Maggiori informazioni sul libro
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.
Acquisto del libro
Daiga Grantina, Andrew Berardini
- Lingua
- Pubblicato
- 2023
- product-detail.submit-box.info.binding
- (Copertina rigida)
Metodi di pagamento
Ancora nessuna valutazione.
- Titolo
- Daiga Grantina
- Sottotitolo
- Atem, Lehm
- Lingua
- Italiano
- Autori
- Andrew Berardini
- Editore
- Hatje Cantz
- Pubblicato
- 2023
- Formato
- Copertina rigida
- Pagine
- 224
- ISBN10
- 3775754202
- ISBN13
- 9783775754200
- Serie
- Descrizione
- 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.