Ed Atkins Libros

An enchanting collection of Post-it note drawings done for a child's school lunchbox This volume assembles 200 drawings made by Berlin-based Ed Atkins (born 1982), internationally known for his video art. Drawn on Post-it notes during weekday mornings over breakfast and slipped into his daughter’s lunchbox before school, these delightful and colorful illustrations are reproduced here in their original formats.Ranging from the playful to the graphic and even sometimes grotesque, they mirror both the absurdity and mundanity of everyday love. Some contain, simply, the words “I love you” or a quick sketch of a sunset, while others seem to treat the format as a sort of canvas, with vividly surreal scenes filling the Post-it note from corner to corner. A true artist's book, this charming volume acts as a playful testament to, and a tender snapshot of, fatherly love.

The book examines the resistance of civil society groups at various levels against the Belo Monte and São Luiz do Tapajós hydroelectric projects in the Brazilian Amazon. It offers an interdisciplinary perspective, making it relevant for those studying Sustainable Development, Environmental Justice, and Development Studies. Through its exploration of activism and environmental issues, it highlights the complexities and challenges faced by communities in the context of large-scale infrastructure projects.

Exploring the complexities of personal truth, this book presents a series of realistic confessions and observations that blur the lines between authenticity and fabrication. It delves into the value of sharing stories to evoke empathy, using auto-generated anecdotes that feel both relatable and artificial. The narrative is presented in a continuous text block, creating a unique reading experience that oscillates between simplicity and profundity, sentimentality and detachment, inviting readers to reflect on the nature of personal expression.

Focusing on a transformative energy transition, the book emphasizes the importance of creating better job opportunities, fostering community ownership, and enhancing the quality of people's homes and lives. It advocates for an approach that not only addresses energy needs but also prioritizes social and economic improvements for communities.

Originally published in 1934, this book contains the first volume of Atkins' 'sketch' of the development of ancient literary criticism.

Originally published in 1951, this volume covers the transition period between the years of Renaissance influence and the dawn of 19th Century Romanticism. The book analyses the theories and judgments of various critics and their bearing on literary appreciation.

Sorcerer, a collaborative between British artist Ed Atkins and American poet Steven Zultanski, is a book in the form of a script/novel/manual about the pleasures of being with others and of being alone. Sorcerer was originally a play commissioned by and staged at Copenhagen's Revolver Theatre in March 2022.

One of the most prominent artists of his generation, Ed Atkins works primarily with High Definition video and text, exploiting and subverting the conventions of moving image and literature. Focussing on the artist's use of language within his practice, A Seer Reader is both the title of the book and of the extraordinary new text written by Atkins especially for the publication.00Focussing on the artist’s use of language within his practice, A Seer Reader is both the title of the book and of the new text written by Atkins which also includes his distinctive drawings. In addition, it features a foreword by Serpentine Galleries directors Julia Peyton-Jones and Hans Ulrich Obrist as well as an essay by writer, curator and academic Mike Sperlinger, which explores and contextualises Atkins’ writing.00Exhibition: Serpentine Gallery, London, U.K. (11.06-25.08.2014).

Anlässlich des 10-jährigen Jubiläums der JULIA STOSCHEK COLLECTION konzipiert der britische Künstler Ed Atkins die Ausstellung GENERATION LOSS. Der Begriff bezeichnet den Prozess der Qualitätsverschlechterung von Daten insbesondere infolge sich verändernder Technologien. Dieser Verlust von Qualität manifestiert sich jedoch auch im ideologischen Sinne, im gesellschaftlichen Wandel von einer Generation zur nächsten. Der Katalog greift diese Analogien auf und nimmt sich der Frage an, wie sich die Rezeption für das Bewegtbild von den 1970er-Jahren bis heute verändert hat. Neben Video- und Filmstills enthält der Katalog historisches Material der gezeigten Werke sowie Installationsansichten der Ausstellung.