Book Description
Ah, capitalism and schizophrenia. Everyone's favorite two topics, or at least Deleuze and Guattari's--and now Stefan Brüggemann's, too. Brüggemann, a young contemporary artist of the Mexican variety, makes witty text installations and other conceptual projects, as if Jenny Holzer and Bruce Nauman got together south of the border and had a baby. One text piece, installed in the form of a neon sign at the Lisson Gallery in London, proclaims, "I Can't Explain And I Won't Even Try." A wall piece in silver block text notes, "Everybody Is Thinking Outside This Room." Capitalism and Schizophrenia, the book, is divided into three sections, the first of which represents Brüggemann's artwork in a format as close as possible to the artist's actual work. Included are his Notes (magazine pages and A4 sheets on which he writes), various truisms, and stills from his Video Notes. The second section includes critical texts, an interview with the artist, Hans Ulrich Obrist, and Pedro Reyes, a visual intervention by Martin Creed, and a photo essay . The third section offers documentation of the artists exhibition installations. Essays by Alexandra García and Nicolas De Oliveria. ~Interview by Hans-Ulrich Obrist and Pedro Reyes. Paperback, 7.75 x 10.5 in./282 pgs / 16 color and 187 b & w.

FROM THE PUBLISHER

Ah, capitalism and schizophrenia. Everyone's favorite two topics, or at least Deleuze and Guattari's—and now Stefan Brüggemann's, too. Brüggemann, a young contemporary artist of the Mexican variety, makes witty text installations and other conceptual projects, as if Jenny Holzer and Bruce Nauman got together south of the border and had a baby. One text piece, installable in the form of a neon sign at the Lisson Gallery in London, proclaims, "I Can't Explain And I Won't Even Try." A wall piece in silver block text notes, "Everybody Is Thinking Outside This Room." Capitalism and Schizophrenia, the book, is divided into three sections, the first of which represents Brüggemann's artwork in a format as close as possible to the artist's actual work. Included are his Notes (magazine pages and A4 sheets on which he writes), various truisms, and stills from his Video Notes. The second section includes critical texts, an interview with the artist, Hans Ulrich Obrist, and Pedro Reyes, a visual intervention by Martin Creed, and a photo essay . The third section offers documentation of the artists exhibition installations.

ACCREDITATION