of documentaries, responses, and reprints of archival documents that explore ideas of architecture on the ground, this volume reflects on the tools deployed by the institution to redefine its relationship to others.
Affirmer que le musée ne suffit pas, c’est interroger ce qu’un musée devrait être et faire, et réfléchir de manière critique sur le rôle des institutions culturelles dans nos sociétés. À travers des conversations, des photogrammes de documentaires, des interventions et des reproductions d’archives questionnant les conceptions de l’architecture sur le terrain, ce volume réfléchit aux outils mis en œuvre par l’institution pour redéfinir sa relation aux autres.
Semi-Nomadic Debt-Ridden Bedouins is the first monograph on the work of the Palestinian artist and filmmaker Basma al-Sharif. Spanning nearly two decades of moving-image and installation work, it combines visual documentation with texts that reflect on the charged political landscapes through which al-Sharif navigates.
This monograph marks the occasion of the first European survey of Nicola L. (1932–2018). Often discussed in the context of Pop Art, activism, feminism, and design, this is the first in-depth exploration of the multi-layered and expansive nature of her extraordinary practice, which also encompassed cosmology, environmental concerns, spirituality, political protest, and sexuality.
The artist’s book to love and devour by Tolia Astakhishvili was published on the occasion of the inaugural exhibition at the new site of the Nicoletta Fiorucci Foundation in Venice, curated by Hans Ulrich Obrist.
This monograph, published on the occasion of Samson Young’s exhibition at SFMOMA, focuses on his latest project, Intentness and Songs, a multimedia installation that poetically traces the idiosyncratic rhythms of love, memory, experiences of time, and AI. Essays and a rich set of unpublished materials offer new keys to understanding the artist’s work.
Edited by Yuvinka Medina, Bettina Schultz and Lap-See Lam
Texts by Stephanie Cristello, Mara Lee Gerdén, Yuvinka Medina, Svante Tirén, and Xiaoyu Weng.
Designed by Thomas Bush
2022, English, softcover, 188 pages, 21 x 28 cm
ISBN: 979-12-80579-25-6
The ubiquitous presence of Chinese restaurants overseas has long been the default and emblematic symbol of Chinese diasporic life. Chinese restaurants are the archetype of a constructed Chineseness meeting the nostalgic ideal of an ancestral homeland. In their many yet all so stereotypical incarnations, these places have acquired names that riff off a few words to embody an oriental experience: Lucky Garden, Mandarin City, Bamboo Palace, New Peking City, Crane Garden, Lotus, Ming Garden. Lap-See Lam puts herself—and us with her—in a relationship to the Chinese restaurants, challenging both the Western historical fascination and its fear by seeking out other realms. It would seem that at the heart of it all, Lam’s practice is guided by a simple question: What are the implications of something looking Chinese? This monograph accompanies Lam’s first institutional exhibition at Bonniers Konsthall.
