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ART VITAL: 12 Years of Ulay / Marina Abramović

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ENG: Comprehensive exhibition catalogue on Ulay and Marina Abramović, with essays, archival material and illustrated documentation in English.

SLO: Razstavni katalog ob obsežni retrospektivi tandema Ulay / Marina Abramović, prinaša številne eseje, ki jih spremlja širok nabor arhivskega gradiva, dokumentov, risb, kontaktnih kopij in fotografij performansov. Izšlo v slovenskem in angleškem jeziku.

Vezava: trda
Jezik: angleški / english
Število strani: 437
Velikost: 225 x 292 x 33 mm
Leto izida: 2025
ISBN: 9783753309606

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ENG:

ART VITAL: 12 Years of Ulay / Marina Abramović catalogue accompanies the major retrospective exhibition dedicated to the creative partnership of Ulay and Marina Abramović at Cukrarna Gallery (30. 11. 2025 – 3. 5. 2026).

This English-language publication presents a rich selection of essays by international authors, divided into two sets:

In the first set of essays Alenka Gregorič examines how personal documents and audience participation inform an understanding of their work, while Felicitas Thun-Hohenstein reflects on shared authorship, the emergence of a “third energy,” and the ethics of the in-between. Elisabeth von Samsonow discusses the duo’s nomadic, spiritually grounded mode of presence, and Amelia Jones highlights Ulay’s ethical view of art as a lived practice deeply connected to marginalised communities. Bojana Kunst frames their everyday life and vulnerability as the very conditions of their artistic production, and Suzana Milevska reads Imponderabilia (1977) as a radical rethinking of institutional and social boundaries. Diedrich Diederichsen focuses on the specific dynamics of artistic partnerships, showing how collaboration itself becomes an evolving artwork.

A second set of essays further expands this perspective: Sabine Priglinger identifies The Brink (1979) as a turning point toward durational work; Michael Klein offers a personal view shaped by long-standing proximity to the artists; Hana Ostan-Ožbolt-Haas reflects on the meditative and visually charged Polaroid works of the 1980s; Matthieu Lelièvre examines the challenges of preserving performance’s ephemeral legacy; and Kurt Kladler revisits The Lovers (1988) through Ulay’s diary entries. The section concludes with another essay by Thun-Hohenstein, who approaches the archive as a performative field where photographs, objects, and notations continually generate new interpretations.

The essays are accompanied by a wide range of archival material, documents, drawings, contact sheets, and performance photographs.

📌 For readers interested in:

  • contemporary art and performance history
  • exhibition catalogues with essays and archival exploration
  • body, identity and relational practice in art
  • the work and collaboration of Ulay and Marina Abramović

SLO:

Razstavni katalog ART VITAL: 12 let tandema Ulay / Marina Abramović je del istoimenske razstave v Galeriji Cukrarna (na ogled: 30. 11. 2025 – 3. 5. 2026) in ponuja celovit vpogled v umetniško prakso, življenje in razmišljanje dveh ključnih osebnosti sodobne umetnosti.

Katalog združuje eseje mednarodno priznanih avtorjev, dokumentacijo, risbe in fotografije performansov, ki razkrivajo radikalni pristop umetniškega tandema, njegovo politično in estetsko mišljenje ter dinamiko partnerstva kot razvijajočega se umetniškega dela.

Eseji so razporejeni v dva sklopa:

V prvem sklopu esejev Alenka Gregorič preučuje, kako osebni dokumenti in sodelovanje občinstva oblikujejo razumevanje njunega dela, medtem ko Felicitas Thun-Hohenstein razmišlja o skupnem avtorstvu, nastanku »tretje energije« in etiki vmesnega prostora. Elisabeth von Samsonow obravnava nomadsko, duhovno utemeljeno prisotnost umetniškega dua, Amelia Jones pa izpostavlja Ulayev etični pogled na umetnost kot živo prakso, globoko povezano z marginaliziranimi skupnostmi. Bojana Kunst njuno vsakdanje življenje in ranljivost razume kot temeljna pogoja za nastanek umetniškega dela, Suzana Milevska pa bere Imponderabilio (1977) kot radikalno prevrednotenje institucionalnih in družbenih meja. Diedrich Diederichsen se osredotoča na specifično dinamiko umetniških partnerstev in pokaže, kako sodelovanje samo postane razvijajoče se umetniško delo.

Drugi sklop esejev to perspektivo še razširi: Sabine Priglinger prepozna The Brink (1979) kot prelomni trenutek, ki je umetniški tandem usmeril k duracijskemu delu; Michael Klein ponudi osebni pogled, oblikovan z dolgoletno bližino umetnikoma; Hana Ostan-Ožbolt-Haas razmišlja o meditativnih in vizualno nabitih polaroidih iz osemdesetih let; Matthieu Lelièvre preučuje izzive ohranjanja efemerne dediščine performansa; Kurt Kladler pa se k The Lovers (1988) vrne skozi Ulayeve dnevniške zapise. Sklop sklene še en esej Thun-Hohenstein, ki arhiv obravnava kot performativno polje, v katerem fotografije, predmeti in zapisi nenehno ustvarjajo nove interpretacije.

📌 Za bralce, ki jih zanimajo:

  • zgodovina sodobne umetnosti in performansa
  • umetniška partnerstva in avtorstvo
  • performansi Marine Abramović in Ulaya
  • katalogi z eseji in arhivskim gradivom

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"ART VITAL: 12 Years of Ulay / Marina Abramović"

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Glasba, politika, afekt. Novo življenje partizanskih pesmi v Sloveniji

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Revija Fotografija 92 / 2020 ; Sergej Tretjakov – Izbrani spisi

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Forest Encounters

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NSK from Kapital to capital : Neue Slowenische Kunst – an event of the final decade of Yugoslavia

Izvirna cena je bila: 45,00 €.Trenutna cena je: 40,50 €.

Vezava: trda
Jezik: angleški / english
Število strani: 437
Velikost: 225 x 292 x 33 mm
Leto izida: 2025
ISBN: 9780262029957

Izvirna cena je bila: 45,00 €.Trenutna cena je: 40,50 €.

NSK from Kapital to capital : Neue Slowenische Kunst – an event of the final decade of Yugoslavia

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45.00 €

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40.50 €

Izvirna cena je bila: 45,00 €.Trenutna cena je: 40,50 €.

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Vezava: trda
Jezik: angleški / english
Število strani: 437
Velikost: 225 x 292 x 33 mm
Leto izida: 2025
ISBN: 9780262029957

Po razstavi z istim naslovom je izšla obsežna publikacija, ki
predstavlja delo umetniškega kolektiva Neue Slowenische Kunst (NSK)
tekom osemdesetih let prejšnjega stoletja. Začne se z zgodnjim delom
skupine Laibach in ustanovitvijo NSK-ja, ki je prevzel simbole, kode in
motive od nasprotujočih si ideologij in umetniških tradicij. Knjiga
predstavlja t. i. primarne dokumente, artefakte iz tistega časa in
raziskovalna besedila , ki podajajo njihov kontekst; s tem nam omogoča
povsem nov vpogled v širjenje in recepcijo NSK-ja v desetletju,
zaznamovanem s socialnimi nemiri, ki so vodili do konca Jugoslavije in
socializma. Uredniki so k sodelovanju povabili več piscev, ki v svojih
besedilih kontekstualizirajo primarne dokumente in tudi (ponatisnjena)
besedila zgodnjih kritikov in komentatorjev, ter s tem razširili in
poglobili znanstveno poznavanje tedanje umetnosti in kulture.

VSEBINA KNJIGE (v angleškem jeziku)

 

Exhibition

The NSK common room

Laibach room

IRWIN room

Theatre groups room (Scipion Nasice Sisters Theatre, Cosmokinetic Theatre Rdeči pilot, Cosmokinetic Cabinet Noordung)

Other NSK departments room (New Collectivism, Department of Pure and Applied Philosophy,   Retrovision, Film, Builders)

Zdenka Badovinac An Exhibition about the NSK Commons: NSK from Kapital to Capital. Neue Slowenische Kunst –an Event of the Final Decade of Yugoslavia

 

Introduction

Zdenka Badovinac, Eda Čufer and Anthony Gardner Introduction: Neue Slowenische Kunst from Kapital to Capital

 

Initiation: The Early 1980s and the Emergence of the NSK Groups

 

Darko Štrajn,  Black -and -White Shock in Trbovlje

Goran Đorđević,  A Letter to the Theoria Editorial Board

Dušan Mandič, Harbingers of the Apocalypse: An Exhibition of Works by Belgrade Artist Goran Đorđević

Slavoj Žižek, History and Repetition: How “Truth Arises Out of Misrecognition”

Mladen Dolar, Fascism through Psychoanalysis

Taras Kermauner, X + (–) 11 = ?

Tone Peršak, The Retrogarde as Alternative Avant-Garde?

Marina Gržinić, Graffiti  as a Subversion of Slovenian Cultural Space

Slavoj Žižek, Ideology, Cynicism, Punk

 

 

Formative Stage:  From Neue Slowenische Kunst (1984) to NSK State in Time (1992)

 

Željko Kipke, Organic Eclectics

Rastko Močnik, Postmodernism and the Alternative

Marina Gržinić, Was ist Kunst

Dimitrij Rupel, Retrogardism

Jaša L. Zlobec, A Sterile Baptism in a Hollow Temple

Lev Kreft, Avant-Garde, Retro-Garde and Progress

Mladen Dolar, Psychoanalysis in Power: On Fascism, Marxism and the Poster Scandal

Slavoj Žižek, A Letter from Afar

Tomaž Mastnak, On the Soul of Social Movements: A Few Remarks from Up Close on Žižek’s Letter from Afar

Chrissie Iles, Perpetual Present

Boris Groys, The IRWIN Group: More Total Than Totalitarianism

Stojan Pelko, Dragan Živadinov – Noordung Prayer Machine

 

Codification:  Selected Critical Essays on NSK during Its First Decade

Marina Gržinić, Neue Slowenische Kunst (NSK): The Art Groups Laibach, IRWIN, and Noordung

Cosmokinetical Theatre Cabinet – New Strategies in the Nineties

 

Slavoj Žižek, Why Are Laibach and NSK not Fascists?

Slavoj Žižek, The Enlightenment in Laibach

Lilijana Stepančič, The Poster Scandal: New Collectivism and the 1987 Youth Day

Inke Arns, Mobile States / Shifting Borders / Moving Entities: The Slovenian Artists’ Collective

Neue Slowenische Kunst (NSK)

 

Eda Čufer, Athletics of the Eye: Baptism and the Problem of Writing and Reading Contemporary

Performance

 

Alexei Monroe, Was ist Kunst? (Actually Existing Retrogardism)

Inke Arns & Sylvia Sasse, Subversive Affirmation: On Mimesis as a Strategy of Resistance

 

Historicization:  Art- Historical and Intercultural Contextualization from a Contemporary Perspective

 

Tomaž Mastnak, Civil Society and Fascism

Igor Vidmar, In the Name of Idea: The Birth of Action from the Spirit of Music

Barbara Borčić, The ŠKUC Gallery, Alternative Culture, and Neue Slowenische Kunst in the 1980s

Catherine Wood, Back to USA, Replayed

Stevphen Shukaitis, Icons of Futures Past: IRWIN, Neue Slowenische Kunst, and the Spiritual Politics of Artistic Provocation

Bojan Anđelković, The Genealogy of the Spectator’s View in the Dragan Živadinov Theatre

Katja Praznik, Ideological Subversion vs. Cultural Policy of Late Socialism: The Case of the Scipion

Nasice Sisters Theatre (SNST)

 

Jela Krečič, Manifestos and Programmes

Dejan Kršić, Fragments on the Matter of New Collectivism

Dominic Boyer & Alexei Yurchak, American Stiob: Or, What Late-Socialist Aesthetics of Parody Reveal about Contemporary Political Culture in the West

Gediminas Gasparavičius, Promises and Premises of Art as a State: NSK Embassy Moscow and its Contexts

Rastko Močnik, East!

Daniel R. Quiles, S(h)ifters: Over-identification in Latin America, 1966–1989

Anthony Gardner, Neue Slowenische Kunst 1984–1992: From the Critique of Institutions to the Pursuit of Independence

Mladen Dolar, State of the Art

Primary documents

Laibach, From the Internal Book of Laws: Constitution of Membership and Basic Duties of

NSK Members

 

Laibach, 10 Items of the Covenant

Laibach, Art and Totalitarianism

Laibach, XY – Unsolved

IRWIN, The program of IRWIN group

IRWIN, Retro Principle: The Principle of
Manipulation With the Memory of the Visible Emphasized Eclecticism – the
Platform for National Authenticity

IRWIN, Interview, Bill Furlong and Mike Archer

The Scipion Nasice Sisters Theatre, The Founding Act

The Scipion Nasice Sisters Theatre, The First Sisters Letter, The Second Sisters Letter

Cosmokinetic Theatre Rdeči pilot, The Founding Document

Cosmokinetic Cabinet Noordung, Prayer Machine

New Collectivism, Proclamation

Retrovision, Retrovision

Film, Beauty and Nation: A Heimat film

Builders, Builders

Builders, Constructions I, Constructions II

Department of Pure and Applied Philosophy, Peter Mlakar’s poetry, writings and addresses

Alexei Monroe, Philosophy, Literature and Rhetoric: God – Enjoyment – The Absolute

Eda Čufer & IRWIN, NSK State in Time

 

Jana Intihar Ferjan, Chronology of Neue Slowenische Kunst and its Groups 1980–1992

Glossary

NSK Groups

Appendix A: List of the Exhibits

Appendix B: The Full Text of Tomaž Mastnak’s The 1980s: A Retro Future

Index

Translators

Sources

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