| Record ID | marc_columbia/Columbia-extract-20221130-018.mrc:24699368:3383 |
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LEADER: 03383cam a2200421Ia 4500
001 8602261
005 20221201062855.0
008 101207t20102010ne 000 0 eng d
020 $a9789073362901
020 $a9073362903
035 $a(OCoLC)495780546
035 $a(OCoLC)ocn495780546
035 $a(NNC)8602261
035 $a8602261
040 $aBTCTA$beng$cBTCTA$dYDXCP$dERASA$dBWX$dSTF$dCUS$dUPM$dUND
043 $ae-ne---
050 4 $aN6973.D429$bA4 2010
100 1 $aDekyndt, Edith,$d1960-$0http://id.loc.gov/authorities/names/no2012025137
245 10 $aEdith Dekyndt /$c[editors, Juan A. Gaitán, Nicolaus Schafhausen, Monika Szewczyk ; contributors, Amira Gad [and others]].
260 $aRotterdam :$bWitte De With, Center for Contemporary Art ;$aNew York :$bDistribution, D.A.P.,$c[2010], ©2010.
300 $a111 pages :$billustrations (some color) ;$c20 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aSource book ;$v8/2010
500 $aPublished on the occasion of an exhibition Edith Dekyndt: Agnosia, Feb. 28-April 26, 2010, curated by Juan A. Aaitán and Nicolaus Schafhausen at Witte de With, Center for Contemporary Art in Rotterdam.
520 $aAll of Edith Dekyndt's work is made under the umbrella of what she calls Universal Research of Subjectivity, an enigmatic project concerning the place of the subject between the categories of science and fiction. Characterized by their visual and technical simplicity, her works inquire into how the notion of subjectivity changes once confronted with the possibility of a sensible machine. An other-worldly perspective on natural phenomena begins to challenge our cognitive coordinates. --
520 $aThis Source Book is occasioned by Aposio, Dekyndt's solo exhibition at Witte de With in the Spring of 2009. Asked to consider her artistic sources, Dekyndt listed personal inspirations in literature, film and music. From these, we have excerpted a chapter of Norman Mailer's Of a Fire on the Moon [1971), which offers a precise poetic key for the artist's blend of scientific inquiry and subjective reverie. Her way of working is further illuminated in a candid interview with Amira God. And a selection of her own texts and images evokes her desired interplay of the spaces of the gallery, the book and the mind. Lastly, essays by curators Renske Janssen and Wim Waelput depart from close encounters with Dekyndt's work towards meditations on blankness and time machines. --Book Jacket.
600 10 $aDekyndt, Edith,$d1960-$vExhibitions.
650 0 $aInstallations (Art)$zNetherlands$zRotterdam$vExhibitions.
650 0 $aArt, Belgian$zNetherlands$zRotterdam$vExhibitions.
700 1 $aGaitán, Juan A.,$d1973-$0http://id.loc.gov/authorities/names/no2006133823
700 1 $aSchafhausen, Nicolaus,$d1965-$0http://id.loc.gov/authorities/names/nr94008803
700 1 $aSzewczyk, Monika.$0http://id.loc.gov/authorities/names/n2002013204
700 1 $aGad, Amira.$0http://id.loc.gov/authorities/names/no2012025140
710 2 $aWitte de With, centrum voor hedendaagse kunst.$0http://id.loc.gov/authorities/names/nr92014278
740 0 $aEdith Dekyndt: Agnosia.
830 0 $aSource book (Witte de With, centrum voor hedendaagse kunst) ;$v2010/8.$0http://id.loc.gov/authorities/names/no2007065785
852 00 $boff,fax$hN6973.D429$iA4 2010g