MARLENE DUMAS, Strips – No interviews please, 1987 31 x 23 cm artist’s book, offset, spiral binding, 40 pp. limited and small edition published by Stichting één op één, Amsterdam condition: good, although slight foxing at top part of cover
![GERWALD ROCKENSCHAUB, Paintings 1984-86, 1988 [catalogue]](https://www.thearchiveislimited.com/wp-content/uploads/2019/01/GRockenschaub1986-cat.paintings1984-86.Tornberg700-150x150.jpg)
This booklet is a catalogue with a feel of an artist’s book filled with solely images + an ultra short CV. Anders Tornberg worked closely together with artists like Gerald Rockenschaub. Hence the design Rockenschaub made for this publication.
Gerhard Richter, Abstract Painting 825-II, 69 Details, 1969 is produced in 100 copies in English, stamp numbered and signed in ink on the last page, subtitled on the fifth page: Für Elise.
![BIRGIR ANDRÈSSON, Eyktarmörk se∂ frá Haekinsdal í Kjós, n.d. [1979]](https://www.thearchiveislimited.com/wp-content/uploads/2018/09/BAndresson1979Eyktarmoerk-cover700-150x150.jpg)
BIRGIR ANDRÈSSON, Eyktarmörk se∂ frá Haekinsdal í Kjós, n.d. [1979] 20 x 16 cm artist’s book, SC, 8 pp. + 7 pages of tracing paper in between the photographic images published by the artist / printed at the Jan van Eyck Academie, Maastricht, Netherlands splendid […]
HANA MILETIĆ, Your façades are peeling off like red onions (words found in Zagreb), 2015 32.3 x 21.9 cm stapled artist’s book, offset, 27 pp. signed, numbered edition 70, here nr 68/70 published by Mark Pezinger Verlag Miletić refers to weaving as a kind of […]
![MUNGO THOMSON, Font Study (TIME), 2011 [artist's book]](https://www.thearchiveislimited.com/wp-content/uploads/2018/08/MThomson2011font.sudy_.time-cover700-150x150.jpg)
Mungo Thompson: ‘The idea that it’s a standard-bearer is probably the reason—it’s “The world’s leading weekly newsmagazine.” I’m drawn to things that have accumulated some consensus, some cultural agreement that lends them an ease of reference. Something has to be familiar before you can attempt to defamiliarize it. At the same time I’m very interested in Heidegger’s concept of “the distance of the near”—the way we stop seeing common things.’
![PETER FISHLI & DAVID WEISS, Musée d'Art Moderne de la Ville de Paris, 1999 [artist's book]](https://www.thearchiveislimited.com/wp-content/uploads/2018/08/FishliandWeiss1999museedArtModernedelaVilledeParis_cover700-1-150x150.jpg)
This ‘book’ is one of the most outstanding visuals issued in the nineties as an industrially made artist’s book. The loose pages folded together as a book make each photographic double exposure on each spread an evocative experience for the eye.
Soon one year later in 2000 a second edition was published due to its success.
![BRUD / ADITYIA MANDAYAM, The Ooze, 2018 [book]](https://www.thearchiveislimited.com/wp-content/uploads/2018/08/AM.2018-Brud.ooze_.book560-150x150.jpg)
Usually so-called artist’s books with texts by others than the artist involved are expelled from The Archive is Limited. This book invites to make an exception. “The Ooze” contains 49 pages of the 144 that have been written by Aditya Mandayam. The front and back of the cover show drawings by the artist. “The Ooze” gives an insight in the thinking of Brud, but foremost these texts are based on opaque statements. This book has been categorised by The Archive is Limited both as “artist’s book” and “printed matter” for these reasons.
Interview and texts by Aditya Mandayam, an anonymus text, Chris Fitzpatrick, Andrea Liu, Michal Novotny and Kees van Gelder.
![ULISES CARRIÓN, The Muxlows, 1978 [artist's book]](https://www.thearchiveislimited.com/wp-content/uploads/2018/08/UCarrion1978themuxlows-cover700-150x150.jpg)
‘The Muxlows’ is the history of an English family from Yorkshire. I found it in 1972, in the city of Leeds, in the last pages of a badly damaged bible. U.C. Text by Ulises Carrión on fly leave.
This book is a dry list of names that goes back to 1835 when Thomas Muxlow was born. The first page of the book starts with this genealogical fact. In the first chapter “Parents names” mention birth and death. It is followed by chapters “Childrens names”, “Marriages” and “Other family events” listing no more than time of birth and death. In this way a family story is told as a drama, i.e. family members come and go. Again with this book Carrión’s shows his strong affinity with the method of archival order to set out a story similar to writing a novel.
ULISES CARRIÓN, Tell me what sort of wallpaper your room has and I will tell you who you are, 1974. This “2nd edition” as mentioned on the inner part of the cover is provided with handwritten pages opposite to the first edition that was typewritten.