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Published by OEI editör 2012. 2012, 2012
421, (42 s.) Rikligt illustrerad. Häftad.
Published by Glänta produktion 2002 2002, 2002
23 x 20 cm. 237, (1), (32) (ill.) s. Häftad. Fläckad.
968 s. Rikt illustrerad. Förlagsband. Förlagsnytt exemplar.
Published by Glänta produktion 2006. 2006, 2006
29,5 x 20,5 cm. 1056 s. Ill. Illustrerat förlagsband.
Glänta Produktion, Göteborg 2009. 968 sidor. Förlagsband. Illustrerad. Gott skick. ISBN 9789197560795.
Glänta Produktion, Göteborg 2006. 1037, [19] sidor. Förlagsband. 30x21,5 cm. Gott skick.
Published by Glänta produktion 2006. 2006, 2006
29,5 x 20,5 cm. 1056 s. Ill. Förlagsband. Förlagsnytt exemplar.
Published by OEI editör / OEI Books 2023. 2012, 2023
1064 s. Rikligt illustrerad. Förlagsband. Förlagsny. OEI Books #3.
Published by OEI, 2020
Seller: Tenderbooks, London, United Kingdom
Book
Soft cover. Condition: Very Good. Bringing together contributions from circa 130 publishing structures, publishing communities, magazines, small press endeavors, artists, poets, writers, editors, theoreticians, curators, scholars, and art bookstores, OEI # 86 87 reflects upon the challenges, pressures and possibilities of publishing and creating publics in different contexts and places in a time of far-reaching economical, medial, political, social, technological transformations. The potential and the versatility of publishing open it to a diversity of practices and approaches in the arts, but as an eminently social form of art, a collective or micro-collective work with shared responsibilities, it is also a never-ending process of crafting a variegated approach to how you create, publish, distribute, and build a social ecosystem around your efforts , of trying to build up and strengthen the community around these printed forms (Temporary Services). It is the conviction of OEI #86 87 that print has the power to play an important part in the construction of social spaces, of a social world. As Benjamin Thorel puts it in one of the essays in the issue, conceiving of the dynamics of publishing as making publics as well as making things public is not a pun insofar as the artists/publishers encompass, beyond the book itself, its possible lives , imagining the different spaces, and the different people, amongst whom a publication will circulate. This is what Michael Warner has called a public [as] poetic worldmaking , implying that all discourse or performance addressed to a public must characterize the world in which it attempts to circulate, projecting for that world a concrete and livable shape, and attempting to realize that world through address. This is also, as stressed by Annette Gilbert and others, what can make publishing such an active force, a force co-constituting texts and publications and publics. Indeed, with Michalis Pichler, it is tempting to say that in publishing as practice perhaps more than in any other art field artists have been able to assert the aesthetic value of their own socio-politically informed concerns and to engage, often under precarious conditions, in cultural activities fully aligned with their political values. OEI #86 87 also includes sections on and with contemporary poetry from Canada; Fluxus publishing; Krister Brandt/Astrid Gogglesworth; Kalas på BORD (Öyvind Fahlström); Lars Fredrikson; Claude Royet-Journoud s poetry magazines; Carl Einstein; Gail Scott; Ållebergshändelser; OEI #79: edit/publish/distribute!; det offentligas försvinnande and many many other things. English & Swedish texts OEI, 2020 Softcover, 640pp 300 x 195mm.