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Peep-Hole Sheet #20 – 2005-2007-2009
David Maljković [see all titles]
miscellaneous [see all issues]
David Maljković Peep-Hole Sheet 2005-2007-2009
published in July 2014
trilingual edition (English / Italian / German)
25 x 33,5 cm (broadsheet in transparent packaging) / 33,5 x 50 cm (unfolded)
16 pages
€10.00
ISBN: 978-88-6749-108-7
EAN: 9788867491087
in stock
 
Invited to contribute to Peep-Hole Sheet, David Maljković decided to publish, for the first time, some excerpts of his notebooks. Written at various moments between 2005 and 2009, the journal entries outline some common threads linking the genesis of different bodies of works, including the Retired Forms series to the film Out of Projection, first realized for the artist's 2009 solo show at the Museum Reina Sofia in Madrid. Maljković's notes range from personal recollections to methodological reflections in the use of images, focusing on time: future, present, past and “the incredible amount of memory that is not important any more.”
Peep-Hole Sheet is a quarterly of writings by artists published by Mousse Publishing. Each issue is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format. The texts are published in their original language, with accompanying translations in English and Italian. Peep-Hole Sheet is meant for those who believe artists are catalysts for ideas all around us, and who want to read their words without any filter. Over time it aspires to build up an anthology of writings that might open new perspectives for interpreting and understanding our times.
The work of David Maljković (born 1973 in Rijeka, Croatia, lives and works in Zagreb and Berlin), which includes films, sculpture, collage, and installations, develops a critical enquiry into the legacies of modernism, in particular through the architectural symbols and sculptural forms of former socialist Yugoslavia and Eastern Europe. He investigates these remnants from the past in relation to the present, but also in terms of their potential—real or fictional—in an imminent or distant future, at the crossroads between science fiction and documentary film. He is also particularly interested in exhibition strategies and the semiotics of display.