YYZBOOKS is excited to announce thelaunch of our latest publication,Hans Ulrich Obrist Hear Us.
Featuring Bill Burns
Contributors: Dan Adler, Jennifer Allen, Dannys Montes de Oca Moreda, Jennifer Matotek and Stuart Reid
29.95 / $39.95
22x15cm / 6x9in
123 colour and b/w ills
CLICK HERE TOPRE-ORDER NOW!
|LONDON BOOK LAUNCH AND CONVERSATION
September 29, 2015 at 6:00PM
Trafalgar Square, London
The conversation panel in London will include,cultural historian,Michael Prokopow,curator,Maeve Polkinhorn,and filmmaker,William English
|TORONTO BOOK LAUNCH AND CONVERSATION
October 24, 2015 at 5:00PM
Toronto Art Fair
Metro Toronto Convention Centre
The conversation in Toronto will include,the artist, as well as curator, Peggy Gale, and critic, David Balzer.
Perhaps best known for hisSafety Gear for Small Animals(SGSA) project,
Which was first shown at 303 Gallery in New York in 1994, conceptual artist Bill Burns works across a variety of disciplines to reveal the perpetual power play between natural orders ad cultural formations.
Hans-Ulrich Obrist Hear Usis a collection of writings exploring the transgressive and transdiciplinary nature of Burns Practice. The publication is richly illustrated with material representing Burns work across photography, performance, writing and artists books.
In her foreword to the publication, Dannys Montes de Oca Moreda recognizes that the after-effect of Burns work is deeply disillusioning, breaking up and foreclosing the harmonious unity of identity, micro and macrocosmic alike. Curator and art historian Dan Adler draws attention to the meaningless while casting doubt on the venerable. Lastly, art critic Jennifer Allen uncovers some of the forces at work within Burns narrativisation of his personal life and reflection on his role as an artist, asserting the act of forgetting is structural to Burns overall narrative composition.
Hans-Ulrich Obrist Hear Usalso includes a first-person narrative by Burns, telling the story of his life through episodes that, although seemingly incongruous, have played a formative role in the development of the artists career. This history, like memory, is less contiguous than spontaneous, more preoccupied with prophecies and mood swings than the sterileness of factuality.
We would like to acknowledge the generous support for this project fromtheDunlop Art Gallery (Regina, SK) and Rodman Hall Art Centre, Brock University (St. Catharines, ON).