Until the installation of his 1973 solid-light piece, Line Describing a Cone in Chrissie Iles’s Whitney exhibition Into The Light in 2001, Anthony McCall (England, 1946) remained one of those artists whose work circulated almost entirely in the form of two or three very well-known documentary photographs: his art was immediately recognizable, canonical even, but rarely experienced firsthand.
This carefully designed and produced monograph on the anglo-american artist seeks to lay bare the imaginary that underlies his work, from Landscape for Fire (1972) to the presentation of his latest piece Coming About (2016). Throughout the images and the artist words, the book vindicates McCall's independence of spirit and aims to make the richness and complexity of his work perfectly apparent. In addition, the book collects, for first time, all the public projects the artist developed on the last decade. As it takes in the range of expressive media that the artist uses, the sequence of works maintains throughout the idea that space and time pertain to the same moment, the moment of the person contemplating them at that particular instant.

>> Gloria Moure is a renowned freelance curator and editor. Over the last ten years, she has curated exhibitions and edited referential monographs on key contemporary artists, such us Sigmar Polke, Gordon Matta-Clark, Dan Graham, Marcel Broodthaers, and Michael Snow.
>> Art historian, Robert Hobbs has taught at Virginia Commonwealth University, and at Yale University. Recognized as a scholar, teacher, and curator, his specific research areas span the twentieth and twenty-first centuries, and his publications include monographs on Alice Aycock, Edward Hopper, Lee Krasner, Robert Smithson, and Kara Walker.

Anthony McCall

Solid Light, Performance and Public Works
Gloria Moure
Essay by Robert Hobbs
168pp./ 17x24cm./ / Printed hardcover

9788434313606 Castellano/Català/English


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Francesc Torres (Barcelona, 1948) is, without doubt, one of the most important European artist of his generation.

The title of the piece I am writing about comes from a sentence in Arthur Koestler’s Darkness At Noon, and it conveys in a nutshell the overwhelming disregard that History has, in its Hegelian sense, for the individual human being.

During the Spanish Civil War a contingent of 3,500 Americans –– known as the Abraham Lincoln Brigade–– joined the International Brigades. Half of them didn’t return.

Harry Randall was one of them and he did return. He was a photographer and cameraman in the brigade, and he is the prime mover of the editorial project presented here as an artist’s book. The basis material was 45 minutes of 16mm film shot over a period of two years (1937-1938), that very few people have seen to date.

As a matter of fact, this book reflects on the visual sedimentation of history beyond the concrete historical event; it is a comment on the material fragmentation, literal and metaphoric, that silently sleeps under the politically conditioned and socially negotiated official narrative of History.

Artist’s Book Limited Edition of 500 numbered copies
88pp./ 22x28cm./ / Printed hardcover

9788434313590 Castellano/Català/English


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Juan Uslé (Santander) has been living in New York since the early 90’s and is one of the most prominent figures of contemporary painting. The hypersensitivity described by Uslé in his work is a sort of memorable visionary state because it is painful. When we see certain paintings by Uslé, always in intense, bright and burning colours, we should be reminded of encounters with one of those states that take us out of our everyday way of perceiving, one of those events that teach us that everything we perceive can be captured in an entirely different way, given that even a small modification of the perceptual apparatus can cause it to vary.

Some of Uslé’s paintings, the most complex, bring vision to mind through a kaleidoscope. It is useful to recall that these types of experiences, which we are unaccustomed to, are neither easy nor comfortable, and yet are just a step, though a crucial step, away from being painful. In their excess they put pressure on our aesthetic expectations. This work would be the pictorial equivalent of Rimbaud’s famous quote “dérèglement de tous les sens”.

•   This is the first complete monograph dedicated to the career of Juan Uslé.

•   In addition to an in-depth essay by the renowned New York art critic, Barry Schwabsky, the book also includes an important body of works and aphorisms by the Spanish artist.

•   His work currently forms part of the permanent collections of the most important museums and collections: Kunstmuseum Bonn (Bonn), Daros Latinamerica (Zurich/Río de Janeiro), Guggenheim Museum (Bilbao), Museum of Modern Art (New York).

>> Barry Schwabskyis an American art critic and poet. He has taught at Yale University, and Goldsmiths College, among others. Currently he is critic for The Nation and co-editor of international reviews for Artforum.

He has published books on Jessica Stockholder, Mel Bochner, Gillian Wearing and Alighiero Boetti, among others.


The Blind Entrance

Barry Schwabsky
With an essay by Barry Schwabsky
288pp./ 22x28.5cm./ / Printed cloth binding



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