Bøker av Adam Pendleton

An artist's book exploring the language of protestA new artist's book by Adam Pendleton (born 1984), As Heavy as Sculpture follows Pendleton's 2021 installation of the same title, exhibited at the New Museum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images.Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like "ACAB" or "1312," further reducible to the elements "A, B, C," "1, 2, 3."In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.

A dialogue of materials and process, space and language, architecture and artThis new volume, designed in collaboration with American artist Adam Pendleton (born 1984) and Ghanaian British artist and architect David Adjaye (born 1966), explores the blurred boundary between art and architecture. Featuring new silkscreen canvases by Pendleton and marble sculptures by Adjaye, this publication brings the artists and their works into conversation. The two collaborators discuss their respective practices and their process of working together on the creation of the exhibition at Pace, as well as notions of history, language, abstraction and space--whether architectonic or on canvas--and how these themes involve and reveal themselves in their work. Images of finished artworks are interspersed with photographs of their production, giving a behind-the-scenes look at process, from the quarrying, cutting and polishing of marble for Adjaye's works to the meeting of ink and canvas in Pendleton's studio.