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Verlag: Verlag Fur Moderne Kunst Nurnberg, 2006
ISBN 10: 3938821361ISBN 13: 9783938821367
Anbieter: Ergodebooks, Houston, TX, USA
Buch
Hardcover. Zustand: Good.
Verlag: Wien: Kunsthalle & Ursula Blickle Stiftung, 2006
ISBN 10: 3938821426ISBN 13: 9783938821428
Anbieter: Druckwaren Antiquariat, Salzwedel, Deutschland
Verbandsmitglied: GIAQ
Buch
gebundene Ausgabe. Zustand: Sehr gut. 144 S., Abb. in schwarz-weiß und in Farbe. Einband leicht berieben, Bleistiftnotiz auf Vorsatz, ansonsten sehr gut erh. ISBN: 3938821426 Sprache: Deutsch Gewicht in Gramm: 465.
Verlag: Bielefeld Kerber 1 Auflage dieser Ausgabe 430 (2) Seiten 18 cm quer Leinen gebunden fadengeheftet ohne Schutzumschlag, 2004
ISBN 10: 3936646619ISBN 13: 9783936646610
Anbieter: Antiquariat Bernhard, Berlin, Deutschland
Buch
bestens erhalten und ohne Gebrauchsspuren, sichtlich kaum benutztes Exemplar, mit zahlreichen einfarbigen Abbildungen; erschienen zur Ausstellung der Ursula Blickle Stiftung vom 22. Februar 2004 bis 28. März 2004 und der Kunsthalle Wien (2. April 2004 bis 25. April 2004) Sprache: Deutsch 1550 gr. 1550.
Verlag: Vlg.f.moderne Kunst, 2005
ISBN 10: 3938821159ISBN 13: 9783938821152
Anbieter: Classikon - Kunst & Wissen e. K., München, Deutschland
Buch Erstausgabe
Hardcover. Zustand: Neu. Zustand des Schutzumschlags: Neu. 1. Auflage. - 528 pages, 433 images . - - - Introduction by Catherine David : Ulrike Ottinger came to filmmaking in the early seventies via a career in the visual arts (painting, works on paper, photography, performance). But she took her first photograph at the age of nine, on a canal boat in Amsterdam (two Indian gentlemen, one in a trench coat, the other one wearing a turban with a well-tailored suit, smile for the camera). Afterwards would come thousands of images (photographs of course, but also collections of postcards, cut-outs, illustrations and various iconographic documents), constituting the open archive of a life and an uvre based on a principle of the collage of images and events. Each image "refers to something beyond itself: to the reality that precedes it; to countless images from the repositories of the arts, of everyday culture and of myth; and to the visual cosmos of her own increasingly dense uvre. These photographs are encounters between things found and things invented. They are arenas in which reality and fiction, past and future, wish and fulfilment, transform each other."1 This artist book invites you on an accompanied stroll among a selection of images introducing the complex relation that the work of Ulrike Ottinger maintains with the world, with history and culture. A long, beautiful voyage, at once grave and enchanted, which from nearest to furthest, from the urban landscapes of Berlin to the steppes of Mongolia, from yesterday's tales to today's decors, has nothing exotic or egotist about it. Rather it involves a concern for the other and an "aesthetics of diversity,"2 worthy of another age. This allegorical, Benjaminian aspect of her work is what Eva Meyer has so marvellously underscored: "Her films are ethnographic films, even on her own turf. But without the claim to represent another or even one's own culture. Ottinger knows very well that that's just not possible. What fascinates her she ritualizes in ephemera, without symbolic value, an artefact in other words, one that can be as confusing as it is precise. With this distinction we are where the experience of the other becomes visible, where it can appear. In a film that is about the fundamental impossibility of appropriating this experience as the subject's self-realization. The balancing act between Ottinger's despair and enthusiasm is prompted by the impossibility and realizes the artifact . That's what I keep on talking about, this allegorical moment of distinction, which can be neither romantically felt out nor replaced though a critical intention, but which can be seen in the films of Ulrike Ottinger."3 Catherine David - - - Hardcover with dustjacket . Format 17,15 x 23,5 cm.