The Material of Ornament and To Invent Relations (for Carlo Scarpa) by Joseph Kosuth - double volume
SKU: 59083561128

The Material of Ornament and To Invent Relations (for Carlo Scarpa) by Joseph Kosuth - double volume

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The Material of Ornament and To Invent Relations (for Carlo Scarpa) by Joseph Kosuth - double volumeThis double volume book celebrates Joseph Kosuths two large public installations in Venice: The Material of Ornament and To Invent Relations (for Carlo Scarpa) The book launch will take place in the Mario Baratto Lecture Hall, Ca Foscari University, in the heart of Venice on the Grand Canal, on the 8th of May 2019 from 5pm to 7pm on the occasion of the 58th Venice Art Biennale. The Material of Ornament is a re print of the artists book to mark the

This double volume book celebrates Joseph Kosuth’s two large public installations in Venice: ‘The Material of Ornament’ and ‘To Invent Relations (for Carlo Scarpa)’ The book launch will take place in the Mario Baratto Lecture Hall, Ca Foscari University, in the heart of Venice on the Grand Canal, on the 8th of May 2019 from 5pm to 7pm on the occasion of the 58th Venice Art Biennale.

‘The Material of Ornament’ is a re-print of the artist’s book to mark the Fondazione Querini Stampalia’s 150th anniversary, it was first published in 1999 by Westzone, the first publishing house of Gigi Giannuzzi who went on to found Trolley Books in 2001 in Venice. The book was edited by Chiara Bertola, and documented Kosuth’s permanent installation on the façade of the Fondazione Querini Stampalia in Venice, which was unveiled in 1997. This installation was initially commissioned for the ‘Sarajevo 2000’ exhibition of the Venice Biennale. The work is from a text by John Ruskin, dated from the middle of the 19th century. Ruskin’s goal was to list the elements that constituted architectural ornamentation.

In Kosuth’s own words ‘I was also curious to see if I could stand some of my own presumptions on their head and do a work about decoration and ornamentation (fairly taboo) which, nonetheless, at the same time, was a reflexive state of its own decorative role, even if in contradiction. I was interested in the idea of taking a theoretical model of ornamentation and using that as ornamentation.’

The book includes an introduction by the present director of the Querini Stampalia Marigusta Lazzari and by the previous director, Giorgio Busetto, an essay by curator Chiara Bertola and an interview by historian Angela Vettese.

The second volume focuses on a more recent work produced in 2016 on occasion of the Architecture Biennale. This book presents a multifaceted interpretation of the artist’s work in relation to Carlo Scarpa and the architect’s intervention in the renowned Mario Baratto lecture hall. The work consists of reproductions of Scarpa’s own handwriting and line drawings as well as statements by Scarpa on architecture and the Baratto lecture hall, selected by Kosuth and positioned in sections around the perimeter of the windowpanes. The reprint is of significance for being a Venice project conceived in Venice and published and printed in Venice, and since the death of Gigi Giannuzzi in 2012 a way to historically revisit one of his early publications.

The book is edited by Chiara Bertola and Fiona Biggiero and contains a foreword by the provost of Ca Foscari, Flavio Gregori, an essay by the sociologist Angela Mengoni and introductory essays by curators Chiara Bertola and Geraldine Blais and a graphic project with an imaginary dialogue on architecture between Kosuth and Carlo Scarpa by Fiona Biggiero. Photographic documentation by Mauro Sambo and Francesco Allegretto.

This double volume has been possible thanks to the generous support of Galleria Lia Rumma, Milano/Napoli and Galleria Vistamare /Vistamarestudio, Pescara/Milano.

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SKU: 59083561128

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This book will forever redefine feminism for its readers. There are two threads: one political, the other literary commentary. Fortunately, Witting pulls the former into the latter. The astute and radical political critique in Wittig's book is uniquely powerful. Wittig addresses the question of how a movement is comprised of both group energy and individual experience. The theory, legacy, and limits of Marx and Engels are discussed. Then, drawing on de Beauvoir and other iconoclasts, Wittig addresses our dominator culture in a way that goes directly to its core. Wittig deals efficiently yet persuasively with the argument over whether nature or culture is responsible for inequality, declaring that "there is no sex." This statement becomes the book's alpha and omega, and the lens through which Wittig shows us history, literature, and the future of activism. Like whiteness, maleness is a social category that can be renounced. Man (Homo) once meant everybody in the human community -- it was indeed generic, in the unifying sense. Unfortunately, the word has so frequently been used to describe a socially constructed group that expels half of itself in order to oppress it, "man" is now identified with those identified as male. In the essay "The Category of Sex" Wittig writes: "The perenniality of the sexes and the perenniality of slaves and masters proceed from the same belief, and, as there are no slaves without masters, there are no women without men. The ideology of sexual difference functions as censorship in our culture by masking, on the grounds of nature, the social opposition between man and women. Masculine/feminine, male/female are the categories which serve to conceal the fact that social differences always belong to an economic, political, ideological order. ...The masters explain and justify the established divisions as a result of natural differences." I understand that Wittig has recently passed away. If only I had discovered this book a little earlier, so that I could have met the author. That feeling, I suppose, is the sign of a truly good read. "A text by a minority author is only successful if it succeeds in making the minority point of view unviersal" writes Wittig --and to read this book from beginning to end is to find that the author has done just that.
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Dr. Wittig had so much anger, and had such a fight to fight. She seems excessive at times, or as though she is painting with such a broad brush, but writing such as this did win some important battles. No, things are not as dark as her wrath would suggest, or at least not anymore.
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