Paramètres
- 224pages
- 8 heures de lecture
En savoir plus sur le livre
Atem, Lehm —the German words for “breath” and “clay”, a title inspired by a poem by Paul Celan—is the first monograph dedicated to Latvian artist Daiga Grantina. Grantina’s solo show at GAMeC in Bergamo represented a major evolution in her poetics, a decisive and coherent change of palette and pace compared to her amorphous in-situ installations that have characterized her work to date. A mural forms an open-ended structure with its potentially infinite combinations: It seems to breathe, constraining and distending the grounding of space. The book’s structure mirrors this evolution, exploring a before, characterized by large-scale environmental installations in New York’s New Museum, the Biennale di Venezia and in Palais de Tokyo, Paris, to name a few, and an after, when the artist’s sculptural environments seem to shift their locus of perception.
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Daiga Grantina, Andrew Berardini
- Langue
- Année de publication
- 2023
- Reliure
- (rigide)
Modes de paiement
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- Titre
- Daiga Grantina
- Sous-titre
- Atem, Lehm
- Langue
- Italien
- Auteurs
- Andrew Berardini
- Éditeur
- Hatje Cantz
- Publié
- 2023
- Format
- rigide
- Pages
- 224
- ISBN10
- 3775754202
- ISBN13
- 9783775754200
- Séries
- Mots clés
- Nonfiction, Art / Culture
- Description
- Atem, Lehm —the German words for “breath” and “clay”, a title inspired by a poem by Paul Celan—is the first monograph dedicated to Latvian artist Daiga Grantina. Grantina’s solo show at GAMeC in Bergamo represented a major evolution in her poetics, a decisive and coherent change of palette and pace compared to her amorphous in-situ installations that have characterized her work to date. A mural forms an open-ended structure with its potentially infinite combinations: It seems to breathe, constraining and distending the grounding of space. The book’s structure mirrors this evolution, exploring a before, characterized by large-scale environmental installations in New York’s New Museum, the Biennale di Venezia and in Palais de Tokyo, Paris, to name a few, and an after, when the artist’s sculptural environments seem to shift their locus of perception.