571 résultats
1040Seghers. 1949. Plaquette in-12 agrafée. 28 pages. E.O. sur papier ordinaire.
In-8°, pp. 134, 53 illustrazioni f.t., tela editoriale con sovracc. illustrata. Leggere usure alla sovracc.
Mancante della sovra copertina con dedica essendo stato regalato. Resto dell'opera in ottime condizioni
199427DyBern Peter Lang 1994 In8 228 pages - collection Contacts - sous la direction de Michel Grunewald et Jean Marie Valentin - broché - parfait etat
199427DyBern Peter Lang 1994 In8 228 pages - collection Contacts - sous la direction de Michel Grunewald et Jean Marie Valentin - broché - parfait etat
In 8° quadr., leg. edit. T.Tela con sovr. in acetato con disegno a col. al piatto, pp. 70 circa con 44 tavv. b/n e col. Unito fascicolo con traduz. del testo in francese, inglese e tedesco.
6947Paris. 1966-67. Grand in-8° broché. Nombreuses planches hors texte. Non paginé [170 pages]. Textes de Michel Sanouillet, René Wehrli, Bernard Dorival. Est joint le fascicule " Souvenirs et témoignages ", de présentation identique à celle du catalogue, avec des textes de Hans Arp, Hugo Ball, Gabrielle Buffet-Picabia, Serge Charchoune, Raoul Hausmann, Richard Huelsenbeck, Marcel Janco, Man Ray, Georges Ribemont-Dessaignes, Hans Richter, Tristan Tzara.
197526450Chene 1975 In-4, pleine toile editeur rouge, illustree. 359 p. 439 reproductions n&b et couleurs. Sans la jaquette
200517922L’Insolite 2005 Gd in-4, cartonné, étui, 271 pp, nombreuses illustrations en couleurs et en noir. Comme Neuf.
197588333Chêne 1975 In-4 reliure éd. sous jaquette 27 cm sur 26. Jaquette en bon état. 359 pages. Très bon état d’occasion.
19751252821975 Librairie José Corti, Paris - 1975 - In-8 broché - 460 pages
New English Paperback. Pbo. 4to. (31 x 24 cm). In English and Turkish. 112 p., b/w and color ills. Murat Akagündüz. VErtigi. [Exhibition catalogue]. Edited by Süreyyya Evren, Ilkay Baliç. Murat Akagündüz's exhibition Vertigo brings together 13 paintings from the "Kaf" series. In this new series the artist depicts some of world's highest mountain peaks as seen on Google Earth. How is the act of painting transformed once we rely upon the mediation of digital data to depict an actual physical landscape? The exhibition thus refers to the ontological consequences of such digital mediation in our relationship to the Earth and its implications in terms of vision and image production. While the series, named after the Kaf Mountain, emphasises a mythological narrative, each painting in the "Kaf" series takes its title from the latitude and longitude values defining the position of the images on Google Earth. Akagündüz offers us views over the peaks of the Alpide Belt, spreading across three continents, and provides us with the coordinates of the Kaf Mountains at the same time. In juxtaposing mathematical exactitude with the perceptually challenging monochromatic use of the colour white, Akagündüz's intention is to explore the minimal conditions of visual representation. The "Kaf" series, in its search for a language using different shades of white, winnows down the minimal conditions of pictorial representation to a bare-bones relationship between light and shade and approaches the threshold of visual perception. In the "Kaf" paintings, the line of the horizon is either invisible or it escapes the eye by merging with the upper corner of the canvas. Adopting a satellite view of the Earth the paintings represent a vertical, groundless perspective. As the horizon is nowhere to be found, our sense of being grounded in space is unsettled and a sense of vertigo sets in. This vertigo effect is also echoed in the spatial construction of the exhibition through a subtle intervention on the walls delineating the first floor of Arter. The "Kaf" paintings bring the process of emergence of image to the eye and to memory, between appearance and disappearance, through reverberations in time. At first sight, these appear to be abstract fragments that are difficult to read in terms of their relationships of scale to the reality they were cut off from. The even distribution of light on the entire surface and its movements through various shades of white, by evading the eye, catch and hold the gaze. The stains, which slip away and alter the moment we think we have caught an image, are contiguous with the void and create a silent space of tension. Vertigo denotes the dizziness and loss of balance felt when a subject or the objects surrounding them appear to be moving in space. As reflected through Murat Akagündüz' "Kaf" series, vertigo is a relational phenomenon, it points both to a spatial disorientation on psychological and physiological levels, and to an uncertainty regarding subject-object relationships as perceived within space. By opening up a space for silent contemplation, the paintings invite the viewer to sense the new possibilities found in this loss of ground and thus produce a new perception of the world.
3044New York: Holt Rinehart & Winston, 1971; in-4°; cartonnage entoilé, jaquette.
19881125Köln, DuMont, (1988). 523 S. Mit sehr zahlr. tls. farb. Abb. im Text u. auf Taf. 4to (32 x 26 cm). OLn. mit farb. illustr. SU in grauem Pp.-Schuber (dieser leicht gebräunt).
197416171974 Genève, Weber, 1974. In-4, 48 ff. n. ch., fac-similés en noir et en couleurs, broché, couverture orange imprimée.
In 4ø (cm. 28,5 x 20); pagg. (32); con 16 tavole fotografiche n.t.; leggera carton. origin. con sovracop. figur. VG. ** Testi di Duilio Morosini, Antonio Del Guercio e altri. "Questa Š la prima volta che li maggiore protagonista del dadaismo sociale tedesco viene presentato in Italia e in Europa occidentale con una antologia della sua opera che copre decenni di lavoro creativo e combattivo." "Rendetevi conto dei profondi impulsi umani con i quali Hartfield, sostenuto dall'arte interamente nuova del fotomontaggio, costringe a prendere posizione contro la barbarie, l'ingiustizia e l'inganno a danno delle masse".
In 4, cm 21 x 30, pp. 576 con moltissime illustrazioni nel testo in b/n e a colori. Brossura editoriale. Ricco e importante catalogo sulle avanguardie culturali, i movimenti letterari e politici tra Francia e Germania: espressionismo, dada, costruttivismo, bauhaus, fotografia, cineama, teatro ecc.
19828491982 Couverture souple Mortemart, Rougerie, 1982. In-8 broché, couverture imprimée, quelques marques marginales sur les plats, papier cristal de protection. 109 pages, non coupé. Ex-libris érotique : "je ne suis pas un amant, je suis un expérimentateur". Un des 2100 exemplaires sur bouffant afnor 7. Tirage limité à 2250 exemplaires. Pierre Albert-Birot, (Angoulême, 22 avril 1876 - Paris, 25 juillet 1967), est un poète, sculpteur, peintre, typographe et homme de théâtre français. Avant-gardiste invétéré pendant la Première Guerre mondiale, à travers la revue Sic (1916-1919) dont il est le fondateur et directeur, il s'est fait le défenseur du futurisme et du cubisme. Les dadaïstes le considéreront comme l'un des leurs, sans que lui-même y souscrive jamais. Bon exemplaire.
3248Tiré-à-part de la revue "Critique", n° 134, juillet 1958, sous couverture spéciale. 26 pages.
IXY-987Préface de Hermann Hesse. Traduit de l’allemand par Sabine Wolf. Éditions du Rocher, Monaco, 1993, 385 p. Broché. 14 x 22,6 cm.
67252José Corti, 1987, exemplaire numéroté n° 143, un des 150 hors commerce réservés aux membres d'Actual, 118 pp., broché, bon état.
199373355(München), Prestel, (1993). 375 S. Mit sehr zahlr. tls. farb. Abb. im Text u. auf Taf. 4to. 30 x 24,5 cm. OLn. mit farb. illustr. SU.
196326015La Brèche | Paris Octobre 1963 | 15.50 x 22.50 cm | broché
196426016La Brèche | Paris Juin 1964 | 15.50 x 22.50 cm | broché
196526018La Brèche | Paris Novembre 1965 | 15.50 x 22.50 cm | broché
