"Exhibition catalogue, Hammer Museum, Los Angeles, January 28-May 6, 2018"--

Formerly a British colony, the island of Cyprus is now a divided country, where histories of political and cultural conflicts, as well as competing identities, are still contested. Cyprus provides the ideal case study for this innovative exploration, extensively illustrated, of how the practice of photography in relation to its political, cultural and economic contexts both contributes and responds to the formation of identity. Contributors from Cyprus, Greece, the UK and the USA, representing diverse disciplines, draw from photography theory, art history, anthropology and sociology to explore how the island and its people have been represented photographically. They reveal how the different gazes- colonial, political, gendered, and within art photography- contribute to the creation of individual and national identities and, by extension, to the creation and re-creation of imagery of Cyprus as place. While Photography and Cyprus focuses on one geographical and cultural territory, the questions this book asks and the themes and arguments it follows apply also to other places characterized by their colonial heritage. The intriguing example of Cyprus thus serves as a fitting test-ground for current debates relating to photography, place and identity.

Liquid Antiquity is neither an academic textbook nor an art book, but a unique platform that explores the intersection between contemporary art and antiquity in a fluid stream of images, ideas, and voices.An experiment challenging our petrifying idea of classicism, this publication radically breaks the traditional notion of temporality with a visual essay spanning more than twenty-five hundred years of art history that is set in an open-ended dialogue with a series of critical texts, and interviews with contemporary artists.Liquid Antiquity explores the possibility of reinventing classicism and argues for its enduring influence on contemporary art. With a series of 27 lexemes that critically rethink the traditional language of classicism, written by prominent critics and scholars.Featuring 10 interviews with: Matthew Barney, Paul Chan, Haris Epaminonda, Urs Fischer, Jeff Koons, Christodoulos Panayiotou, Charles Ray, Asad Raza, Kaari Upson, and Adri�n Villar Rojas.Published on the occasion of the exhibition, Liquid Antiquity, 4 Apr - 17 Sep 2017, DESTE Foundation for Contemporary Art, Athens.

In contemporary art, the collage technique has been experiencing a renaissance with artists finding new ways to use collage; they might adopt the classical approach – glueing, overpainting and alienating existing images – but they also draw on new, comput

Published with the exhibition at the Galleria Nazionale d?Arte Moderna e Contemporanea in Rome, this book brings together history, art, and industry in a single object: the vase. The vase has been the subject and object of a narrative in which artists and designers have portrayed, photographed, and reinvented it. It has filled roles as both an art object, with its intrinsic value, and an industrial object with the same functions and no less artistic value. Curated by Spanish designer Martí Guixé, the exhibition offers an opportunity to reflect on the relationship between artisanship, design, and contemporary art, and compare visual languages that are more similar than we may think. 00Exhibition: Galleria Nazionale d?Arte Moderna e Contemporanea, Rome, Italy (16.07.-29.09.2019).

The artists? book 'How To Shoplift Books' by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative, and romantic ways. Originally published in 2013, this paperback re-issue is making this sought after title available again and is published in an English, Spanish and French version. 17 more languages will be released successively.

Akira Tatehata

Tiré du site Internet d'Amazon.com (Vol. 1): "A culture's body image, as refracted through its art, will usually provide a more telling account of its preoccupations than the most explicit political art; it seems that cultural symptoms leak more readily into depictions of the body than into more overt statements. This is especially true in periods of heightened alienation, when the solitary figure gains poignancy, but bodies register their eras in many ways: the signifiers of opulence, imperialism, fashion, social decay, sexual convention and anxiety can all be readily inscribed onto the human form in art--and indeed, always have been. Fractured Figure projects our millennial moment as one of fragile bodies pitched against a restless, dysphasic backdrop, in which terrorism and global warming impinge as daily realities. It draws on the world-renowned contemporary collection of Dakis Joannou, who, in collaboration with Jeffrey Deitch, has previously organized shows such as Artificial Nature and Post Human, in which similar concerns have arisen. Here, in works by Chris Ofili, David Altmejd, Richard Prince, Urs Fischer, Pawel Althamer, Ashley Bickerton, Barnaby Furnas and others, the figure is shown as un-idealized and compellingly mortal--situated in a realm that we will immediately recognize as our own."

Text by Lisa Phillips, Massimiliano Gioni. Conversation with Jeff Koons.