Books published by Onomatopee

Celebrating 15 years of a unique artist-run gallery in GalwayUsing 126, an artist-run gallery in Galway, Ireland, as an exemplar of an artist-run democracy, this book celebrates 15 years of 126 and explores the grounds for its unique mode of organization.

When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe follows the bound to fail investigation on the fire that burned a public art collection in southern Tel Aviv. The dodgy officer in charge uses all imaginable tricks and trades of whodunit novels to unfold a police investigation that casts a gloomy yet lucid look over the Israeli culture and its visual art scene. Framed in between fact and fiction by the tendentious writing of Jonathan Touitou, this book is a layered investigation of the art world and its deeds. Against the backdrop of the second Intifada and today's recurrent undermining of Palestinian rights, this controversial book will provide its readers with a perspective of an infiltrated outsider on the Israeli society, possibly supply the welding torch for the cynical ones, a bonfire for the freaks and fireworks for the wholehearted.

Artists take on the sandwich as form in this inventive, fun cookbookDeploying sculpture, found imagery, drawing and much more, Breadcrumb compiles 41 sandwich recipes by artists from across the globe, presenting the sandwich as both an art form and a gustatory pleasure. Recipes by: Bea Turner, Nadine Lohof, Lara Smithson, Rafael Pérez Evans, Rubén Grilo & Sonia Fernández Pan, Thomas Pausz, katrinem & Sam Auinger, Soy Division, Esther Kokmeijer, Gillies Adamson Semple & Harry Smithson, Diana Duta, Matei Bellu & Andrea Bellu, Nestor García, Verena Buttman, Vasile Leac, Alex Hamburger, Lucia Cuba, Daniela Palimaru, Daria Blum, Madalina Zaharia & Ross Taylor, Ian Waelder, LH, Anastasia Alekseeva, David Martínez Suárez, Ran Zhang, David Reiber Otálora, the Mycological Twist, Esther Gatón, Felix Leon Westner, Bakudapan Food Study Group, Jin Ningning, Hannah Lees, Fermín Jiménez Landa, Sara Rodrigues & Rodrigo B. Camacho, Jonas von Lenthe, Mariana Sarraute, Víctor Payares, Sophie Mackfall, Aya Fukami and Gabriel Pericàs.

Pedagogical and participatory art from the coauthor of Making and BeingIn Art, Engagement, Economy: the Working Practice of Caroline Woolard, this acclaimed New York-based artist and educator (born 1984) proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations. Readers follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the Covid pandemic of 2020, this book suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.

Digital art scholars reflect on the cultural impact of digital exhibitionsThis publication investigates the idea of digital exhibitions, gathering artistic and theoretical reflections on post-digital culture. Contributors consider the transformative potential of exhibitions experienced individually behind screens, focusing on questions of subjectivity, technical elements, circulation and cultural impact.

Texts and documents on a cinematic exploration of Europe's precarious plightBased on Giulio Squillacciotti's titular film fictionalizing contemporary Europe's problems, this book collects text responses, stills and a timeline of Europe from World War II to Brexit, compiled by Enrico De Gasperis.

In this fourth edition of Field Essays we explore the specific decolonial and tactile research approach in the work of Paris-based design-duo dach&zephir. Convinced of the symbolic act of transmission and the gestures objects convey they zoom into the historic making of identity.

One-to-One refers to a working method in which items of clothing became large-sized printing tools, covered in black and blue ink. Each clothing item served as a stamp, and was simultaneously being stamped on, thus creating a chain reaction and making each clothing item an original and a copy. As such the project One-to-One offers new perspectives on reproduction - it allows us to look beyond the status conveyed by the label and see the actual, material properties of clothing.Bringing together contributions by Amelia Groom, Ruby Hoette, Joke Robaard, T'ai Smith and Hanka van der Voet this reader explores some of the project's core questions: What does it mean to copy in fashion? What if a garment could be both a copy and an original at the same time? What if reproduction and production are one and the same? This reader documents the process and outcomes of the One-to-One project as well as exploring the implications and possibilities of this unique working method in the broader context of the fashion system.

Both practical and critical, this book will guide you through the concepts underlying copyright and how they apply in your practice.How do you get copyright? For what work? And for how long? How does copyright move across mediums, and how can you go about integrating the work of others? Because they get copyright too! Copy this Book will detail the concepts of authorship and original creation that underlie our legal system. This way, it will equip you with the conceptual keys to participate in the debate on intellectual property today. This sharp and useful book shines a light on the rights of all artists to protect¿and share¿their work. Eric Schrijver has produced an essential guide for navigating the new Commons and the old laws of copyright control.

The center of the city is the place for meeting and consumption. It is where everyone goes, it's where our culture is consumed and lived. However, the offering there is limited, and not a lot is allowed. It's not everybody's space, but the space of the majority. Yet even for that majority, there is no free choice, so it is also place for the silent majority. Meanwhile, every human being wants an inclusive culture, with free offering and free access. Although our culture turns out not to be free, but forced. With this project we ask what could be on offer, and what perhaps ought to be? Many free-thinkers such as designers, philosophers, journalists, artists and others take space to explore this. In short: WE ARE THE MARKET! calls out to freedom in the capitalist commons, within the cultural production of the high street.

The Standard Book of Noun-Verb Exhibition Grammar is a partial compendium of the different modes of being that inhabit exhibitions. These different modes of being, often placed outside the realm of art objects proper, are described and activated here as crucial players in the world of contemporary art. Maximizing a poetic resourcefulness, this book proposes the exhibition as an ecology full of things that are infinitely more dimensional than their ascribed functionality would lead us to believe, and creates a space where species meet, where ontological and epistemological registers clash, overlap, and contaminate each other, where the living and inert, organic and inorganic exchange properties, qualities, and performances. Ultimately this book aims to show that what revolves around, within, and beyond any given system resolves to be just as serious and important as what that system aims to convey. The exhibition and catalog are curated by The Office for Curating, a generic name for a curatorial practice and an agency, established in 2012 by niekolaas Johannes Lekkerkerk, working in Rotterdam.

Because feminism has suddenly become a fashionable commodity, were in desperate need of a more inclusive and varied reflection on contemporary girlhood, cross-cultural feminism, and the relationship between gender, politics, and philosophy. Sense and Sensibility wishes to explore oppositions and contradictions between objects and subjects, between gender identities, and between theory and visual modes of culture here and now. A book that works as part reader and part exhibition document presents the thought processes of four female artists points of view. It features a collection of autonomous work, research outcomes, reflections, essays, interviews, columns, letters, and notes on contemporary feminism by a variety of artists and academics, writers, rioteers, curators and journalists. Artists included are Mandy Roos, Gabriel Ann Maher, Olle Lundin, Janina frye, Roberto Perez de Gayo and Carly Rose Bedford. With essays by nina Power, Charlotte van Buylaere, Alicja Melzacka, Aynouk Tan, Barbara Bolt, ece Canl?, and Luiza Prado de O. Martins.

The conceptual / internet based artist, Jim Rickss synchronic sequence of popular images or objects rests, on opportunities to visually connect politics and/or aesthetics and/or history and/or philosophy together. In Rickss world images explode, reloading their meaning and impact by mere association; a smiling pineapple ends up inside a hand grenade, the hand grenade ends up in the hand of the young boy in the iconic Diane Arbus photograph which leads into a conversation about photography. This dance of culturally charged imagery does not stop until the last page of the book. far from a traditional exhibition, document Alien Invader branches out to be all forms a book can be. It includes collaborations, footnotes as inserts and explorations in print along with a sticker, newspaper, leaflet, cook book, coloring, bookmark, and a book within the book with a text by art and design critic Max Bruinsma, describing the Synchromaterialist approach. Its a riot of infomration! Ricks is American born but now lives in Ireland. He has a devout following constantly tracking both his public installations and voluminous web postings.

Tracy Mackenna & Edwin Janssen are interested in the relationship between conflict, looking and art. In War as Ever!, through visual reflection on images of war and violence they investigated the relationship between seventeenth century visual representations and the contemporary role of the media in the representation of war and violence.War is of all times, so war is now. By making us aware of war and its consequences, and by undermining representations of war, can artists play a role in preventing and ending wars? How can artists make works that relate to war in productive ways? How can the museums and archives that conserve and interpret our memories of war develop their role to mediate for art? The Van Kittensteyn album, a collection of more than 500 prints and drawings dating from 1613 whose subject is the Eighty Years¿ Dutch-Spanish War of 1568¿1648, served as a starting point. The album, currently part in the collection of the Atlas van Stolk (Museum Rotterdam), was compiled by Willem Luytsz van Kittensteyn of Delft and portrays in bloody reportage the lengthy series of battles; sieges, executions and plundering that dominated the Dutch war of independence against the Spanish. The slide projection WAR AS EVER!: Eighty Years and One Day, also shown at Onomatopee, is made up of a selection of prints from the Van Kittensteyn album and newspaper excerpts reporting the Iraq war on April 1st 2003, the day Tracy and Edwin¿s daughter was born. The full exhibition project as shown at the Nederlands Fotomuseum consisted of a double screen slide projection, performative actions, text posters, photographs, educational activities and a conference. The posters included here and designed by the artists, show a series of quotes from Susan Sontag¿s book ¿Regarding the Pain of Others¿. The images recorded in the WAR AS EVER! publication are complemented by texts by Nederlands Fotomuseum Head of Exhibitions Frits Gierstberg and Lina van der Wolde, Director of the Atlas van Stolk.Artists: Tracy Mackenna & Edwin JanssenCurators: Frits Giertsberg (Nederlands Fotomuseum) and Freek Lomme (Onomatopee)Graphic design publication: Stout/KramerTexts: Lina van der Wolde, Frits Gierstberg and Tracy Mackenna & Edwin JanssenTraslations: Charles Welling and Don MaderMade possible thanks to the generous support of The Carnegie Trust for The Universities of Scotland, Duncan of Jordanstone College of Art and Design, University of Dundee, Municipality of Eindhoven, Mondriaan fund, Stichting Begunstigers Atlas van Stolk and Nederlands Fotomuseum.