Luca Lo Pinto

  • Selected Writings, 1998–2015

    Selected Writings, 1998–2015

    Babette Mangolte and Luca Lo Pinto

    The writings of photographer and filmmaker Babette Mangolte, exploring her influences, her methods, her practice, and her collaborations in the New York scene.

    A single black-and white photograph taken by Babette Mangolte has come to epitomize New York's downtown art scene of the 1970s. The dancers performing Trisha Brown's Roof Piece characterize perfectly the wild spirit of the time. Choreographed as an echo of movement unfolding across SoHo's rooftops, the dancers mimed the chimneys, water towers, and fire escapes which surrounded them across that skyline. Influenced early on by Dziga Vertov's Man with a Movie Camera and the work of Stan Brakhage and Jonas Mekas, Mangolte began studies in 1964 at the renowned École nationale de la photographie et de la cinematographie in Paris, one of the school's first female students. In 1970, having become disillusioned with the film scene in France, Mangolte moved to New York and became involved in the avant-garde film and dance milieus of the Kitchen and the Anthology Film Archives. EndFragment

    Selected Writings, 1998–2015 is a collection of texts by Mangolte in which she reflects on her practice as a photographer and filmmaker and her collaborative work with filmmakers, artists, dancers, and choreographers. She provides insights into the techniques and methods she created as well as her relationships with notable collaborators such as Marina Abramović, Chantal Akerman, Trisha Brown, and Yvonne Rainer.

    Copublished with Kunsthalle Wien on occasion of the exhibition “Babette Mangolte: I = Eye”

    • Paperback $29.95
  • One, No One and One Hundred Thousand

    One, No One and One Hundred Thousand

    Luca Lo Pinto

    This publication documents the 2016 exhibition “One, No One and One Hundred Thousand,” which took place at Kunsthalle Wien, Karlsplatz. Curated by Luca Lo Pinto, the show took its inspiration from Oulipo, a literary strategy whose objective was to propose new “structures” for writing that were mathematical in nature. Using A Thousand Billion Poems, a 1961 book by Raymond Queneau, one of Oulipo's founders, as a manifesto for the exhibition, nine artists were invited to create new works in a display that would change depending on the wishes of the visitor.

    Investigating and reformulating the conventional structure and limitations of exhibition making, “One, No One and One Hundred Thousand” challenged curatorial authorship and explored potentiality. The main actor of the exhibition was the viewer who was not a consumer but a coproducer, alongside the artists and the curator. This publication, which comprises photographs, dates, time stamps, and the names of the visitors, is a record of the 178 unique exhibitions realized.

    Copublished with Kunsthalle Wien

    Contributors Luca Lo Pinto, Vanessa Joan Müller, Mathieu CopelandWith artist contributions by Darren Bader, Jason Dodge, Phanos Kyriacou, Adriana Lara, Jonathan Monk, Marlie Mul, Amalia Pica, Martin Soto Climent, Lina Viste Grønli

    • Paperback $19.95
  • Function Follows Vision, Vision Follows Reality

    Function Follows Vision, Vision Follows Reality

    Frederick Kiesler, Luca Lo Pinto, Vanessa Joan Müller, and Frederick and Lillian Kiesler Private Foundation

    This collection of unpublished or rare texts by Frederick Kiesler written between 1927 and 1957 is published on the occasion of the exhibition “Function Follows Vision, Vision Follows Reality” at Kunsthalle Wien (May 27–August 23, 2015), curated by Luca Lo Pinto and Vanessa Joan Müller. The exhibition, developed in cooperation with the Austrian Frederick and Lillian Kiesler Private Foundation, focuses on Kiesler's ideas on display, and juxtaposes works of contemporary artists with a number of original drawings by Kiesler. Views of the exhibition are included in the pages of this publication.

    With works by Leonor Antunes, Olga Balema, Céline Condorelli, Morton Feldman, Annette Kelm, Friedrich Kiesler, Charlotte Moth, Francesco Pedraglio, Luca Trevisani, Nicole Wermers

    Copublished with Kunsthalle Wien

    • Paperback $18.00
  • Individual Stories

    Individual Stories

    Luca Lo Pinto, Nicolaus Schafhausen, and Anne-Claire Schmitz

    Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art.

    Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. The act of collecting is multifarious—it can be an expression of curiosity, a desire to transform things that have been discovered, or a systematic approach to certain objects in the world. This catalogue is a compilation of individual collections that could not be more different.

    Copublished with Kunsthalle Wien to document the exhibition “Individual Stories: Collecting as Portrait and Methodology,” Kunsthalle Wien, June 26–October 11, 2015.

    Contributors Saâdane Afif, Jacques André, Marie Angeletti, Thomas Bayrle, Barbara Bloom, Herbert Brandl, Andrea Büttner, Hans-Peter Feldmann, Camille Henrot, Michaela Maria Langenstein, Pierre Leguillon, Hanne Lippard, Maurizio Nannucci, G. T. Pellizzi, Max Renkel, Michael Riedel, Hubert Scheibl, Yann Sérandour, John Stezaker, Johannes Wohnseifer; with images by Marie Angeletti

    • Paperback $29.95
  • Charlemagne Palestine

    Charlemagne Palestine

    GesammttkkunnsttMeshuggahhLaandttttt

    Luca Lo Pinto and Samuel Saelemakers

    Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and shamanism. Over the last four decades the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual artworks inhabited by stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly calls “divinities.”

    Central to “GesammttkkunnsttMeshuggahhLaandtttt,” Palestine's solo exhibition at Kunsthalle Wien and Witte de With Center for Contemporary Art, is a grand piano as the sounding heart, and a new large-scale version of God-Bear Museum Model, a proposal for a new kind of museum where music and performance find a home just as easily as a painting would. Also part of the exhibition are Palestine's extraordinary music and sound annotations, and a vast collection of works on paper, which aim to translate sound into image.

    This catalogue visually documents this exhibition and features an interview between Charlemagne Palestine and Luca Lo Pinto, curator at Kunsthalle Wien, as well as an essay on Palestine's work by Jay Sanders, curator of performance at the Whitney Museum of American Art.

    Copublished with Kunsthalle Wien and Witte de With

    Contributors Defne Ayas & Nicolaus Schafhausen, Luca Lo Pinto, Charlemagne Palestine, Samuel Saelemakers, Jay Sanders

    • Hardcover $29.95
  • Things I Remember I Have Done, But Don't Remember Why I Did Them—Towards a Catalogue Raisonné

    Things I Remember I Have Done, But Don't Remember Why I Did Them—Towards a Catalogue Raisonné

    Pierre Bismuth, Luca Lo Pinto, and Nicolaus Schafhausen

    This publication comprises two volumes: a booklet accompanying Pierre Bismuth's 2015 solo exhibition at Kunsthalle Wien, and a catalogue raisonné indexing his typically serial and often humorous work of the last three decades, from five-minute paintings of recipe cards from women's magazines (1986–87) to fried-chicken-flavored polyethylene sculptures (2015). Just like the idiosyncratic mix of conceptualism and appropriation refined by Bismuth throughout his career, Things I Remember I Have Done, But Don't Remember Why I Did Them suggests how easily authorship and intentionality can be undermined, even erased—and Bismuth is not exempt from his own treatment.

    For his exhibition at Kunsthalle Wien, titled “Der Kurator, der Anwalt und der Psychoanalytiker,” Bismuth invited a different set of authorities to interpret and give order to his works: curator Luca Lo Pinto, lawyer Laurent Caretto, and psychoanalyst Angel Enciso y Bergé. Each has contributed a text to the booklet that focuses on a selection of works and themes according to his own interests and training. Dessislava Dimova's essay provides a general overview of Bismuth's artistic project, discussing the importance of plasticity, iconography, and simulacra in his visual economy. This underlying instability and ambivalence is also reflected in the catalogue raisonné itself: following the example of Honoré de Balzac, who revised his writings on printer's proofs, this publication is released in the process of its own making. It is a work in progress—an incomplete history of the artist's practice that should be supplemented by its readers.

    Copublished with Kunsthalle Wien

    Contributors Laurent Caretto, Dessislava Dimova, Angel Enciso y Bergé, Luca Lo Pinto, Nicolaus Schafhausen

    • Paperback $45.00