Ed Atkins Livres

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.

From one of the most lauded artists of his generation comes a purging soliloquy: a profound nowt delivered in some spent afterwards.

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.

One of the most widely celebrated artists of his generation, Atkins makes videos, draws and writes, exploiting and subverting the conventions of moving image and literature. A Primer for Cadavers collects his fictions for the first time.

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.

Ed Atkins is an artist who makes videos, writes and draws, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world - from computer generated imagery to bathetic poetry - are hysterically rehearsed. Atkins' works often centres on an unidentified figure, a kind of surrogate for the artist, who is animated by Atkins' own performance. The figure is to be found in situations of everyday despair, anxiety, frustration and pitch comedy. Atkins transports us to a pseudo-historic world of peasantry, bucolic landscapes and eternal ruin. Characters weep continuously, their lives devoid of dramatic redemption; crowds of people plummet while credits roll; and inedible, impossible sandwiches assemble and collapse in lurid advertisements. Produced exclusively using CGI (computer generated imagery), everything in Atkins' exhibition is understood as fake - nostalgia, history, progress, authentic life, identity. Text: Thomas D. Trummer, Helen Marten, Thomas Oberender, Steven Zultanski