PUBLICATIONS Spring 2011 - Cornerhouse

SPRING 2011
No Place Like Home
Faye Chamberlain / Chris
Young
editorial and introduction by Lisa Edgar
text by Dr. Ben Fincham
No Place Like Home was a unique
arts project culminating in a
publication, exhibition and sound
installation at Cardiff’s city centre
homeless hostels, Tresillian House
and The Huggard – which in 2011
will be demolished to make way
for a brand new homeless facility.
The project provided a means for
the residents, staff and service
users to examine and rationalise
their relationship with the physical
environment of these buildings
before they are lost; and to provide
a lasting testament to their vital
function in relation to Cardiff’s
homeless over the last 20 years.
The book and accompanying CD
are the results of a summer long
residency by photographic artist
Faye Chamberlain; the insightful
colour images of the buildings’
hidden life taken by staff and service
users, along with the work of sonic
artist Chris Young, whose haunting
compositions are constructed entirely
from recordings within the hostel
walls, taking us into an ever deeper
and more emotional encounter with
these buildings and their residents.
Ffotogallery £20.00
ISBN 978-1-872771-84-7
hardback 96 pages
48 colour, 49 b&w illustrations
210 x 235 mm
English and Welsh text
8
GlobalArtAffairs
Publishing
distributed by Cornerhouse world-wide
Nelleke Beltjens
Immense
texts by Peter Lodermeyer, Jonathon Keats
Immense is the first publication
documenting the drawings of
Dutch artist Nelleke Beltjens. Her
highly complex works have been
shown internationally, including
galleries and art fairs in New York,
San Francisco, Germany and
Switzerland. Fragmentation is the
overriding principle of these works
and the structure of lines has no
longer anything to do with a firm
definiteness. The staccato of the
short successions of pen marks
rather has a dynamic, rhythmic
character. In our perception of
Beltjens’ works, there is no possible
perspective anymore that would give
us the impression of completeness.
From a certain distance the forms
seem like intangible, cloud structures.
Coming closer, they disintegrate into
an excess of individual information.
Over the years, the linear texture
became lighter, airier, reminiscent
of delicate textile fabrics, clouds,
floating forms, almost intangible,
indefinable in terms of their formal
features.
GlobalArtAffairs Publishing £15.00
ISBN 978-3-941763-06-7
softback 68 pages
54 colour illustrations
230 x 310 mm
English and German text
Minjung Kim
texts by Jean-Christophe Ammann,
Martina Cavallarin
edited by Patrick Heide Contemporary Art,
London
‘Minjung Kim’s work is a projection of
the imaginary and the imagination. It
is a rogue wave made up of energycharged
refinement that swells up
in an unspeakable progression; it is
a dizzying poem that is at the same
time solid – a poem that describes
the universe and the soul. Kim is
a lyrical and mysterious artist who
works with the effects of sublimation
and the tangible results of a work that
contains experience, sentiment and
life. There cohabits in the creations of
the Korean artist the transversality of
Western art and the boundless magic
of Eastern transcendence, spirituality
and laicism, a patience inbred with
the biological structure inherent to
her being an artist with intelligence
at the service of a creation that is
a total sign. Her reminiscences,
unknowingly, come from an atavistic
past, a personal trace made up
of symbols that retrace, through
their position, the temporal past by
bringing it back on the clear track of
her current individual form.’ (Martina
Cavallarin)
GlobalArtAffairs Publishing £15.00
ISBN 978-3-941763-05-0
hardback 100 pages
68 colour, 1 b&w illustrations
280 x 240 mm
Cosmo.Sys
Hedwig Brouckaert
texts by Peter Lodermeyer, Jan Van Woensel
edited by Jan Dhaese Gallery
Cosmo.Sys is the first publication
documenting the drawings of Belgian
artist Hedwig Brouckaert. For her
Magazine series (since 2005), the
picture material she uses comes
from all kinds of printed matter
such as mail order catalogues,
newspapers, TV guides, fashion
and lifestyle magazines. The artist
pores over such magazines in search
of certain motifs (figures, faces,
poses, patterns etc.), which she
then transfers and arranges on the
sheet. In 2008 Brouckaert began
expanding her drawings into the
virtual space of digitalisation – and
from there, bringing them in turn into
real space: presented as large-scale
printouts in the form of wallpapers
or as foils for windows, they become
space-specific installations, which
directly affect the exhibition rooms.
Brouckaert’s digital drawings show
a highly interesting combination of
media, already significant in itself:
transfer paper, an invention of the
19th century, which still transports
an air of the inherent stringency of
venerable old law firms, meets the
world of the digital picture, which
turns all information, once fed into
the system, into something like ‘freefloating
signifiers’.
GlobalArtAffairs Publishing £14.50
ISBN 978-3-941763-07-4
softback 80 pages
113 colour illustrations
274 x 204 mm
English and German text
Haunch of Venison
distributed by Cornerhouse world-wide
Damien Hirst / Michael
Joo
Have You Ever Really Looked
at the Sun?
text by John Grey
artist’s interview by Hans Ulrich Obrist
Have You Ever Really Looked at
the Sun? is a unique collaboration
between British artist Damien Hirst
and American artist Michael Joo.
Since gaining international attention
in 1995, Joo has employed a highly
personal language in the creation
of his art to express ideas about
identity, nature and the body. In
key works like Improved Rack
(Elk #18) (2010), a wall-mounted
sculpture of elk antlers, Joo plays
on the traditional presentation of
the hunter’s trophy. In dialogue with
Joo’s works, Hirst brings together
numerous signature sculptures
and paintings: including two major
vitrine works, The Incredible Journey
(2008), a zebra suspended in
formaldehyde in a white painted
steel tank and The Black Sheep
with Golden Horns (divided) (2009).
Published on the occasion of the
exhibition at Haunch of Venison,
Berlin, May – August 2010.
Haunch of Venison £70.00
ISBN 978-1-905620-53-1
hardback 144 pages
85 colour, 2 b&w illustrations
280 x 247 mm
LOUD FLASH
British Punk on Paper
texts by Toby Mott, Susanna Greeves, Simon
Ford, Matthew Worsley
More than any movement before
or since, Punk was defined by
the poster. Excluded from TV and
daytime radio, struggling to be heard
in the mainstream press, posters
provided an effective – and virtually
free – means for bands to reach the
public. LOUD FLASH is a unique
exhibition of posters curated by the
artist and designer Toby Mott. His
collection, which also incorporates
fanzines, flyers and other ephemera,
delivers a gripping snapshot of the
Britain of that time, a country rife
with divisions. As well as iconic
works by Jamie Reid (for the Sex
Pistols) and Linder Sterling (for the
Buzzcocks), the exhibition features
a wealth of material produced by
anonymous artists of the era and
so offers a complete survey of the
punk aesthetic. It also includes
political material. The rise of the
National Front is charted through its
incendiary propaganda, while the
posters advertising ‘Rock Against
Racism’ events show how this was
opposed and how the designers
adopted punk as stark graphical
styles to entice young supporters.
Published on the occasion of the
exhibition at Haunch of Venison,
London, September – October 2010.
Haunch of Venison £20.00
ISBN 978-1-905620-54-8
128 pages softback
118 colour illustrations
250 x 210 mm
9