Diedrich Diederichsen, Anselm Franke, Haus der Kulturen der Welt (Eds.)Love and Ethnology
The Colonial Dialectic of Sensitivity (after Hubert Fichte)
Can the ethnological observations and feelings of a German writer about Afro-diasporic cultures be "restituted"? What are the possibilities and limits of using self-reflexion and gay sexuality as research tools? Fascinated by Afro-diasporic arts and religions, Fichte (1935–1986) traveled to Salvador da Bahia, Santiago de Chile, Dakar, New York, and Lisbon; for the exhibition and publication project Hubert Fichte: Love and Ethnology, new translations of Fichte's writings became the basis for critical local receptions and new artworks.
Diedrich Diederichsen, Anselm Franke, Haus der Kulturen der Welt (Hrsg.)Liebe und Ethnologie
Die koloniale Dialektik der Empfindlichkeit (nach Hubert Fichte)
Lassen sich die ethnologischen Beobachtungen und Empfindungen eines deutschen Schriftstellers zu afro-diasporischen Kulturen „restituieren”? Welche Möglichkeiten eröffnet und an welche Grenzen stößt der Einsatz von Selbstreflexion und schwuler Sexualität als Forschungswerkzeuge? Fasziniert von afro-diasporischen Künsten und Religionen bereiste Fichte (1935–1986) Salvador da Bahia, Santiago de Chile, Dakar, New York und Lissabon. Im Rahmen des Ausstellungs- und Publikationsprojekts Hubert Fichte: Liebe und Ethnologie wurden in diesen Städten Übersetzungen zur Grundlage kritischer Rezeptionen vor Ort und neuen künstlerischen Arbeiten.
The Museum Is Not Enough
The Museum Is Not Enough is the result of collective reflections on architecture, contemporary social concerns, institutions, and the public undertaken by the Canadian Centre for Architecture in recent years. Building on years of thematic investigations and a continued questioning of the role of cultural institutions and the issues they face today, the book puts forward the CCA’s own positions and opens them up to a dialogue with designers, curators, photographers, publishers, and other institutions who ask themselves similar questions.
Hou Hanru, Xi Bei (Eds.)The D-Tale
Video Art from the Pearl River Delta
Through essays by critics and curators, as well as texts and images of the works in the inaugural exhibition at Times Art Center Berlin, this publication book aims to present a vital component of the Chinese art world which is under-represented on the global art scene, namely the contemporary art production from the Pearl River Delta.
Natasha Marie Llorens (Ed.)Waiting for Omar Gatlato
A Survey of Contemporary Art from Algeria and Its Diaspora
Artists who belong to Algeria are caught between a national mythology that does not represent them and a historical space blanked out by state-sanctioned amnesia on both sides of the Mediterranean. Waiting for Omar Gatlato: A Survey of Contemporary Art from Algeria and Its Diaspora presents the work of twenty-five such artists who offer diverse representations of everyday life and are rigorously critical in their engagement with the legacies of Orientalist figuration, modernist abstraction, monumental public art, Conceptual art, and postmodern media theory after 1962, in a postindependence context.
Gregor H. Lersch, Léontine Meijer-van Mensch (Eds.)Mischa Kuball: res.o.nant
From November 2017 to September 2019, res.o.nant, a conceptual light and sound installation by Mischa Kuball, pulsed throughout the basement of the Libeskind Building in the Jewish Museum Berlin. This book comprises five thematic sections—Space of Experience, Void, Sound Space, Light, and Urban Space—through which twenty-two thinkers, artists, and writers have examined and interpreted Kuball’s work. Like the architecture of the Libeskind Building itself, res.o.nant also responds to the void, the absence of Jewish life in Europe after the Shoah.
Pedro BarateiroHow to Make a Mask
How to Make a Mask borrows its title from one of Pedro Barateiro’s performances in which the artist reflects upon the role of the individual within the sociopolitical situations of the collective through references ranging from psychological tests to the history of theater.
Shirana ShahbaziNew Good Luck
New Good Luck presents a new series of photographic works by Shirana Shahbazi. Taken during the artist’s three-month stay in India, the photos, often of solitary people in architectonic space or a landscape, have been taken apart and reshaped through a digital collage technique, their color removed or reconfigured. Carefully selected areas of luminous color are layered on top of one another, sometimes protruding far beyond the edges of the actual scene, flowing together with selected openings, or breaking open the composition like a prism.
Mari Slaattelid is one of Norway’s most recognized painters. For almost three decades she has insisted on the potential of painting, independently of changing trends and the shifting status of painting within artistic discourses. Without locking the medium into any particular formal idiom, she alternates with ease between figuration and abstraction, between expressive and conceptual painting, and the intersections of painting in relation to other art forms such as photography and literature.
Francesco Garutti (Ed.)Our Happy Life
Architecture and Well-Being in the Age of Emotional Capitalism
How do we design our cities when our most intimate experiences are incessantly tracked and our feelings become the base of new modes of production that prioritize the immaterial over the material? Since the 2008 financial crisis, lists of well-being indicators, happiness indexes, and quality-of-life rankings have become viral. Concurrently, the emotional data presented in these surveys—including perceptions on questions such as loneliness, friendship, and intimate fears—feed an expanding political agenda of happiness and a new form of market whose most decisive asset is “affect.”
Nick Aikens, Elizabeth Robles (Eds.)The Place Is Here
The Work of Black Artists in 1980s Britain
The publication developed from the exhibition and research project The Place Is Here (2016–19), which traced the urgent and wide-ranging conversations taking place between black artists, writers, and thinkers in Britain during the 1980s. Within the context of Thatcherism and a racist art establishment, a new generation of black artists and intellectuals produced some of the most compelling ideas and images in recent British cultural history.
Stephen Sutcliffeat Fifty
at Fifty is the first catalogue dedicated to Stephen Sutcliffe. Both a microcosm and macrocosm of the processes at play in his works, it is also something of an artist’s book, one that, typical of the artist’s critical practice, formally addresses questions about the value of the monologue, the archive, and the status of the artist.
Florian Hecker: Halluzination, Perspektive, Synthese follows the eponymous exhibition at Kunsthalle Wien that took place from November 2017 to January 2018. In Hecker’s multichannel installation Resynthese FAVN, the auditory stimuli produced from the objects within the exhibition space and the synthetic sounds he composed were designed to subliminally override the mechanical processes of human sense. The result was an intervention into the psychoacoustics of the audience, dramatizing their subjective experience through auditory hallucinations.
Igor GrubićTraces of Disappearing (In Three Acts)
Igor Grubić has been active as a multimedia artist from the beginning of the 1990s. His work includes site-specific interventions in public spaces, photography, and film. Grubić's project for the 58th Venice Biennale, Traces of Disappearing in Three Acts (2006–19), is already thirteen years in the making. It consists of three interrelated photo essays and an animated film, set in a specially designed mise-en-scène.
Jörg Heiser, Cristina Ricupero, Gahee Park (Eds.)Divided We Stand
9th Busan Biennale 2018
Titled Divided We Stand, the 9th Busan Biennale in South Korea focused on the theme of divided territories caused by war, conflict, or colonization, and also considered individuals’ feelings of separation, anxiety, fear, or paranoia that result from such geopolitical traumas. Featuring sixty-six artists and artist teams from thirty-four countries, the biennial was organized under the direction of Cristina Ricupero and Jörg Heiser, with the assistance of guest curator Gahee Park, and took place at the newly built Museum of Contemporary Art Busan (MoCA Busan) and the brutalist-style former Bank of Korea in Busan.
Wilfrid AlmendraLight Boiled like Liquid Soap
Light Boiled like Liquid Soap is an immersive installation by Marseille-based artist Wilfrid Almendra featuring radio transmissions and a series of sculptural elements made of copper, plaster, and silicone in various states of dematerialization. Combining found and repurposed materials, the works attest to notions of desire, circulation, and flux, from protective spaces of retreat to global economies of exchange.
Kate NewbyI can't nail the days down
The publication I can’t nail the days down documents Newby’s eponymous exhibition at Kunsthalle Wien and includes a photo essay by the artist as well as detailing previous projects. Working with the architecture of Kunsthalle Wien’s glass pavilion at the Karlsplatz in Vienna, Newby’s exhibition ranged beyond the physical boundaries assigned to it, and subtly challenged where and how sculpture happens. Christina Barton, Juliane Bischoff, Chris Kraus, and Nicolaus Schafhausen contribute texts to the book that explore the influences, tools, ethical aspects, and poetics of Newby’s artworks, as well as the personal relationships the artist folds into her projects.
The Fevered Specters of ArtDie fiebrigen Gespenster der Kunst
The Fevered Specters of Art is the final chapter of a long-term project curated by Edit Molnár, Lívia Páldi, and Marcel Schwierin that started with a group exhibition at Edith-Russ-Haus für Medienkunst, Oldenburg, in 2016. The exhibition looked back at the epoch of Cold War radicalism and anti-colonial revolution, an era characterized by a proliferation of ideas about how radical social change might permeate the globe.
The publication Deliquescing accompanies Steve Bishop’s 2018–19 solo exhibition at KW Institute for Contemporary Art in Berlin. Both the exhibition and publication reflect a body of research that focuses on the fragility of memory and the potential for its preservation, defying the gradual breakdown of matter through the effects of time.
Joanna Sokołowska (Ed.)All Men Become Sisters
This book is both a record and a theoretical expansion of the eponymous exhibition at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction.
Prototypes by Doireann O’Malley is a multi-screen film installation, a series of dreamscapes interrogating trans* semiotics through psychoanalytic practices, speculative technologies, and live action role-playing. O’Malley’s work references scientific and medical investigations into the human psyche that address wider philosophical concerns relating to biology, gender embodiment, sexuality, utopianism, and biomolecular advancement in human evolution.
The catalogue please listen hurry others speak better accompanies solo exhibitions by Amalia Pica at three venues: “ears to speak” at The Power Plantin Toronto and “please open hurry” at the Institute of Modern Art, Brisbane, and Perth Institute of Contemporary Arts. Two threads in Pica’s practice are brought together in these shows: communication between humans and exchange between species. The artist raises questions of mutual understanding through constructing forums that address shared experience.
Meg O'Rourke (Ed.)Ornament and Crime
The catalogue Ornament and Crime accompanies the group exhibition curated by Meg O’Rourke at Eykyn Maclean gallery in New York. With Adolf Loos’s eponymous 1908 diatribe against excessive ornamentation as its guide, the exhibition draws on the tenets set forth by Loos—simplicity, purity, freedom—with particular attention to their philosophical implications and their persistence into the latter twentieth century.
Torbjørn RødlandFifth Honeymoon
This publication accompanies Torbjørn Rødland’s exhibition “Fifth Honeymoon,” produced as a collaboration between Bergen Kunsthall; Bonniers Konsthall, Stockholm; and Helsinki’s Museum of Contemporary Art, Kiasma, and featuring thirty new photographs and a new video work, his first in eleven years.
Guy MeesThe Weather is Quiet, Cool, and Soft
Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterized by a formal rigor combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.
Georgia SagriGEORGIA SAGRI GEORGIA SAGRI and I
As her first comprehensive publication, this catalogue surveys the multi-facetted oeuvre of the Greek artist Georgia Sagri. It collects both current documentation of Sagri’s work and rich archival material since 1999; together they are juxtaposed against essays by Sotirios Bahtsetzis, Daniel Horn, Ruba Katrib, Christina Lehnert, Diego Singh and Stephen Squibb, an interview conducted with Silvia Federici, and a conversation between the artist, Bettina Funcke, and John Kelsey.
Vincent MeessenThe Other Country / L'autre pays
This book is the fourth volume in Vincent Meessen’s publication series "Prospectus" and published following the artist’s solo exhibitions at WIELS and Centre Pompidou. The book is structured around the installations that made up these shows, and are placed in parallel with untold histories of the Situationist International, modernity’s last international avant-garde. Alongside newly commissioned essays, previously unpublished texts and reprints by Guy Debord, Lungela Diangani, and Omar Blondin Diop explore the Situationist International’s influence in sub-Saharan Africa.
The only performances that make it all the way ...
Yes, but is it performable?
This catalogue is published on the occasion of the two group exhibitions “The only performances that make it all the way...“ and “Yes, but is it performable? Investigations on the Performative Paradox“ which were shown at Künstlerhaus, Halle für Kunst & Medien in 2013 and 2016.
Ane Hjort GuttuWritings, Conversations, Scripts
Writings, Conversations, Scripts is the first survey of text works by Ane Hjort Guttu. Written between 2003 and 2018, the texts range from public statements, poetic short prose, and film scripts to reflections on the role of the artist and essays on art for children. With a special focus on the significance of “image-text constellations,” this anthology suggests connections between artistic writing and curatorial publishing.
Magali ReusHot Cottons
As mist, description
This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: “Hot Cottons” (2017–18) at Bergen Kunsthall and “As mist, description,” (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus’s work, this catalogue provides an in-depth exploration of the artist’s recent sculptural practice.
Uriel OrlowTheatrum Botanicum
This publication emerges from Uriel Orlow’s Theatrum Botanicum (2015–18), a multi-faceted project encompassing film, sound, photography, and installation, which looks to the botanical world as a stage for politics. Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses to, and dynamic agents in, history. It links nature and humans, rural and cosmopolitan medicine, tradition and modernity across different geographies, histories, and systems of knowledge—exploring the variety of curative, spiritual, and economic powers of plants.
Josephine Prydelapses in Thinking By the person i Am
In the body of work documented here, Pryde combines a series of color photographs of hands touching objects with a scale-model freight train and track, replete with miniaturized graffiti, that took visitors in a short ride through the exhibition. Through photography and sculpture, Pryde pays close attention to the nature of image making and the conditions display, subtly reworking codes and conventions to alter our cultural perception and understanding of each.
Marked by her cosmopolitan origins, between Europe and Asia, and by an attention to the sonorous dimension of the world, the practice of Su-Mei Tse involves issues such as time, memory, musicality, and language. Like her exhibition “Nested,” this publication was conceived to be like a notebook: a form that brings together impressions that have occurred in everyday life—be they visual, sound, or memory related—and blends them in a subjective and intuitive way, allowing a whole network of echoes and correspondences to be deployed.
Marcel OdenbachBeweis zu nichts / Proof of Nothing
Departing from Marcel Odenbach’s eponymous exhibition at Kunsthalle Wien, Beweis zu nichts / Proof of Nothing examines new works by Odenbach and contextualizes them within a broader context. Named after an early poem by Ingeborg Bachmann, the exhibition reflected the atmosphere of the postwar period that dominates Bachmann’s poetry, which itself is shaped as much by the search for authenticity and truthfulness as it is by the traumatic memory of the past.
Ellen CantorA history of the world as it has become known to me
Ellen Cantor (1961–2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor’s work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice.
Prints by Jennifer Bornstein gathers together a body of work encompassing her latest projects in printmaking during a recent fellowship at the Radcliffe Institute for Advanced Study at Harvard University. These works are contextualized by earlier projects in drawing, film, and artist books that span the 1990s to the present.
Tom NicholsonLines towards Another
Lines towards Another is the first anthology on the work of Australian contemporary artist Tom Nicholson. Spanning drawing, sculpture, public actions, sound, installation, video, and performance, Nicholson’s work since the 1990s has engaged with critical questions around history, politics, narrative, and representation. Presenting new research on the artist and providing an unprecedented overview of two decades of work, the book features eleven essays and two interviews, alongside richly illustrated project pages and texts by the artist.
Natasha Ginwala, Daniel Muzyczuk (Eds.)The Museum of Rhythm
The Museum of Rhythm is a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience. When entering a larger cultural infrastructure such as the art museum, it juxtaposes modern and contemporary art with ethnographic research, cinema, music, and scientific instruments to set in resonance a critical apparatus and conduct exercises in Rhythmanalysis. This book, and the exhibition upon which it is based, is an outcome of durational research that sees art as one of the means by which the ideologies of rhythm are implemented.
Cécile B. Evans(1770–25k)
With (1770–25k) Cécile B. Evans presents materials from three recent video works included in her 2016 solo exhibition “Timeline for a Copy without Origins” at the Bielefelder Kunstverein. The amalgamations of text and image appear in the form of audiovisual transcripts, much of the material scavenged verbatim from popular culture and the user-generated web content of platforms like YouTube, Craigslist, and Reddit.
Alex Klein, Milena Hoegsberg (Eds.)Myths of the Marble
Myths of the Marble documents a group exhibition that took place in 2017 at the Henie Onstad Kunstsenter, Norway, and the Institute of Contemporary Art, University of Pennsylvania. Curated by Alex Klein and Milena Hoegsberg, the exhibition reflects upon how the “virtual” has been engaged by contemporary artists as a way to consider the world as a site of possibility and limitation that both permeates physical space and online experience.
Ineke HansWas ist Loos?
This publication was created on the occasion of Dutch designer Ineke Hans’s first institutional solo exhibition in Austria. The exhibition—its title a pun merging the German phrase for “What’s going on?” with the name of architect Adolf Loos—provided an overview of Ineke Hans’s recent work while also exploring the present and the future of design.
Pierre Bal-Blanc (Ed.)Project Phalanstère at CAC Brétigny, or “Of museum orgy or mixed omnigamy in composite and harmonic order”
Organized by curator Pierre Bal-Blanc, the experimental architectural program“Project Phalanstère” consisted of a series of site-specific artworks in the Parisian suburbs. From 2003 to 2014, these projects developed a creative space extended in time: in contrast with the duration of the work schedule, in which one task follows another, the simultaneity of life’s forces asserted its rhythm. This book extends the recollection and mental reconstruction of the artworks and reconstitutes the project's political aims.
Dr. Daniel S. Berger, John Neff (Eds.)Militant Eroticism
The ART+Positive Archives
This book is the first survey of the art and practice of Art+Positive, a significant affinity group of ACT UP New York during the early years of the AIDS epidemic. Staging self-initiated actions, and also participating in larger demonstrations organized by ACT UP, Art+Positive practiced an improvisational approach to activism at the intersection of the AIDS crisis and the culture wars of the late 1980s and early 1990s.
Visions of the NowStockholm Festival for Art and Technology
Initiated by Swedish artist Anna Lundh, Visions of the Now is a reconsideration of the 1966 Stockholm festival Visioner av Nuet (Visions of the Present), which aimed to examine the impact of technology on humanity, society, and art; half a century later, we are immersed in the technology that was still “new” in 1966. Lundh’s project took place in 2013 and brought together international artists, musicians, theorists, and scientists for a three-day festival of lectures, panels, performances, sound pieces, installations, and screenings.
ars viva 2018Anna-Sophie Berger, Oscar Enberg, Zac Langdon-Pole
Since 1953, the Kulturkreis der deutschen Wirtschaft im BDI e. V. has awarded the ars viva Prize to young artists living in Germany. This year, it goes to Anna-Sophie Berger (*1989), Oscar Enberg (*1988), and Zac Langdon-Pole (*1988). The prize includes two exhibitions at renowned art institutions in Germany and Belgium, the ars viva catalogue, and an artist residency on Fogo Island (Canada).
Anne Faucheret, David Jourdan (Eds.)The Promise of Total Automation
The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices. The prospect of a fully automated future—while acutely reshaping the notions of work, production, and value creation—also feeds emancipatory scenarios ultimately leading to the end of labor. Total automation is upon us but its liberating promise is yet to be claimed. This book surveys the literature on that story. It tracks its fabric, layers, and mediations, and unfolds a bibliography and chronology of automation and of its promises.
Studio for Propositional Cinemain relation to a Spectator:
A compendium of essays, scripts, poems, and proposals, in relation to a Spectator: was compiled by Studio for Propositional Cinema—an anonymous artist collective founded in 2013—for their eponymous exhibition at the Kestner Gesellschaft in Hannover. The book investigates notions of the script, staging, and the conditions of the exhibition itself.
Michael TedjaThe Holarium: Negeren Series 818:32
Unlike a number of artists who have begun to use negation, detachment, and inaccessibility as tools to reflect upon and problematize the narratives mapped onto them as members of diasporic or immigrant communities, Michael Tedja plays the other extreme. His work seems to exceed and absorb the institutions that attempt to codify him one way or another. Whereas his peers may seek to transcend identity as such, Tedja’s practice is hypersubjective and all-encompassing.
Heman ChongIfs, Ands, or Buts
The catalogue for Heman Chong’s first solo museum exhibition in mainland China, at the Rockbund Art Museum, provides an insightful and critical look into the Singaporean artist’s recent practice. To address the centrality of language, books, and the act of reading in Chong’s oeuvre, this publication features newly commissioned texts from a variety of contributors. Ifs, Ands, or Buts is illustrated with images of the entirety of works included in the show reproduced alongside documentation of Chong’s correspondence and collaboration with Ken Liu, as well as a section dedicated to the humorous tabloid stories from Chong’s work Papaya Daily.
Among the first artists in his generation to employ digital software in the creation of art objects, Craig Kalpakjian engages with both historical art discourses and contemporary issues. In his work, Kalpakjian focuses on the seduction of technology and digital space from a critical position, questioning utopian ideals and suggesting darker implications. Intelligence considers the ideas of artificial intelligence exhibited by machines, as seen in the Sony AIBO robotic dog, and human intelligence, like that which is gathered through interpersonal contact by the US military in accordance with the “US Army Field Guides Manual on Interrogation,” a guide that prohibits abusive techniques of torture.
Asta GrötingBERLIN FASSADEN
This publication accompanies the first comprehensive presentation of Asta Gröting’s project BERLIN FASSADEN. For her exhibition at KINDL – Centre for Contemporary Art, Gröting covered the walls and floors with sculptural silicone impressions of Berlin facades containing traces of bullet holes from the Second World War. Functioning like slow-exposure photographs, the sculptures capture the history of the facades, from the bullet’s impact during the war to the present day. Gröting reconstructs wounds as architectural traces and translates them into abstract pictures.
Joasia Krysa (Ed.)Systemics (or, Exhibition as a Series)
Index of Exhibitions and Related Materials, 2013–14
Systemics brings together a collection of new writing and curatorial projects that unfolded at Kunsthal Aarhus, Denmark, over a two-year period from 2013 to 2014. Contained here are its various parts: details of the four core exhibitions and related events, two commissioned exhibitions, and four essays, together comprising the Systemics series program as a whole. Like any series, it unfolds over time, in associative parts, using descriptive and poetic exhibition titles to develop a cumulative experience.
Marika Kuźmicz, Łukasz Ronduda (Eds.)Workshop of the Film Form
Workshop of the Film Form provides an in-depth overview of the achievements of Warsztat Formy Filmowej (WWF; Workshop of the Film Form), a group of avant-garde artists who were working at the Leon Schiller National Higher School of Film, Television and Theatre in Lodz, Poland, between 1970 and 1977. It examines all aspects of WFF’s activity, from their films, photographic experiments, video art, and performative actions to their teaching work, which includes previously unexplored pedagogical contributions to the National Film School.
Daniela Zyman, Cory Scozzari (Eds.)Allan Sekula
This publication intersperses essays from scholars, historians, and thinkers with a selection of Allan Sekula’s seminal texts and excerpts from his private notebooks. Made and written across the decades, Sekula’s sketches and texts focus on maritime space and the material, economic, and ecological implications of globalization. In projects such as his magnum opus Fish Story (1989–95), or films like Lottery of the Sea (2006) and The Forgotten Space (2010), Sekula provided a view from and of the sea. This publication expands on these oceanic themes, seeking to honor the scope and complexity of the late artist-theorist’s work, and situate his ideas in current political, social, and environmental discourses.
Theo EshetuThe Body Electric
The Body Electric is the first comprehensive survey of video artist and filmmaker Theo Eshetu’s extensive body of work. It provides an in-depth exploration of the artist’s engagement with a variety of genres and media, including experimental cinema, essay and documentary films, large-scale video installations, and live performances.
Blake RayneTense and Spaced Out
Polar Nights, Glacial Chaos and the Ecology of Misery
Blake Rayne’s approach to painting stems from the duplicity of words like script, folder, application, dissolve, and screen. These operative terms situate his work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms painter and painting as fictions with no stable material definition. Rather, they are shaped by always-evolving social, institutional, and physical relations.
(The Real-Time Disintegration into Ruins of the Berlin Olympic Stadium over the Course of a Thousand Years)
This publication documents the first iteration of Belgian artist David Claerbout’s project Olympia, a digital simulation of the Olympic Stadium in Berlin. Conceived to last one thousand years, Claerbout’s simulation uses real-time weather data to present the slow decay of the stadium over the coming millennium. Projected onto monumental screens in the Boiler House at the KINDL – Centre for Contemporary Art in Berlin from late summer 2016 to spring 2017, Olympia aims to exceed the human ability to imagine time, thus radically surpassing our own experience of the world.
Otobong NkangaLuster and Lucre
Otobong Nkanga’s first monograph, Luster and Lucre, charts an intensely productive period from 2013 to 2016, which includes exhibitions at the 8th Berlin Biennale; Portikus, Frankfurt am Main; KADIST, Paris; and M HKA, Antwerp. Its title encapsulates the complex concerns that underpin these shows: “luster,” the illustrious shining of materials; and “lucre,” profits and gains.
Stephan DillemuthSchall und Rauch. Eine Revue in Bildern
Sound and Smoke—A Revue in Pictures
This catalogue illustrates Stephan Dillemuth’s elaborate solo show at the Künstlerhaus, Halle für Kunst & Medien, through installation photographs as well as texts by art historian Kerstin Stakemeier and theorist Helmut Draxler. The exhibition presented newly conceived works alongside works from the 1980s exhibited for the first time.
Maria Thereza AlvesThe Long Road to Xico / El largo camino a Xico, 1991–2015
The Long Road to Xico, 1991–2015 is the first monograph of Brazilian artist Maria Thereza Alves, and the outcome of her solo show at the Centro Andaluz de Arte Contemporáneo in Seville in 2015. It gathers more than twenty projects realized between 1991 and 2015, including rarely viewed early works that help us see her most recent production from a new perspective. This publication also collects a selection of Alves’s writings and contextualizes her work in the political and cultural debates from the 1980s, when she became an activist and an early participant in discourses around “postcolonialism” and “ecology.”
Martin BeckAn Organized System of Instructions
Martin Beck’s exhibition “Program” at the Carpenter Center for the Visual Arts comprised a sequence of interventions, installations, events, and displays that drew on the exhibition histories and academic pursuits of the famed 1963 Le Corbusier building at Harvard University. The sequence of explorative strategies—each node of which Beck considered an “episode”—lent particular attention to the founding aspirations of the Carpenter Center, which sought to cultivate its position as simultaneously an iconic modernist building, school, and exhibition venue.
Lívia Páldi (Ed.)The Site Residency
Imagined as a residency that would result in no material production, the Site Residency was conceptually grounded in theories and practices of withdrawal and in the critical questioning of creation, materiality, and objectified artistic output, paying tribute to the artistic strategies from the 1960s and ’70s. This publication presents various visual and textual materials of the residency’s three participating artists, Annika Eriksson, Susanne Kriemann, and Agnieszka Polska, including the “results” of their invited ghostwriters who translated the experience of the artists and curators into literary fiction.
Margarida Mendes (Ed.)Matter Fictions
Matter Fictions addresses fiction as a mode of producing reality as well as the significance of matter—animal, vegetable, mineral, hybrid—beyond binaries. Recounting a partial history of our relation with matter, the eponymous exhibition at Museu Coleção Berardo (May 4–August 21, 2016) explored how the crossover between cosmological narratives, spatial revolutions of concrete poetry, and hypertextual and territorial fictions might impact our understanding of human agency in a time that calls for action on climate change and technocratic policies.
Jesse JonesThe Other North
Jesse Jones’s 2013 film The Other North represents the culmination of her research in South Korea and the Demilitarized Zone. It features Korean actors reenacting The Steel Shutter, a little-known documentary of a “conflict resolution therapy session” held by American psychologist Carl Rogers in the early 1970s with a group of individuals from various political and socioeconomic backgrounds in Northern Ireland. Here, fact and fiction press up against each other and the conflict of one North is reinscribed in another.
Pierre BismuthThings I Remember I Have Done, But Don’t Remember Why I Did Them—Towards a Catalogue Raisonné
This publication comprises two volumes: a booklet accompanying Pierre Bismuth’s 2015 solo exhibition at Kunsthalle Wien, and a catalogue raisonné indexing his typically serial and often humorous work of the last three decades, from five-minute paintings of recipe cards from women’s magazines (1986–87) to fried-chicken-flavored polyethylene sculptures (2015). Just like the idiosyncratic mix of conceptualism and appropriation refined by Bismuth throughout his career, Things I Remember I Have Done, But Don’t Remember Why I Did Them suggests how easily authorship and intentionality can be undermined, even erased—and Bismuth is not exempt from his own treatment.
Tom Humphreys—Plates is an artist’s book documenting works produced between 2009 and 2016 using industrially manufactured plates as a support medium. This extensive volume loosely catalogues four hundred and twenty works from this series at a one-to-one scale, in precisely rendered photographs.
Olafur EliassonGreen light
An artistic workshop
Green light is a project initiated by artist Olafur Eliasson in collaboration with Thyssen-Bornemisza Art Contemporary, Vienna. Conceived as a field of production and mutual learning, Green light works with refugees, asylum seekers, migrants, and NGOs to fabricate an unlimited edition of fully functional lamps: geometric, stackable modules made from recyclable materials and fitted with a welcoming green light. Providing fundraising and education opportunities, Green light workshops first took place in Vienna in 2016, and have since been hosted at the Moody Center for the Arts, Houston, and the 57th Venice Biennale.
Leonard QylafiOccurrence in Present Tense
Ndodhi në kohën e tashme
Recollection is the presence of the past in the here and now; it shapes our understanding of our places and lives, their histories and changes. As experience becomes fact, the past turns into objective matter. Leonard Qylafi’s artistic practice takes such material records as books, films, or photos as points of departure for examining this process of change. His paintings and videos are as much investigations of the processes shaping the narration of events in his home country of Albania as they are reflections on the nature of the image as such.
Katja NovitskovaIf Only You Could See What I’ve Seen with Your Eyes
Today almost all aspects of human—and increasingly nonhuman—lives are being modeled by software. Transcending the limits of our planet, data collection has become a fundamental tool with which to map the earth and beyond. Katja Novitskova’s catalogue If Only You Could See What I’ve Seen with Your Eyes, published for the Estonian Pavilion at the 57th Venice Biennale, addresses emerging potentialities between visual culture, big-data-driven processes, and ecology.
Hearings: A ReaderContour Biennale 8
Titled "Polyphonic Worlds: Justice as Medium," the eighth Contour Biennale in Mechelen, Belgium, addresses the nation-state system and the realm of justice today. The editorial approach of its accompanying reader, Hearings, borrows from the juridicial and musical spheres. Launched as the online journal of the biennial, the reader pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices. Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst.
Cecilia VicuñaRead Thread
The Story of the Red Thread
From the 1970s to the present, Cecilia Vicuña’s work has engaged with rituals from Aboriginal Australia, South Africa, Paleolithic Europe, and pre-Columbian America involving red-colored thread. The Chilean artist’s performances, site-specific installations, paintings, and drawings relate to the symbolic function of textile and language as well as the ritual dimension of menstrual blood in the construction of solidarity through femininity and maternity, to support and continue life. Appearing on the occasion of Vicuña’s installation in Athens for documenta 14, Read Thread tells the story of the sanguine thread in Vicuña’s work.
Shirana ShahbaziFirst Things First
The catalogue First Things First comprises a selection of images from a number of Shirana Shahbazi’s photographic series created over the past ten years. The presentation of some fifty works is not necessarily categorically or linearly organized; rather, it appears completely free of hierarchy, with photographic styles, subjects, and techniques displayed on equal footing. First Things First emphasizes a juxtapositional approach, a dynamic and free arrangement of various subjects and styles.
Merlin CarpenterMIDCAREER PAINTINGS
Merlin Carpenter’s exhibition “MIDCAREER PAINTINGS” filled Kunsthalle Bern’s rooms with transit blankets stretched over identically scaled frames, each named after one of the artist's seven galleries and marked "not for sale." This publication documents these "paintings," the particular mix of playfulness and earnestness in Carpenter's art, and how the works thematize the limbo of the "midcareer" artist as well as the circulation of the artwork as a commodity that signifies material wealth or value.
Ernesto Neto and the Huni KuinAru Kuxipa—Sacred Secret
“Aru Kuxipa,” the exhibition held at TBA21 – Augarten, was a vibrant demonstration of ancestral futures, a term that unpacks potentials for creating a future that is also deeply rooted in cultures of tradition. Through multiple exchanges between members of thirty-two Huni Kuin communities in Brazil, this publication brings together threads from anthropology, art, and science that are interwoven, like the movement of a serpent, with essay contributions, oral histories, drawings, and traditional song. Together, they outline the way unique kinships produced within an indigenous cosmo-vision can shape our present moment
Roee RosenLive and Die as Eva Braun and Other Intimate Stories
Live and Die as Eva Braun and Other Intimate Stories is a bilingual edition of short writings by Roee Rosen. At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism.
Olaf Holzapfel / Nahum TevetThe Rough Law of Gardens
The Rough Law of Gardens documents Olaf Holzapfel and Nahum Tevet’s eponymous joint exhibition and explores the intergenerational differences between two unique artists. Both artists’ work rejects the global logic of growth and traverses the bounds of sculpture and painting: each of their practices involves ideas to do with materiality, learning, and memory.
Omar Berrada (Ed.)seepage/ritual
The 2017 Abraaj Group Art Prize
Providing an important platform for new and ambitious work from the Middle East, North Africa, and South Asia, the ninth installment of the Abraaj Group Art Prize features “seepage/ritual,” an exhibition with the work of winner Rana Begum and the three short-listed artists: Sarah Abu Abdallah, Doa Aly, and Raha Raissnia. This publication is conceived as a parallel exhibition in book form, and contains original interventions by and in collaboration with the artists.
Mario García TorresAn Arrival Tale
Appropriation, storytelling, reenactment, and reportage are some of the strategies that Mario García Torres deploys to highlight the limitations of factual evidence and the agency of historical records and objects. An Arrival Tale detaches the Mexican artist’s works in the TBA21 collection from their original contexts and offers them as a collection of narratives and artistic experiments open for reinscription in order to address the conditions and urgencies of our contemporary societies. It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return.
Minouk LimUnited Paradox
What role does historiography play in the formation of the present? How does contemporary experience inform the commemoration of historical events or lack thereof? Minouk Lim explores history in the present tense—its media representation, collective memory, ritual, and trauma—through her exhibition, publication, and broadcasting station United Paradox.
Dave Hullfish Bailey + Sam WatsonCityCat Project 2006–2016
CityCat Project 2006–2016 is the record of an extraordinary collaboration between American artist Dave Hullfish Bailey and senior Aboriginal writer and activist Sam Watson. The collaboration is structured around Maiwar Performance, in which the CityCat ferries that ply the Brisbane River (Maiwar) execute unannounced maneuvers near a site of significance to the Aboriginal people who lived on the lands around Brisbane before British colonization in the early nineteenth century.
Helke BayrlePortikus Under Construction, 1992–2016
In 1992, Helke Bayrle began videotaping the installation of each exhibition at the Portikus exhibition space. These videos form a remarkable and intimate archive of the storied Frankfurt contemporary art institution and the exceptional artists and personnel that have worked within it. Coinciding with the launch of a website containing all of Bayrle’s Portikus videos, this publication pays tribute to the artist’s extraordinary work, through a comprehensive timeline, video stills, and statements by past and current directors and curators.
Edgar Leciejewski spent six months as an artist-in-residence with Fogo Island Arts in 2014. Tones brings together new work stemming from the Leipzig-based artist’s time on the island, including large-scale collages, photographs of natural elements, and precarious sculptures composed of objects found on the shore. Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. This publication features essays by Bill Arning and Zoë Gray, as well as a conversation between the artist and Nicolaus Schafhausen.
Reto PulferZustandskatalog: Catalog of States and Conditions
In the style of a catalogue raisonné, Reto Pulfer’s comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist’s work over the past fifteen years. Excerpts from the artist’s novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer’s technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself.
Luca Lo Pinto (Ed.)One, No One and One Hundred Thousand
This publication documents the 2016 exhibition “One, No One and One Hundred Thousand,” which took place at Kunsthalle Wien, Karlsplatz. Curated by Luca Lo Pinto, the show took its inspiration from Oulipo, a literary strategy whose objective was to propose new “structures” for writing that were mathematical in nature. Using A Thousand Billion Poems, a 1961 book by Raymond Queneau, one of Oulipo’s founders, as a manifesto for the exhibition, nine artists were invited to create new works in a display that would change depending on the wishes of the visitor.
Sara van der HeideThe German Library Pyongyang
Die deutsche Informationsbibliothek Pjöngjang
For the 1st Asia Biennial/5th Guangzhou Triennial, artist Sara van der Heide converted a public library in Guangzhou, China, into a restaging of the Goethe-Institut's German Library and Information Centre of Pyongyang, which operated from 2004 to 2009. Van der Heide’s German Library was to offer a set of public cultural programs: a group exhibition, video program, performances, and seminar. However, at the last minute the project was censored by the Chinese Cultural Bureau, turning what was to be an investigation of libraries and the institutional sharing of culture into an intimate reflection on power and censorship, political art, and the historical experiences shared across formerly divided Germany and the two Koreas.
Jesse Birch (Ed.)Black Diamond Dust
This publication expands a 2014 multisite contemporary art exhibition that took place in Nanaimo, British Columbia, a small city on the eastern edge of Vancouver Island. The title refers to coal mining, an industry that has formed and fragmented communities through economic development, racial segregation, and labor inequity, while fueling the modern world. In this book, forgotten or under-acknowledged histories are investigated and discussed along with cultural forms that surround the practices of international coal mining. Contemporary artworks, poetry, essays, literature, folk songs, and archival images come together to extract meaning from this fossilized black carbon that continues to power our cities.
Victor ManLuminary Petals on a Wet, Black Bough
Luminary Petals on a Wet, Black Bough is an artist’s book focusing on Victor Man’s series of paintings first exhibited as part of the 56th Venice Biennale in 2015, and later developed for a solo exhibition at Galeria Plan B, Berlin. The book includes essays by poet and translator Bogdan Ghiu, curator Mihnea Mircan, and literary critic Laura Pavel.
Inhalt concentrates on Eberhard Havekost’s painting from the past ten years, focusing on work first exhibited at KINDL – Centre for Contemporary Art, Berlin, in 2016/17. The work’s heterogeneity is evident in the selection of subjects, as well as the styles employed. This extreme range characterizes Havekost’s artistic work as a whole. The artist situates his paintings in complex interrelationships, where connections and relevancies are constantly reconfigured, forming a continuously growing web.
For almost fifty years, Lydia Okumura has explored the realm of geometric abstraction. She challenges our perception of space through sculptures, installations, and works on paper that blur distinctions between dimensions.
Darja BajagićUnlimited Hate
For her first institutional solo Darja Bajagić turns to the murky terrain where real and staged violence bleed into each other with an ease both unsettling and alluring. This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web.
Boris Groys (Ed.)Beyond the Globe
8th Triennial of Contemporary Art U3
In our cultural imagination, the cosmos is a harmonious, utopian universe, but it is also uncontrollable, even unknown, and the source of a specifically modern fear or uneasiness—one that could be described as “cosmic anxiety.” This catalogue presents many possibilities for the artistic exploration of the topic at hand: the connection between artistic and scientific imagination, the cosmos as analysis of sci-fi culture, perspectives of corporeal immortality, and the critique of contemporary technology.
Hannah RickardsGrey light
Left and right back, high up, two small windows
Grey light. Left and right back, high up, two small windows is a major new work by London-based artist Hannah Rickards commissioned by Fogo Island Arts.The publication features texts by Melissa Gronlund and Will Holder and striking new photographic imagery drawn from the installation’s physical materials and production process. Like Rickards’s work, the publication aims to bridge the distance between visual experience and its expression in language, whether spoken, written, or gestural.
Nathalie Du PasquierBIG OBJECTS NOT ALWAYS SILENT
Nathalie Du Pasquier was one of the founding members of Memphis, the groundbreaking Milanese design and architecture collective. Since 1987, however, her main focus and passion has been painting. The title of this publication describes the main focus of her work: the still life. It consists of an artist’s book by Du Pasquier with drawings, photographs, and reproductions of her paintings, and a book with photographs by Delfino Sisto Legnani of works from the past decades. Texts by writers and artists and an interview with Du Pasquier provide an informative and subjective view of her artistic practice.
Margit BuschIF—THEN—ELSE. Welcome to Transciency
Preis der Kunsthalle Wien 2016
Addressing possible configurations of art and nature, Margit Busch, recipient of the Kunsthalle Wien Prize 2016, created a laboratory-cum-experiment that included mealworms and beetles that consume, and thus recycle, polystyrene plastic. By generating insights into the discipline of “transciency”—devoted to perspectives, research methods, and representations operating through and beyond science—Busch’s project sheds light on the meeting points of scientific, philosophical, artistic, and practical discourses.
Andrej PolukordThe Sarcophagus
Preis der Kunsthalle Wien 2016
Andrej Polukord, corecipient of the Kunsthalle Wien 2016 prize, draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity. Polukord installed The Sarcophagus at Kunsthalle Wien, an environment that takes the form of a cave. In this installation mushrooms grow from the ceiling of the Kunsthalle, transforming the gallery into the space of an inverted forest floor.
Jan Paul Evers, Leon Kahane, Jumana Mannaars viva 2017
The ars viva Prize has been awarded annually since 1953 to young artists living in Germany whose work stands out for its innovative potential and high artistic quality. The recipients of this year’s prize are Jan Paul Evers, Leon Kahane, and Jumana Manna.
James RichardsRequests and Antisongs
Requests and Antisongs is an artist’s book to accompany a sequence of exhibitions by James Richards held at Bergen Kunsthall, Norway; Institute of Contemporary Arts, London; and the Kestner Gesellschaft, Hanover. The book contains a series of visual essays by the artist, documentation of recent exhibitions, as well as essays by Dan Fox, Ed Atkins, Steve Reinke, Chris McCormack, and Fatima Hellberg.
Anastasiya YarovenkoPreis der Kunsthalle Wien 2015
Anastasiya Yarovenko, one of the two recipients of the 2015 Kunsthalle Wien Prize, makes work concerned with the body’s relationship to societal structures, behaviors, and space. In her installation Mimicry at Kunsthalle Wien Karlsplatz, the Ukrainian-born artist assembled a selection of objects that don’t represent any definitive state but that possess the potential to interact with the viewer or surroundings. These objects consist of collapsible and modular furniture-like elements, as well as seemingly nonfunctional sculptures made of light materials
Karina MendreczkyPreis der Kunsthalle Wien 2015
With delicate lyricism, Karina Mendreczky creates fictional landscapes using light and shadow. As one of two recipients of the 2015 Kunsthalle Wien Prize, she created the installation Thin Dream at Kunsthalle Wien Karlsplatz. Silhouettes of acrylic trees, whose details were hand-carved with an etching needle, were projected onto the back wall of the gallery to create the impression of actual large-format drawings.
Lawrence Abu Hamdan[inaudible]
A Politics of Listening in 4 Acts
A “politics of listening” is an intervention into and a reorganization of forms that listening takes rather than a call for free speech or for a platform for voices to be heard. Listening is a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement. In his art and research, Beirut-based artist Lawrence Abu Hamdan explores the perception of language, sound, and listening. National identity, human rights, and the administration of justice are recurrent themes in his work.
Gordon BennettBe Polite
Gordon Bennett: Be Polite follows the exhibition of largely unseen works on paper by one of Australia’s most visionary and critical artists, Gordon Bennett (1955–2014). The exhibition and publication are the first to present the work of Bennett since his death. Though rarely seen in exhibition contexts, Bennett’s drawing and writing formed the foundation of his practice.
Nicholas ManganLimits to Growth
This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition “Limits to Growth.” The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun.
Angela Bulloch, Maria ZerresConsidering Dynamics and the Forms of Chaos
This volume accompanies the eponymous exhibition at the Sharjah Art Museum—two parallel solo shows by Angela Bulloch and Maria Zerres brought together under one title, framed by the notion of entropy. A key term that characterizes the movement toward chaos, entropy appears in a variety of fields such as physics, probability theory, sociology and information technology. Within contemporary art, entropy has emerged to refer to installations often associated with representations of order, disorder and information, and their homogeneity.
Kalimpong is an artist project in book form by the London-based artist Shezad Dawood. Set in Kalimpong at various moments from 1912 to the present day, Dawood’s project is part fact, part fiction. There are explorers and spies, poets and travelers, lovers and strangers, princesses and humanoids, all strangely connected across the globe through this curious Indian town.
Irena HaidukSeductive Exacting Realism
A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1967. This edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant translation from French by the poet Tin Ujević. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. They were frequently looted together with other valuables from Bosnian homes. The set exhibited in Irena Haiduk's “Seductive Exacting Realism” was seized by local police from Belgrade Kalenić Market in 1995. It was acquired at a public auction in 2014. It is missing volume number 12.
Pauline Boudry/Renate Lorenz I Want
This publication documents the major film installation I Want (2015) by collaborative artists Pauline Boudry and Renate Lorenz. The double-projection film installation is based on a script that borrows texts from American punk-poet Kathy Acker, as well as chats and materials by convicted whistle-blower Chelsea Manning that speak of her reasons for revealing nearly one million secret military and diplomatic documents through WikiLeaks, at the same time exposing her transgender identity to her superiors. Through poetic gestures of appropriation and recombination, Boudry and Lorenz examine issues around gender, sexuality, the performance of identity, and the nature of collaboration.
Barbara Gronau, Matthias von Hartz, Carolin Hochleichter (Eds.)How to Frame
On the Threshold of Performing and Visual Arts
From 2012 to 2016, Foreign Affairs, the international performing arts festival of Berliner Festspiele, and the Berlin University of the Arts (UdK) have been investigating the relations between the performing and visual arts. The festival has continuously produced projects with international artists that experiment with various institutional frameworks. This book is both a question and a manual, collecting ideas, knowledge and experiences that stem from the theory and practices developed over the past few years.
The Baltic Atlas
“It is impossible, but as you do not know it is impossible, it might be possible.” —Lolita Jablonskiene, Director of the National Gallery of Art, Vilnius, commenting on previous attempts to organize a joint pavilion including all three Baltic States for the Venice Biennale
Kate CooperLOOK BOOK
Through her videos, exhibitions, and photographic works, Kate Cooper explores the role of gender and what agency images might possess in and of themselves. Producing images becomes akin to building infrastructure; her computer-generated bodies are imbued with power and put to work. This publication accompanies the first institutional solo show by Cooper, winner of the 2014 Schering Stiftung Art Award. Cooper returns to the CGI female models used in her exhibition at KW Institute for Contemporary Art, Berlin, to create a new series of works situated within the fictional space of the lookbook.
Lívia Páldi, Olav Westphalen (Eds.)Dysfunctional Comedy
Dysfunctional Comedy documents a series of public events, performances, and workshops conceptualized by German-American artist Olav Westphalen and organized with different partners, mainly in Sweden, between 2012 and 2015. An intersection of practices, ideas, and images, this artist’s book/catalogue engages with representatives of different traditions and genres in comedic and cartoonist practices to reflect on the rich history of stand-up comedy and political satire.
Apple. An Introduction(Over and over and once again)
A supplement to exhibitions held at Museum Abteiberg, Mönchengladbach, and Muzeum Sztuki, Łódź, this book centers around the apple as an art object and as a case study in biodiver sity under threat. Developed over the course of an ongoing, five-year correspondence between artist Antje Majewski and the Polish conceptual artist Paweł Freisler, the project explores the idea of diversity in all of its possible meanings and manifestations, tying together collaborative and associatively connected works by Majewski and Agnieszka Polska, Freisler, Piotr Życieński, and Jimmie Durham in a museum exhibition dealing with the apple.
Vanessa Joan Müller, Cristina Ricupero, Nicolaus Schafhausen (Eds.)New Ways of Doing Nothing
“New Ways of Doing Nothing,” a group exhibition that took place at Kunsthalle Wien in 2014, devoted itself to artistic production that opposes activity and instead gives an affirmative slant to forms of doing nothing or refraining—a major influence being the titular character of Hermann Melville’s “Bartleby the Scriviner: A Story of Wall Street.” The book presents the displayed works and artists, but also continues the process that led to the exhibition. Included along with a conversation between the curators is a text collage of reprints and excerpts that introduces those artists and thinkers who, in the words of Bartleby, “prefer not to.”
Following the 2015 exhibition “Florian Hecker/John McCracken” at Künstlerhaus, Halle für Kunst & Medien Graz, this publication probes the experimental capacity of the white-cube space of the gallery. For the exhibition, two complementary yet autonomous artists were brought into dialogue with each other: German artist and computer composer Florian Hecker, and the late American sculptor John McCracken.
Fredrik VærslevAll Around Amateur
Fredrik Værslev’s work navigates between different painterly traditions, and demonstrates the possibilities and relevance of the medium today. He treats his paintings as objects, often created through more or less laborious, serial, or deterministic processes where time itself, as well as various external factors, become active cocreators in the making of the work. Published in conjunction with Værselv’s exhibition “All Around Amateur” at the Bergen Kunsthall and Le Consortium, Dijon, this publication comes in two different versions, with each book comprising 320 one-to-one digital images scanned from eight of Værslev’s new “sunset” paintings.
Jens Hoffmann (Ed.)United States of Latin America
This publication documents the exhibition “United States of Latin America,” held at the Museum of Contemporary Art Detroit (MOCAD), in collaboration with the Kadist Art Foundation. Bringing together their shared and ongoing engagement with artistic practices from Latin America, Jens Hoffmann and Pablo León de la Barra have assembled one of the most significant contemporary survey’s of recent art from the region.
Simon Battisti, Leah Whitman-Salkin, Åbäke (Eds.)I Have Left You the Mountain
“I Have Left You the Mountain” presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.
Lara FavarettoAgeing Process
Ageing Process, Lara Favaretto’s first monograph, documents the artist’s works from the 1990s to her most recent installations presented in the 2015 exhibition “Good Luck!” at MAXXI in Rome. Structured like a manual, this volume accompanies entries on her works with essays by critics and experts from various disciplines who tackle themes complementary but not directly connected to the artist’s practice.
Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and shamanism. Over the last four decades the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual artworks inhabited by stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly calls “divinities.”
Josephine Meckseper10 minutes after
10 minutes after features installation views from Josephine Meckseper’s recent exhibition at Timothy Taylor, a gallery of “psychoimages,” and two newly commissioned texts. Independent curator and writer Piper Marshall considers ideas of détournement, the readymade, and base materialism in Meckseper’s oeuvre, while writer and editor Domenick Ammirati explores the significance of painting and text within Meckseper’s installations.
Duskdust is an artist book by Susanne Kriemann. It takes as its starting point the former industrial site of limestone mining at Furilden peninsula on the northeastern coast of Gotland, Sweden’s biggest island. It is informed by the artist’s ongoing preoccupation with photography, labor, and archaeology and includes photographs taken during her residencies and site visits, archival material as well as text contributions by invited authors.
Olivia Plender Rise Early, Be Industrious
As the first significant overview of the work by artist Olivia Plender, this monograph navigates through the evolving attitudes to historical and contemporary forms of communication and education that her research-based practice has explored for the last ten years.
Transparenzen/TransparenciesThe Ambivalence of a New Visibility /
Zur Ambivalenz einer neuen Sichtbarkeit
The globalized world seems at once transparent and opaque. The exhibition project “Transparencies” examined the cultural facets and atmospheres of these (non-)transparencies. The two-part, joint exhibition project in Bielefeld and Nuremberg was dedicated to developments in “transparent society,” asking how these are reflected in the current work by contemporary artists.
Hugo Boss Asia Art
Award for Emerging Asian Artists 2015
This substantial publication presents the shortlisted artists for the HUGO BOSS ASIA ART Award for Emerging Asian Artists 2015, and the accompanying exhibition at the Rockbund Art Museum. The art prize aims to put into practice and to question intra-Asia art connections, gaps, and combinations that build very active art scenes from specific contexts to ongoing extensions. In their work, the six finalists—Guan Xiao, Huang Po-Chih, Moe Satt, Maria Taniguchi, Vandy Rattana, and Yang Xinguang—reflect, build, and imagine new art scenes in such different contexts as Cambodia, Mainland China, Myanmar, Philippine, and Taiwan.
Wendelien van OldenborghAmateur
Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories.
Frederick KieslerFunction Follows Vision, Vision Follows Reality
This collection of unpublished or rare texts by Frederick Kiesler written between 1927 and 1957 focuses on Kiesler’s ideas on display, and juxtaposes works of contemporary artists with a number of original drawings by Kiesler.
Eva Grubinger Black Diamond Bay
Eva Grubinger’s exhibition explores the idea of psychological landscapes—a physical or mental journey—that evokes ideas of escapism and the search for the self. Released in conjunction with the show, this catalogue features visual documentation of the exhibition by Sylvain Deleu, and an accompanying text by Fatoş Üstek.
Nav Haq (Ed.)Syntax and Society
The Abraaj Group Art Prize 2016
This double publication offers further investigation into the work of the recipients and shortlisted artists of ninth installment of The Abraaj Group Art Prize. Syntax and Society, the first volume, reflects on the exhibition premise that considered the structure and meaning of language and the role it plays in society, with a focus on the work of the three shortlisted artists, Dina Danish, Mahmoud Khaled, and Basir Mahmood while the second volume, Oh Shining Star Testify, focuses on the work of award-winning artist duo Basel Abbas and Ruanne Abou-Rahme.
Chen ZhenWithout going to New York and Paris, life could be internationalized
This catalogue presents an art-historical angle on Chen Zhen’s unique way of questioning his experience of globalization through art. It includes documentation of the eponymous exhibition at Rockbund Art Museum (May 30–October 7, 2015), along with detailed sketches of both existing and unrealized projects.
Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz (Eds.)Individual Stories
Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art. Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. This catalogue is a compilation of individual collections that could not be more different.
The subject of this book is a deceased prop, an object of a particular color, the green of cinematic trickery and special effects. It edged itself into Shahryar Nashat’s work in 2011, first appearing in Factor Green, an installation the artist produced for the Venice Biennale. Taking its final form a year later, the prop became properly known as La Shape. Accompanied by archival images and a series of portraits that Nashat made during La Shape’s most prolific years, Obituary is a gripping read into a most mysterious icon and a timely consideration of the roles played, and agency expressed, by such a highly mediated art object.
Boris Ondreička, Nadim Samman (Eds.)Rare Earth
Rare Earth is an attempt to define the spirit of an age. Exploring how today’s myths, identities, and cosmologies relate to current advances in technology—through reference to the material basis to our most developed weapons and tools; a class of seventeen rare earth elements from the periodic table—Rare Earth challenges the rhetoric of immateriality associated with our hypermodern condition.
Ull HohnForegrounds, Distances
Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s
Olafur EliassonBaroque Baroque
As an accompaniment to the same-titled exhibition at the Belvedere’s Winter Palace of Prince Eugene of Savoy in Vienna, the catalogue Olafur Eliasson: Baroque Baroque examines some of the trajectories of thought raised by the encounter between Eliasson’s artworks and their temporary baroque housing: in particular, how transformations of space, perception, and cognition reflect the realms of politics, technology, and the Anthropocene.
Dexter SinisterUniversal Serial Bus
What’s on a Universal Serial Bus? A collection of electronic works by Dexter Sinister produced from 2008 to 2015. Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt, who operate at the intersection of graphic design, publishing, and contemporary art. This memory stick is released parallel to the exhibition at Kunstverein München, “On a Universal Serial Bus.*”
Jos de Gruyter & Harald ThysFine Arts
Fine Arts continues Jos de Gruyter & Harald Thys’s playful and dystopic approach to depicting the human condition. The artist duo became watercolorists for the project, harping back to an early amateur pictorial tradition while basing their picture making on a range of quotidian and historical images culled from the Internet.
Jos de Gruyter & Harald ThysDie Schmutzigen Puppen von Pommern
Part document, part photographic album, this book by artist duo Jos de Gruyter & Harald Thys captures the sculptural revisionings of the descendants of an executioner family from Greifswald in Pomerania, a historical region on the southern coast of the Baltic Sea. The “dirty puppets” are weary, the clothing worn in by history, their story line deadpan and fable-like.
Mierle Laderman UkelesSeven Work Ballets
Mierle Laderman Ukeles’s Manifesto for Maintenance Art 1969! Proposal for an Exhibition “CARE” (1969) was a major intervention in feminist performance practices and public art. In 1977, she became the unsalaried Artist-in-Residence for the New York City Department of Sanitation, a position she still holds that enables her to introduce radical public art into an urban municipal infrastructure. This monograph focuses on Ukeles’s work ballets—a series of large-scale collaborative performances involving workers, trucks, barges, and hundreds of tons of recyclables— which took place between 1983 and 2012 in Givors, New York, Pittsburgh, Rotterdam, and Tokamachi.
Mario PfeiferApproximation in the digital age for a humanity condemned to disappear
Approximation in the digital age for a humanity condemned to disappear is Mario Pfeifer’s latest project, which he developed in Puerto Williams, the southernmost settlement in the world located on the southern archipelagos of Patagonia on Chile’s territory bordering Argentina. The publication documents his multiple-screen video installation and production process as well as his researches in archives of the Martin Gusinde estate at Anthropos Institut Sankt Augustin and in the ethnomusicology department of Berlin-Dahlem’s Museum of Ethnography.
Cosmin Costinaş, Inti Guerrero, Lesley Ma (Eds.)A Journal of the Plague Year
Expanded from a touring exhibition originated at Para Site in 2013, this book critically analyzes historical and contemporary imaginations and politics of fear in the face of disease and the specter of contamination in society and culture. The contributions speak from a humanistic and global perspective, pointing to the intersections of urban environments and post-colonial psychology, popular culture and racism, public health and migration, national identity and art.
Joana Hadjithomas & Khalil JoreigeThe Rumors of the World
Rethinking Trust in the Age of the Internet
This book traces the work and research of filmmakers and visual artists Joana Hadjithomas and Khalil Joreige and their exploration through their work of online spam e-mails, specifically, advance-fee frauds and scam messages. The artists present material they have collected since 1999, focusing on the way that personal narratives are formed and articulated in a post-digital age.
Tony ConradTwo Degrees of Separation / Über zwei Ecken
Tony Conrad, who can be described as an artist, composer, musician, filmmaker, and performer, might be considered the first true “crossover artist.” Two Degrees of Separation accompanies the eponymous exhibition by Tony Conrad at Kunsthalle Wien.
Dora GarcíaMad Marginal Cahier #4
I See Words, I Hear Voices
The fourth volume of the Mad Marginal Cahier series brings together essays by international authors that develop different threads pertaining to artist Dora García’s practice. In her research, she explores—through the figures of James Joyce and Robert Walser—deviant literature, exploded language, the unconscious, and the notion of exile as inherent to artistic practice.
Sarah EntwistlePlease send this book to my mother
In Please send this book to my mother, artist Sarah Entwistle dismantles the traditional form of the architectural monograph and artist biography. In 2011, the astounding personal effects of her grandfather, architect Clive Entwistle (1916–76), emerged from a Manhattan storeroom. This book welds together original text fragments and extensive visual material from the collection and Clive Entwistle’s years in Paris, London, Tangiers, and New York.
Politische Landschaft/Political LandscapeKunst, Widerstand, Salzkammergut
The Ausseerland and the partly inaccessible landscape in the Austrian Totes Gebirge look back on a checkered political history. A great number of activities both supporting and opposing Hitler’s fascism were focused there in the mid-1940s. The year 2015 sees the seventieth anniversary of the liberation of Europe from Nazi totalitarianism. Only few witnesses of these past events are still alive at this time. Many events are known, many interpretations contested, but an encounter with contemporary art that focuses on historic sites in the landscape, and decides to interpret these sites differently, is unprecedented.
Christoph Behnke, Cornelia Kastelan, Valérie Knoll, Ulf Wuggenig (Eds.)Art in the Periphery of the Center
Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. The publication Art in the Periphery of the Center attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontal networks and deterritorialized structures, nor does it fix itself to determinist approaches.
Nikolaus Hirsch, Antto Melasniemi, Michel Müller, Rirkrit Tiravanija (Eds.)DO WE DREAM UNDER THE SAME SKY
Published in conjunction with the eponymous installation at Art Basel 2015, DO WE DREAM UNDER THE SAME SKY is an extension of the collaboration between artist Rirkrit Tiravanija, architects Nikolaus Hirsch and Michel Müller, and chef Antto Melasniemi. This supplemental publication includes interviews, texts, images, and poems that illuminate the installation’s properties of self-sufficiency and how it was conceived as a new component of Tiravanija and Kamin Lertchaiprasert’s ongoing project “the land,” a self-sustaining artistic community near Chiang Mai, Thailand. At the end of the festival, the structure will be transported to Thailand and will be the first building block of a new workshop on the land.
In 2005 Vincent Fecteau participated in a project in Los Angeles called “The Backroom,” in which artists were asked to contribute materials related to their research, sources, and interests. Using a large collection of magazine pages he had kept for inspiration, Fecteau arranged and rearranged them into formal and narrative relationships over the course of several months, and presented them in a simple black binder. This book is a reproduction of the resulting selection.
Vanessa Joan Müller, Nicolaus Schafhausen (Eds.)The Brancusi Effect
An Archival Impulse
The Brancusi Effect begins with the Romanian sculptor Constantin Brancusi. Cited as one of the most influential artists of the twentieth century, the exhibition and publication collect Brancusi’s original photographic documentation. The installation reflects the recent currency of the sculptural within contemporary art while referencing Brancusi’s sensibility.
Filip Markiewicz Paradiso Lussemburgo
This publication continues, in the words of the artist, this “new contemporary mythology of Luxembourg,” with a bilingual layering of drawings, text and analysis, exhibition views, an interview, and a film script. Paradiso Lussemburgo, a project proposed by Markiewicz and curator Paul Ardenne, creates an active theater, which the reader continues and further opens for participation.
Jaanus SammaNot Suitable for Work. A Chairman’s Tale
Jaanus Samma’s exhibition “Not Suitable for Work. A Chairman’s Tale,” conceived for the Estonian Pavilion at the 56th Venice Biennale, tells the story of the former collective farm chairman Juhan Ojaste (1921–1990), a war hero and family man, who was declared “not suitable for work.” He was found guilty after being subjected to humiliating criminal trials in the 1960s for his involvement in homosexual acts in Soviet Estonia. He lost his job and was abandoned by his family. After spending a year and a half in a corrective labor camp, Ojaste moved to Tartu where he became a local legend, notorious for his active gay life.
Flaka HalitiSpeculating on the Blue
Published in conjunction with Flaka Haliti’s solo presentation conceived for the Kosovo Pavilion at the 56th Venice Biennale, this book continues the artist’s invitation to encounter a visual field in which territorial boundaries are referenced and mediated by the sensory. Through the use of a saturated blue color altered by light and demarcated by architectural forms, the installation at the Venice Biennale reflects on the salient concept of the border.
Sabine Folie (Ed.)+ QUE 20 ANS APRÈS
Gesammelte Wörter und Bilder
Collected Words and Images
From 2008 to 2014 Sabine Folie was the director of the Generali Foundation—more than twenty-years after (plus que 20 ans après) the collection and exhibition venue formed in 1988. She helped establish the institution’s reputation for generating new critical discussion on contemporary art by revisiting modernism. This survey publication, richly illustrated with photographs and source materials, indexes and contextualizes the works acquired for this definitive collection during Folie’s tenure, along with giving insight into how the corresponding exhibitions were curated.
Ane Hjort Guttueating or opening a window or just walking dully along
On the occasion of Ane Hjort Guttu's 2015 Festival Artist exhibition at Bergen Kunsthall, which presents the new commissioned film Time Passes (2015), this substantial monograph gathers reflections on recent projects and offers insight into the artist’s work and methodology.
Joseph Kellner (Ed.)Furniture of the Fogo Island Inn
This unique publication, filled with annotated images, presents an inventory of design, furniture, and textiles produced for Fogo Island Inn. Each piece is a collaborative effort between artisans and craftspeople living on the island and designers from various parts of the world who were invited to engage with the history and communities of Fogo Island and Change Islands in Newfoundland, Canada.
Mathilde ter HeijnePerforming Change
Performing Change, a collection of interviews by artist Mathilde ter Heijne, explores the idea of open-ended, collaborative art processes and their transformative potential beyond the confines of art. Designed as an artist’s book, the book shows handwritten revisions, annotations, and drawings from contributors.
Armando LulajAlbanian Trilogy
A Series of Devious Stratagems
This catalogue-reader accompanies Armando Lulaj’s project for the 56th Venice Biennale. Curated by Marco Scotini, Lulaj’s exhibition in the Albanian Pavilion is a time capsule of the country’s past, presenting strange memorabilia and trophies that tread the line between fact and fiction. Combining evocation and documentation, Lulaj concentrates on a historic-political phase that was extremely important for building an identity that was not just Albanian but also international.
Rike Frank, Grant Watson (Eds.)Textiles
Textiles: Open Letter examines the referential and analytical qualities of textiles through both contemporary and historical works. The contributions in this book reflect on the complex interplay between the various functions and connotations of textiles—such as the emphasis on their tactile qualities or the artistic value attributed to them—and the attendant conflicts and antagonisms that articulate relations of power and value and of the interaction of artistic processes with their overarching contexts.
Gabriel LesterForced Perspectives
In this book Gabriel Lester’s prolific adventures and art practice are illustrated through an alphabetical assortment of his most prominent installations, interventions, sculptures, and films of the past fifteen years. Alongside comprehensive exhibition documentation, the actual construction and installation of the artworks is presented.
Taiping Tianguo: A History of Possible EncountersAi Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong in New York
“Taiping Tianguo,” a touring exhibition organized by Para Site, Hong Kong, began as a series of questions, including: How did Ai Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong—four artists of Chinese heritage hailing from mainland China, Hong Kong, Taiwan, and San Francisco, respectively— all end up in New York in the heady 1980s? With glimpses of the artists’ overlapping experiences, networks, and friendships, this catalogue makes a unique contribution to a critical reading not only of art of that time and place, but also of nascent contemporary Chinese art in the advent of the globalization of the art world.
Yto BarradaBefore History
The Abraaj Group Art Prize 2015
Before History catalogues the exhibition for the Abraaj Group Art Prize 2015, which includes a new body of work by Yto Barrada, the winner of the prize, and existing work by shortlisted artists Sarnath Banerjee, Setareh Shahbazi, and Mounira Al Solh. The exhibition explores the layering of time through historical artifice. History here is considered as a constructed sphere, constantly in flux, simultaneously being buried and excavated.
Amar KanwarThe Sovereign Forest
The Sovereign Forest attempts to reopen discussion and initiate a creative response to our understanding of crime, politics, human rights, and ecology. The validity of poetry as evidence in a trial; the discourse on seeing, on understanding, on compassion, on issues of justice; sovereignty and the determination of the self—all come together in a constellation of moving and still images, texts, books, pamphlets, albums, music, objects, seeds, events, and processes.
Olaf Holzapfeldie Technik des Landes
(The Technology of the Land)
Olaf Holzapfel’s exhibition at the Lindenau-Museum Altenburg, on occasion of being awarded the Gerhard-Altenbourg Prize 2014, explores the interstices between craft and art, and consequently, between orality and literacy. Much of his work presented in this catalogue—framework installations, hay images, and straw images are displayed in this book—was made together with farmers and craftspeople; by transforming age-old handiwork into contemporary art, Holzapfel unsettles the division between nature and culture, and tradition and modernity.
Sophie von Olfers, Mark von Schlegell (Eds.)Hamlet, mise-en-scène
EXTRA TROUBLE—Jack Smith in Frankfurt
The publication brings together extensive material from Hamlet, mise-en-scène presented at Portikus, along with recently restored as well as never-published stills, drawings, and writings by American filmmaker and artist Jack Smith, related to his film Hamlet in the Rented World (A Fragment) (1970–73).
João Ribas (Ed.)In the Holocene
In the Holocene is based on a 2012 group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception, consciousness, et cetera.
Stephanie Kloss’s photographs capture the mythos and utopianism of architecture in locations as diverse as Athens, Berlin, the United States, and Japan. Yet it is the commonality of modernist architectural form rather than the peculiarities of place, nation, or time that attracts her lens. In Weltausstellung, visual anonymity is the main event—but not the whole story. Embedded in Kloss’s photographs, as the absorbing essays in this catalogue reveal, are invisible histories of human enterprise, idealism, and trauma.
Jos de Gruyter & Harald ThysDas Wunder des Lebens
Like a pictorial encyclopedia, Das Wunder des Lebens contains over four hundred drawings that show all that the modern world has to offer, from maps and city views to cars and airplanes. However, unlike conventional pictorial dictionaries, there is no symbolic system. Juxtapositions are normalized, and normality becomes a farce.
A catalogue as puzzling and conceptually elaborate as the exhibition it accompanies. This fully circular publication has no beginning or end, allowing for multiple points of entry and unconventional ways of reading--both from left to right and vice versa, as well as upside down and right-side up--seeking to interrupt learned behaviors and soliciting the reader's active engagement.
Kevin SchmidtEDM House
This fourth publication in the series with Fogo Island Arts includes stunning color photographs of Kevin Schmidt’s installation and film EDM House (2013) plus reflections on Schmidt’s practice from leading writers.
Michael Tedja’s Aquaholism is an exhibition catalogue, a published oeuvre, an artistic treatise, a poetry collection, a visual essay, an artist’s book. It is a polyphonic collage of text and image. More than seventeen years of artistic output unfold between the first and last pages. With its thoroughness, density, and associative power, the book embodies Tedja’s artistic essence: voluminous, interrelated, and in continuous motion.
Ilit AzoulayFinally Without End
Finally Without End features Ilit Azoulay’s meticulously composed photographs, and includes work from the series “Implicit Manifestations,” created during a six-month residency at the KW Institute for Contemporary Art in Berlin.
Pin is published on the occasion of Jenni Tischer’s eponymous exhibition at mumok in Vienna. As this publication vividly captures, her work weaves an unlikely bond between minimalist sculpture and the frayed, human history of textile work.
Piper Marshall (Ed.)Descartes’ Daughter
Descartes’ Daughter, edited by Piper Marshall, former curator of the Swiss Institute in New York, documents the critically lauded 2013 exhibition of the same name as well as continuing its ideas. Taking the historical account of philosopher René Descartes’ creation of an animatronic effigy of his deceased young daughter as its foundation, the exhibition explored the traditional divide between conceptual and expressive works, those dealing with either the mind or the body.
Ana Teixeira Pinto (Ed.)The Reluctant Narrator
A Survey of Narrative Practices Across Media
An explosion of interest in narrative practices at the end of the twentieth century has been referred to as the "narrative turn." Postmodernism itself was described as a narrative turn in which a rekindled interest in the fictive, the chronicle, and the anecdotal upstaged the symbolic unity of high modernism. Rather than opposing a myriad of micro-narratives to the grand narrative of modernism, The Reluctant Narrator attempts to map the migration of narrative modes across several media, bringing together works that intertwine personal biography with historical events, or that deal with stories that fell through the crevices of history.
Josef BauerWerke 1965–Heute
Works 1965–Today stems from a retrospective held at the Grazer Kunstverein showcasing Josef Bauer’s experiments with language, color, and their spatial contexts nearly forty years after his last exhibition in Graz. His practice combines sculpture, installation, painting, and performance to disturb our perception of words and colors as mere “carriers” of meaning.
Leander SchönwegerDie Nebel lichten sich
A deserted campsite, a car with no one inside … Is anybody home? What has happened here? Evolving from his graduation project at the University of Applied Arts Vienna entitled The Creator Has a Master Plan, which was awarded the Kunsthalle Wien Prize 2014, Leander Schönweger developed an installation at Kunsthalle Wien Karlsplatz that indicates mysteries, rather than offers solutions. “The fog disperses” (as the title translates) into questions about the unusual exhibited situation rather than its origin.
Maria Lind, What, How & for Whom/WHW (Eds.)Art and the F Word
Reflections on the Browning of Europe
From 2012 to 2014 a series of contemporary art exhibitions, events, and participatory forums organized by Galerija Nova, Tensta konsthall, and Grazer Kunstverein comprised the project “Beginning as Well as We Can (How Do We Talk about Fascism?).” Focusing on the startling increase of nationalism across Europe—made palpable in manifestations of fascist tendencies and the cult of heritage—the project points to the possibility and power of art to imagine futures that are not irrevocably determined by the present, but are invested with struggles fought here and now.
Isa GenzkenI'm Isa Genzken, the Only Female Fool
“The Only Female Fool” is how Isa Genzken describes herself in the self-chosen title of her exhibition at the Kunsthalle Wien. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work.
This publication is a work of both art and theory, and aligns itself with a socially activated, political understanding of aesthetics. A concept of production emerges—in the words of Krüger & Pardeller, “concrete openness.” The artist duo offers the readers and authors the precise aesthetic space of experience that constitutes their artistic practice.
Liz Magic Laser’s performances and videos intervene in semipublic spaces such as bank vestibules, movie theaters, and newsrooms. Published on the occasion of her eponymous exhibition at the Westfälischer Kunstverein in Münster, this book focuses on her recent work examining the techniques of news production and the studied gestures of politicians.
Thomas Thiel (Ed.)Museum Off Museum
“Museum Off Museum,” the two-part exhibition at Bielefelder Kunstverein, explored the concept of the museum from an artistic and outside perspective. This book documents each of the exhibition phases, investigating the subjective potential of museum-based narratives and the current interest among artists in the “museum” as a space of reflection within global circumstances.
Eva GrubingerCafé Nihilismus
A rapid development of technology and science, a resultant feeling that reality is speeding up and even out of control: the mood and texture of our current moment strongly resemble those of a century ago. In Eva Grubinger’s exhibition “Café Nihilismus,” the two eras interweave. This slender catalogue simply and beautifully documents Grubinger’s 2014 exhibition at Kerstin Engholm Gallery in Vienna.
Katja EydelSchattenfuge / Shadow Gap
This publication presents artist Katja Eydel’s photographic body of work. The individual projects focus on different environments that are often characterized by crisis—mostly dealing with communities and their fringes, with proxies and symbolic representations, as manifested, for example, in forms of protest or religious garments.
Lisa OppenheimWorks 2003–2013
Over the past decade, artist Lisa Oppenheim has steadily developed a unique body of work exploring the usage of (historical) imagery. Balanced between appropriation and reconstruction, her work relies on substitutions applied to photographic and filmic records through which the historical and the present are transmitted and constituted through a language of today.
Florian ZeyfangSlow Narration Moving Still
Slow Narration Moving Still takes Florian Zeyfang’s eponymous exhibition at the Bildmuseet Umeå as its starting point and ends with the artist’s newest works, shown at Künstlerhaus Stuttgart and at KW Institute for Contemporary Art, Berlin. The arrested film, the silent video still, the rhythm of the slide projector—along the lines laid out by the experimental film, Zeyfang’s works express, in the language of the “minor medium,” a politics of form.
Cristina Ricupero, Defne Ayas, Amira Gad (Eds.)The Crime Was Almost Perfect
While the exhibition “The Crime Was Almost Perfect” at the Witte de With Center for Contemporary Art in Rotterdam functioned more as a “space for experimentation,” this publication aims to investigate not only detective fiction but the more theoretical, philosophical, and aesthetic aspects of the genre. Published following the closing of the exhibition, this catalogue should be considered a continuation of the project, as a resource in itself, rather than simply documentation or commentary.
Yael BartanaTwo Minutes of Standstill
A Collective Performance by Yael Bartana
A symbolic interruption of everyday life, Two Minutes of Standstill was a political act, a social sculpture, and a collective performance. This catalogue is a documentation of Yael Bartana’s work, revealing the ideas behind it and the process that led to its realization. The book includes several essays that discuss possible interpretations and consequences of the artwork, questioning the role of history and commemoration in Germany today.
Ulrike GrossarthWäre ich von Stoff, ich würde mich färben /
Were I Made of Matter, I Would Color
This book is published on occasion of Ulrike Grossarth’s eponymous retrospective at the Generali Foundation in Vienna. Both the book and the exhibition trace the evolution of Gossarth’s practice, with a particular emphasis on her training as a dancer in the 1970s, to draw connections between the early years with her sculptural settings and actions and her most recent work, which engages with history more generally.
Michel AuderStories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder
Since his arrival in New York in 1969, the French artist Michel Auder has authored more than five hundred video works that chart five decades of the medium’s history. Employing new video formats as they become available, many of which have quickly fallen into obsolescence, Auder has prolifically produced short and feature films as well as video installations and photography that transgress genres, gleaning the fields of art history, literature, commercial television, and experimental cinema. At once poetic and critical, cruel and confessional, Auder’s casually virtuosic oeuvre continues to disrupt traditional perceptual habits of moviegoers and art audiences alike, subverting notions of filmic narrative and process.
Tone Hansen, Marit Paasche (Eds.)We Are Living on a Star
We Are Living on a Star takes its title from a tapestry by Hannah Ryggen that hung in a government building known in Oslo until July 22, 2011. The events of July 22 transformed normality as we knew it and, consequently, the predictable as well. The normal was no longer familiar, and the abnormal was no longer associated with the foreign. The artists and writers participating in We Are Living on a Star (the book and the exhibition it accompanies) contend with a range of issues relating to history, contemporaneity, normality, and expression. The result is an open and inquiring look at our own time.
Tone Hansen, Lars Bang Larsen (Eds.)The Phantom of Liberty
Contemporary Art and the Pedagogical Paradox
One of the few things we have in common in contemporary society is the future of our children. But it seems that even the “we” of childhood, of learning and free play, has turned into a common ground for instrumentalization and competition. What happened to the reform pedagogy of the twentieth century? What is the status of childhood in the era of the consuming child and the playing adult? These are some of the questions addressed by The Phantom of Liberty, which sets out to reestablish a social and aesthetic dialogue between visual art and psychology, philosophy, pedagogy, and critical journalism.
Ken Okiishi, Annie Godfrey Larmon, Alise Upitis The Very Quick of the Word
Ken Okiishi’s artwork has explored the subject in between digital and continuous space, the changing nature of authorship, memory, and perception, and the indeterminacy of consciousness as it clashes with the strictures of technology. He has engaged seminal works by figures including Woody Allen, Arthur Rimbaud, Marcel Duchamp, Stephen Spielberg, David Wojnarowicz, Jacques Demy, and Larry Clark (and the histories and personalities that circulate around these cultural products), infusing them with autobiographical and technological elements that reframe them through the incongruity of “real life.”This book is the first instance of considering Okiishi’s work from the last fifteen years as a heterogeneous whole.
Chantal Pontbriand (Ed.) Per/Form
How to Do Things with[out] Words
Performativity explores the in-between space when bodies or objects are left to perform. The fact that we are living more and more in an “immaterial” world, dominated by mediatization (which some call spectacle), the impact of globalization, the increasing tendency to think of politics as biopolitics—these different factors enhance performance over materiality, or object making. Per/Form investigates the process of this enhancement—how to work through form, and how to let form speak for itself.
Victor BurginFive Pieces for Projection
Victor Burgin’s Five Pieces for Projection introduces recent projection work from 2010 to 2014, and coincides with the artist and writer’s retrospective exhibition “Forms of Telling” at the Museum für Gegenwartskunst Siegen.
Silke Otto-KnappQuestions of Travel
This book is published on occasion of the parallel exhibitions Silke Otto-Knapp presented in two markedly different locations: on Fogo Island, Newfoundland, and at the Kunsthalle Wien Karlsplatz, Vienna. The contrasting influences of place—between rural and urban, new and old world—is evident in the selection of works presented and compiled in this catalogue.
Hito SteyerlToo Much World
The Films of Hito Steyerl
Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.
Bulletins of The Serving Library #6 Winter 2013
This issue poses as a retroactive non-catalog for the group exhibition “White Petals Surround Your Yellow Heart” at the Institute for Contemporary Art at the University of Pennsylvania curated by Anthony Elms. As such, its nominal theme is Fashion.
Nina CanellStray Warmings
Testing the intimate intersection of audience, object, and event, Nina Canell’s work has been described as “tethered to fragmented and often partially withheld narratives [and] comprised of choreographed indirection and relay.” Published in relation to the exhibition “Stray Warmings” at Midway Contemporary Art in Minneapolis, this new monograph documents the broader framework that has defined the artist’s practice, considering how intuition, corners, and a stratification of the transparent have formed Canell’s understanding of sculpture and its dissolution.
Melissa GordonMaterial Evidence
Material Evidence expands on the formal concerns and critical debates developed through Melissa Gordon’s exhibition of the same name, following a joint residency with Spike Island and Spike Island Print Studio in Bristol, in the summer of 2013.
Haegue YangDare to Count Phonemes and Graphemes
This catalogue accompanies two parallel solo exhibitions by Haegue Yang held in the fall of 2013: “Journal of Bouba/kiki” at Glasgow Sculpture Studios (October 5–December 20, 2013); and “Journal of Echomimetic Motions” at Bergen Kunsthall (October 18–December 22, 2013). This new collaborative publication, Dare to Count Phonemes and Graphemes, has evolved within the framework of these geographically separate yet collaboratively conceived exhibitions.
Issa SambWORD! WORD? WORD!
Issa Samb and the Undecipherable Form
This comprehensive monograph contains a selection of emblematic works by Sengalese-born artist Issa Samb, aka Joe Ouakam. The publication follows Samb’s first solo exhibition in Europe, curated by Koyo Kouoh, entitled “WORD! WORD? WORD! Issa Samb and the Undecipherable Form,” at the Office for Contemporary Art Norway (OCA).
Ion GrigorescuOmul cu o singur camer / The Man with a Single Camera
The Man with a Single Camera provides an extraordinary overview of Ion Grigorescu’s body of work since the late 1960s until today. Regarded as one of the key protagonists of Eastern European conceptualism, the Romanian artist advocates a radical convergence between the organic and spiritual, an uninhibited immersion of life into art.
Geta BrătescuAtelierul | The Studio
The book is dedicated to Romanian artist Geta Brătescu, one of the most remarkable personalities of the Eastern European postwar avant-garde. The main part of the publication comprises visual materials and texts written by the artist that span several decades of her activity, outlining the exceptional manner in which she has appropriated the lesson of modernism and interrelated it with conceptual challenges.
This publication consists of two essays by Sven Beckstette and Gabriele Knapstein, as well as Andrea Pichl’s photographs, sculptures, and drawings to date.
Gelatin's exhibition “Loch,” and the week-long performance that preceded it, form the basis for this book. The catalogue comprehensively documents the Austrian art collective’s elaborate site-specific performance at the 21er Haus in Vienna (June 5–September 29, 2013).
Zin TaylorLichen Voices/Stripes and Dots
This catalogue accompanies Taylor’s exhibition “The Story of Stripes and Dots (Chapter 5)” at Fogo Island Gallery, which follows his two-part residency with Fogo Island Arts in 2010 and 2012. Featuring essays by Zoë Gray and Saelan Twerdy, and Taylor in conversation with Patrick Staff and Robin Simpson, the book also presents the artist’s portfolio An Index Describing the Individual 19 Thoughts about Stripes and Dots Arranged on a Vitrine Made of Brass and Glass.
Ekaterina Degot, David Riff (Eds.)Monday Begins on Saturday
Monday Begins on Saturday is the title of a fantasy novel from the 1960s about a magical research institute in the Soviet Union, written by Arkady and Boris Strugatsky. It is also the title of the first edition of Bergen Assembly, a new triennial of contemporary art.
Diedrich Diederichsen, Anselm Franke (Eds.)The Whole Earth
California and the Disappearance of the Outside
The exhibition “The Whole Earth” is an essay composed of cultural-historical materials and artistic positions that critically address the rise of the image of “One Earth” and the ecological paradigm associated with it. The accompanying publication includes image-rich visual essays that explore key themes: “Universalism,” “Whole Systems,” “Boundless Interior,” and “Apocalypse, Babylon, Simulation,” among others.
Cerith Wyn EvansThe What If?... Scenario (after LG)
This catalogue accompanies the eponymous exhibition at TBA21–Augarten in Vienna and brings together threads and voices of leading contemporary artists, scientists, and theoreticians exploring Cerith Wyn Evans’s polyphonic oeuvre.
Kate NewbyLet the other thing in
In Kate Newby’s site-responsive installations, handcrafted and found objects are often combined with words or phrases to form artworks that engage with the particularities of place. The New Zealand artist’s intimate engagement with materials and nonhierarchical involvement with space exhibit a sophisticated understanding of the role that architecture plays in the shaping of thought and perception, our sense of self in the body and in community.
Milena Hoegsberg, Cora Fisher (Eds.)Living Labor
Living Labor considers the increasing subordination of life to work. In response to the eroding boundaries between work and life, and against the historic backdrop of the Scandinavian labor movement, the writers gathered in Living Labor propose viable forms of refusal and imagine prospects for a post-work future.
Undoing Property? examines complex relationships inside art, culture, political economy, immaterial production, and the public realm today. In its pages artists and theorists address aspects of computing, curating, economy, ecology, gentrification, music, publishing, piracy, and much more.
Greg Lynn (Ed.)Archaeology of the Digital
Archaeology of the Digital delves into the genesis and establishment of digital tools for design conceptualization, visualization, and production at the end of the 1980s and the beginning of the 1990s. Conceived as an object-based investigation of four pivotal projects that established distinct directions in architecture’s use of digital tools, the book highlights the dialogue between computer sciences, architecture and engineering that was at the core of these experiments.
Hilke Wagner, Axel Wieder (Eds.)Susanne Kriemann
This publication was created as part of the solo exhibitions “Cold Time” at the Kunstverein Braunschweig and “Modelling (Construction School)” at Arnolfini in Bristol. Even if the exhibitions were organized entirely independently of one another, the joint effort in producing this catalogue made it possible to go beyond simple exhibition documentation and provide a more in-depth view into the work of Kriemann.
Joanna Warsza (Ed.)Ministry of Highways
A Guide to the Performative Architecture of Tbilisi
Once described as “Italy gone Marxist,” Georgia, located in both an advantageous and vulnerable geopolitical position between the Black Sea, Russia, Central Asia, and the Middle East, enjoys a Mediterranean climate and viniculture in combination with a community-oriented and self-determined spirit. Taking the exhibition “Frozen Moments: Architecture Speaks Back”(2010) as its starting point, this guidebook maps the social, urban, and art discourses of the country’s post-Soviet years as seen from its hilly capital of Tbilisi.
Gardar Eide EinarssonVersuchsstation des Weltuntergangs
Over the past decade Gardar Eide Einarsson’s exhibition practice has followed a highly consistent thematic trajectory, continuously tracing out what one could call an “iconography of resistance.” The signs and symbols we can read out of Einarsson’s works often refer to fundamental conflictual structures between a society of control following September 11, 2001, and the individual’s rebellion against and threat to central power.
Thomas Thiel (Ed.)Schaubilder
In recent years, it has been possible to discern a growing interest in diagrams. The exhibition "Schaubilder" (Diagrams) explores how these developments affect the worlds of images in contemporary art. This publication presents ten artists who deal with diagrammatic forms in their work. The additional text contributions from the perspectives of art theory, philosophy, and information design encourage an ongoing discussion of the theme.
Dénes FarkasEvident in Advance
“If I don’t trust this evidence why should I trust any evidence?," Wittgenstein asked himself in "On Certainty." Dénes Farkas’s work is haunted by a drama of not delivering a trust to a singular evidence of this world: a world as he found it. Hysterically reproduced paper maquettes of choreographed architecture, imprisoned within a clumsy, photographic frame, are abstract shelters for imagined and unspoken texts. Words are characters in performance of a world as a text.
Jos de Gruyter & Harald ThysOptimundus
M HKA 08 02 13 - 19 05 13
Jos de Gruyter & Harald Thys’s art casts a merciless perspective on reality. Through their numerous artistic approaches—including installations, video, drawing, sculpture, performance, and photographs—the artist duo visualize their imaginings of the parallel world inherent within the modern human psyche, along with how it manifests itself in the everyday aspects of life and civic conformity. This book accompanies their major exhibition at M HKA of the same title.
Apolonija ŠušteršičSelected Projects, 1995–2012
Published on the occasion of her project at MUSAC Museo de Arte Contemporáneo in León (January–June 2013), this publication offers the first comprehensive survey on the work of Slovenian artist/architect Apolonija Šušteršič.
Tecoh is a sprawling series of buildings designed by the artist Jorge Pardo deep in the Yucatán jungle. Taking over six years to fabricate, and engaging existing ruins of a nineteenth-century hacienda, the project is by far the artist’s most ambitious work to date. This book offers the only available glimpse of the project, as it was primarily conceived as a private residence.
Clara Meister (Ed.)Compilation of Translations: One Year at Ludlow 38
The publication gives an overview of the 2012 curatorial year at MINI/Goethe-Institut Curatorial Residencies Ludlow 38. Curatorial resident Clara Meister’s program focused on different concepts of translation, bringing together an interdisciplinary exhibition program based on the assumption that artistic ideas can be translated into disparate forms and therefore can take varying modes of expression.
Sharon LockhartSharon Lockhart | Noa Eshkol
The catalog Sharon Lockhart | Noa Eshkol accompanies the eponymous exhibition at TBA21 in Vienna which consists of a complex installation of videos, photographs, and archival material, composing a subtle and sensuous portrait of the Israeli choreographer, dancer, researcher, and textile artist Noa Eshkol.
FuturefarmersA Variation on Powers of Ten
A Variation on Powers of Ten uses the opening picnic scene of Charles and Ray Eames’s film Powers of Ten as score to guide ten discussions. The result of a research-based residency at the University of California Berkeley Art Museum and Pacific Film Archive, the publication includes four essays and ten interviews with researchers whose work relates to one of the magnitudes of ten of the 1968 IBM-commissioned film.
Omer Fast5,000 Feet Is the Best
This publication focuses on a single work of art: 5,000 Feet is the Best (2011) by artist Omer Fast.With this cinematic video work, Fast has entered into a discussion about one of the most pressing issues today, namely drone surveillance and warfare—that is, the use of unmanned planes operated by “pilots” on the ground.
Valérie Knoll, Hannes Loichinger, Magnus Schäfer (Eds.)Dealing with—Some Texts, Images, and Thoughts Related to American Fine Arts, Co.
The New York gallery American Fine Arts, Co.—whose name today is largely synonymous with that of its gallerist, Colin de Land (1955–2003)—represents a gallery practice in which a decided deviation from conventional models overlaps with successful activities within the framework of the art market. Faced with the obvious risk of romanticization, it appears all the more important to pursue an understanding of how American Fine Arts, Co. functioned as a gallery.
Beyond the lunatic fringe views regarding the end of the world, a more constructive reading of the phenomenon is found in new age circles claiming that 2012 might be the beginning of a higher consciousness in humanity, coming to the realization that, in fact, Western systems have not brought prosperity and fulfillment to everybody as once imagined.
Zak KyesZak Kyes Working With...
To accompany his exhibition at the Museum of Contemporary Art Leipzig, this book presents the work of the Swiss-American graphic designer Zak Kyes. In collaboration with the curator, Barbara Steiner, the exhibition and publication bring together a range of works by Kyes, as well as works by a host of collaborators that includes architects, artists, writers, curators, editors, and graphic designers, presenting contemporary graphic design as a practice that mediates, and is mediated by, its allied disciplines.
Johanna Burton, Lynne Cooke, Josiah McElheny (Eds.)CCS Readers: Perspectives on Art and Culture
Encounters with art engage various conditions of interiority—whether through psychic spaces or specific physical environments, such as museums and private residences. Through diverse discursive modes—commissioned essays, conversations and talks, historical writings, and artistic projects—this anthology, the first CCS Readers volume, examines the poetics and politics of interior experience within the frame of contemporary art.
Simon Starling / SuperflexReprototypes, Triangulations and Road Tests
Reprototypes, Triangulations and Road Tests brings together seven seminal works by Simon Starling and Superflex in a dialogical setting. These works “collapse” as unstable complexes around pertinent themes whose triangulated speculations are articulated by undisciplined objects, piercing through the layers of time and history and revisiting long-held certainties.
Paul Sietsemainterviews on films and works
Published on the occasion of his solo exhibition at Kunsthalle Basel (June–August 2012), this publication includes interviews and images of the work of the Los Angeles-based artist Paul Sietsema.
Martin BeckThe Aspen Complex
Martin Beck’s exhibition “Panel 2—‘Nothing better than a touch of ecology and catastrophe to unite the social classes…’” draws on the events of the 1970 International Design Conference in Aspen and the development of the Aspen Movie Map to form a visual environment that reflects the interrelations between art, architecture, design, ecology, and social movements. The Aspen Complex documents two versions of Beck’s exhibition, and brings together yet unpublished archival material and new research on the 1970 IDCA and the Aspen Movie Map.
Matthias Ulrich (Ed.)Playing the City: Interviews
In Playing the City: Interviews, Matthias Ulrich, curator of the Schirn project, asks fifty-one of the involved artists ten central questions about the participatory and collaborative art context. Their answers and comments provide a telling picture of the multiple forms of interactive, cooperative, and interdisciplinary practices in contemporary art.
Yorgos SapountzisA statue has remembered me / Eine Statue hat sich an mich erinnert
Yorgos Sapountzis's work appropriates public space and the statues, monuments, and memorials that inhabit it. The Athens-born artist concentrates less on their historical-political meanings and much more on their function as a medium of recollection. Sapountzis consciously tries to ignore historical information about the sculptures and instead allows them to “speak” through their gestures, poses, and ornaments.
Although Marianne Heier abandons the traditional exhibition spaces in connection with her projects, Art with a capital A is still always measured against other social constructs. At this point of intersection, Heier looks at the typical features of the various economies or values of given fields and how they overlap and collide. This project renders visible societal structures and consequences of such structures—of which we are not always aware. By shifting the perspective slightly, we can perhaps glimpse distinct values and new outcomes.
Decoy documents the eponymous exhibition at Landesgalerie Linz in 2011 in which Grubinger presented large-scale sculptural works, all of which referenced the fishing—lures, mooring rings, a dock—and both subtly and explicitly engaged a vocabulary of the alluring.
bankleerfinger in the pie
This monograph features in depth essays on the collective’s work as well as an annotated image section, which highlights bankleer’s recent projects and deployments.
Carson Chan, Nadim Samman (Eds.)Higher Atlas/Au-delà de l’Atlas
The Marrakech Biennale  in Context
The catalogue Higher Atlas/Au-delà de l’Atlas, published on the occasion of the Marrakech Biennale , frames the biennial in a historical and theoretical context.
Flaca / Tom Humphreys
Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007.
In connection with Tauba Auerbach’s exhibition “Tetrachromat” at Bergen Kunsthall, Folds presents Auerbach’s eponymous painting series for the first time in book form. In these paintings Auerbach twists and folds the canvas before applying the paint. Transferred to the medium of the book, the paintings are presented here in a new and unexpected way alongside mathematical diagrams and three texts.
Mai Abu ElDahab, Binna Choi, Emily Pethick (Eds.)Circular Facts
Circular Facts is a collaborative endeavor between three European contemporary art organizations: Casco – Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, which acted as an informal think tank and a mutual support structure for the production and dissemination of artistic projects. The publication aims to gather a spectrum of perspectives to explore the roles of specific initiatives within their particular localities.
Antje MajewskiThe World of Gimel
How to Make Objects Talk
The alchemy of things is at the core of Antje Majewski’s multimedia project, which aims at rethinking the representation and meaning of objects in the form of a highly personal and quasi-surreal collection. Based on the investigation of various museums and collections Majewski presents a utopian and subversive take on how to make objects talk. A German-language version of this publication is also available!
Marit Paasche, Judy Radul (Eds.)A Thousand Eyes
Media Technology, Law, and Aesthetics
Through the contribution of internationally renowned artists and scholars, this anthology explores how the aesthetics of new media technology and its spatial implementations affect the judicial system in relation to fundamental concepts such as truth and representation.
Pauline J. Yao, Rania Ho, Wang Wei (Eds.)3 Years: Arrow Factory
Arrow Factory is an independently run art space located in a narrow 200-year old alleyway in the center of Beijing. This publication provides a valuable look into the uniqueness of our contemporary situation, and captures for posterity the fleeting connections that situate Arrow Factory in China’s larger economic, intellectual, and artistic zeitgeist.
Mark von SchlegellNew Dystopia
New Dystopia is contemporary author Mark von Schlegell’s illustrated screenplay-as-science fiction novel. In conjunction with the curator Alexis Vaillant, von Schlegell curated an exhibition of contemporary art at CAPC musée d'art contemporain de Bordeaux, “Dystopia,” based on his novel’s dystopian-present.
R. H. QuaytmanSpine
Spine resembles a catalogue raisonné of R. H. Quaytman’s work produced since 2001, the year the artist began organizing paintings in what are called “Chapters.” Conceived and written by Quaytman, this more than 400-page volume presents a full decade’s output.
Sebastian Cichocki, Galit Eilat (Eds.)A Cookbook for Political Imagination
The publication A Cookbook for Political Imagination accompanies the exhibition “… and Europe will be stunned” for the Polish Pavilion at the 54th Biennale of Art in Venice. This is not a traditional exhibition catalogue but rather a manual of political instructions and recipes, delivered by more than forty international authors.
Birgit MegerleBirgit Megerle
Birgit Megerle’s figurative and abstract paintings are characterized by an artificial, rigid, and stage-like atmosphere. This exhibition catalogue accompanied Megerle’s exhibition at Kunsthalle Lingen in the fall of 2010.
Andreas ErikssonNordic Pavilion
54th Venice Biennale, 2011
Andreas Eriksson employs a variety of techniques and media, including painting, sculpture, photography, installation art and, more recently, film. Trivial events and observations from everyday life and nature set off his metaphorical and existential contemplations.
Dora GarcíaMad Marginal Cahier #2
The Inadequate is the second cahier of the Mad Marginal project started by artist Dora García in November 2009. It is presented as the publication for the Spanish Pavilion at the 54th Venice Biennale 2011.
Zin Taylor has become known internationally for his elaborate installations encompassing elements of performance and sculpture along with drawing, printing, and video. This artist book is published on the occasion of the exhibition at the Ursula Blickle Stiftung, “The Units,” from May 29 to July 10, 2011.
Christoph SchlingensiefGerman Pavilion
54th Venice Biennale, 2011
This catalogue pays tribute to one of Germany’s most radical, experimental, and progressive voices. With contributions from over thirty internationally renowned curators, artists, critics, theorists, directors, and practitioners.
The publication by Libia Castro and Ólafur Ólafsson is conceived as a first comprehensive overview / in depth analysis of more than ten years of their artistic practice—leading up to their most current works.
Fia BackströmNordic Pavilion
54th Venice Biennale, 2011
Fia Backström produces events, environments, and projects, which challenge our habitual notions of what constitutes an exhibition—its institutional context, the dialogue with the audience, and even the works of art that are presented.
Wendelien van OldenborghA Well Respected Man, or Book of Echoes
The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure.
Miki Kratsmanall about us
Miki Kratsman’s photographs show the complex reality of everyday Israeli life and its many different guises and narratives.
Martin Ebner, Florian Zeyfang (Eds.)Poor Man’s Expression
Technology, Experimental Film, Conceptual Art
A Compendium in Texts and Images
Poor Man's Expression examines the relationship between film, video, technology, and art, with a particular focus on the reciprocal influences between conceptual art and experimental film.
Valérie MannaertsAn Exhibition—Another Exhibition
An Exhibition—Another Exhibition is the first monograph of the work of Belgian artist Valérie Mannaerts. The book catalogues two solo exhibitions that took place in 2010—“Blood Flow” at Extra City Kunsthal Antwerpen, and “Diamond Dancer” at de Appel arts centre.
Alexis Vaillant (Ed.)BigMinis
Fetishes of Crisis
This mini, compact catalogue, written in both French and English, accompanies the exhibition “BigMinis,” at CAPC museum of contemporary art of Bordeaux.
Gabriel Kurijoin the dots and make a point
This monograph documents the solo exhibition at Bielefelder Kunstverein and Kunstverein Freiburg and also focuses on Kuris` marble works since 2006.
Knut ÅsdamThe long gaze, the short gaze
For several decades Norwegian artist Knut Åsdam has worked independently and uncompromisingly with his artistic projects, and he is today considered one of the central contemporary practitioners of film and video art.
This book centers around two exhibitions which took place at the Grazer Kunstverein, “Die Blaue Blume” (2007) and “Idealismusstudio” (2008).
Mario PfeiferReconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974
by Mario Pfeifer, 2009
The book discusses Mario Pfeifer’s recent 16mm film installation Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974. This installation, consisting of two synchronized, looped, and parallel projected films, takes it point of departure from the first monograph of Baltz’s work, published by Castelli Graphics, New York in 1974.
Shahryar NashatDownscaled and Overthrown
Downscaled and Overthrown is the first monograph on the work of the Swiss artist Shahryar Nashat.
Andrea Geyer/Katya SanderMeaning Is What Hides the Instability of One’s Position
Andrea Geyer and Katya Sander’s Meaning is what hides the instability of one’s position is an artist’s book; a photographic essay that takes us through spaces of international airports.
The artists Agnieszka Kurant and Aleksandra Wasilkowska are representing Poland at the 12th International Architecture Exhibition in Venice 2010, August 29 – November 21, 2010.
Magnus af Petersens (Ed.)Keren Cytter
This catalogue provides the reader with the opportunity to read six of Keren Cytter’s scripts for films that are being shown in the exhibition at the Moderna Museet, Stockholm, May 8 – August 15, 2010.
Angelika Burtscher, Judith Wielander (Eds.)visible
“where art leaves its own field and becomes visible as part of something else”
Visible documents a research project by Cittadellarte-Fondazione Pistoletto in collaboration with Fondazione Zegna. The publication highlights nine curators, who showcase forty-one ways of making art.
SilberkuppeUnder One Umbrella
Under One Umbrella is the first overall presentation of Silberkuppe, one of Berlin’s most outstanding independent spaces for contemporary art.
BLESSRetroperspective Home N° 30 – N° 41
This book brings together visual and written documentation of BLESS's last twelve collections (N° 30–N° 41), continually prompting and challenging the question of where a product begins and ends.
Auguste Orts: Correspondence is an exhibition catalogue accompanying the same-titled exhibition at M HKA, Antwerp (Summer 2010).
Moyra DaveySpeaker Receiver
Published on the occasion of the exhibition “Speaker Receiver” at Kunsthalle Basel, June 17 – August 29, 2010, the same-titled monograph brings the diverse aspects of Moyra Davey’s work together.
Maria Lind (Ed.)Philippe Parreno
This publication focuses on “Philippe Parreno,” an exhibition at the Center for Curatorial Studies at Bard College which consists of a selection of Parreno’s films and collaborative projects.
Haegue YangSiblings and Twins
Siblings and Twins, a catalogue of Haegue Yang’s installation works, documents the same-titled exhibition held at Portikus, Frankfurt am Main. The exhibition was part of a serial project designed by Yang in which she staged additional installations in other international exhibition sites.
Julika RudeliusSoft Intrusion
An extended selection of edited video stills, Soft Intrusion offers a coherent oeuvre of Julika Rudelius’s video works.
Anselm Franke (Ed.)Animism (Volume I)
The publication Animism (Volume I) brings together theoretical and artistic reflections on the history and contemporary relevance of animism.
Agnieszka BrzezanskaL’artiste, le modèle et la peinture
L’artiste, le modèle et la peinture is the first monographic publication of Agnieszka Brzeżańska’s work.
Friedrich KunathHome wasn’t built in a day
In his drawings, texts, objects, photographs, and videos, German artist Friedrich Kunath deals with such themes as longing, melancholy, loneliness, wanderlust, and wistfulness from a subjective viewpoint. He combines personal life experiences with literary, musical, or art historical references into visual, ironic commentaries in various media.
The Otolith GroupA Long Time Between Suns
A Long Time Between Suns has been edited as an archival assemblage of The Otolith Group’s two-venue solo exhibition at Gasworks (February 15 – April 5, 2009) and The Showroom (September 8 – October 25, 2009).
Helke BayrlePortikus Under Construction
For many years now, Helke Bayrle has documented the activities of the Portikus. The result is a unique collection of artist portraits. Portikus Under Construction presents the last decade, edited backstage material that the viewer of the finished exhibitions never sees.
Diango HernándezLosing You Tonight
This artist’s book comes in two volumes and is published on the occasion of Diango Hernández’ exhibition in the Museum für Gegenwartskunst Siegen, October 4, 2009 – April 5, 2010.
Jean-Luc BlancOpera Rock
This is the first monograph on Jean-Luc Blanc’s enigmatic “glam” oeuvre. It documents his retrospective exhibition at the CAPC Musée d'art contemporain de Bordeaux, where Blanc’s works have been juxtaposed to those of forty-five historic and contemporary artists as well as to numerous artifacts, antiques, jewels, crystals, curios, and naturalia; thus, setting up what shall be considered a “collective retrospective.”
Cecilia Widenheim (Ed.)Voice Over
On Staging and Performative Strategies in Contemporary Art
Voice Over examines staging, theatricality, and performative strategies in contemporary art practices. With contributions by the artists Miriam Bäckström, Goldin+Senneby, Saskia Holmkvist, Fia-Stina Sandlund, and Geist magazine, an essay by curator and writer Anselm Franke, and an introduction by Cecilia Widenheim.
Mike BouchetSelected Works 1989-2009
This first monograph on American artist Mike Bouchet provides an overview of selected works from the last twenty years.
Liam GillickHow Are You Going to Behave? A Kitchen Cat Speaks
Wie würden Sie sich verhalten? Eine Küchenkatze spricht
This book documents Gillick’s project for the German Pavilion at the Venice Biennale 2009. It contains an introduction by the curator, a text by Liam Gillick about his work as well as the text spoken by the kitchen cat present in the show: “She speaks from the present and fights against the echoes of building’s interior. Its history is one of misrepresentation, misunderstanding and desires. Thus, the pavilion becomes a location for endless self-circulating histories that—in the end—represents our history as well.”
Jörg Heiser (Ed.)Fare una scenata / Making a Scene
“Fare una scenata” was the first group show at Fondazione Morra Greco in Naples. It featured the work of nine international artists who are either commissioned new work, or asked to adapt existing work specifically to the picture-gallery and basement spaces of this newly established foundation located in an old palazzo in the heart of Naples.
Simon Dybbroe MøllerKompendium
Kompendium is an artist book accompanying the Danish artist’s first comprehensive solo exhibition at the Frankfurter Kunstverein and the Kunstverein Hannover.
This comprehensive catalogue documents for the first time Klaus Weber’s oeuvre and reveals a recurring sense of limit-experiences: accidents, organism mutations, altered states, incursions from the outside.
Ian WallaceA Literature of Images
This is the first extensive survey catalogue of the work of Vancouver-based artist Ian Wallace—a key figure of the extraordinary artistic ferment in the Canadian city of Vancouver and a pioneer and theorist of its internationally regarded tradition of photo-conceptualism.
Agnieszka KurantUnknown Unknown
The catalogue Unknown Unknown documents recent work by Polish artist and curator Agniezka Kurant and was published on the occasion of Kurant’s presentation at Frieze Projects 2008.
Antje MajewskiMy Very Gestures
This comprehensive catalogue traces the many stages of Antje Majewski’s work, including paintings, photographs, videos, film, installation, and dance theatre.
M/M (Paris)Live Recorded Delay
An Archive of “Il Tempo del Postino”
The book Live Recorded Delay constitutes the only documentation of the legendary project “Il Tempo del Postino.” Conceived by the graphic design team M/M (Paris), it is both a personal archive and an open-ended score for future restagings of the event.
Alexis Vaillant (Ed.)Légende
This book accompanies the eponymous exhibition at the castle of Chamarande in France (May 25–September 28, 2008) which assembles the recent work of fifty international artists who interrogate the artificiality of the current world and render up intensified visions of it.
Mariana Castillo DeballThese Ruins You See / Estas ruinas que ves
Mexico’s relationship with archaeology is a complex one. In addition to studying the distant past through its material vestiges, it is deeply engaged in more recent aspects of politics, education, national identity, and public works. These Ruins You See shifts between politics, history, heritage, and identity in an attempt to find, in the present, the vestiges of archaeological practice.
Nomeda & Gediminas UrbonasVilla Lituania
The artists Nomeda & Gediminas Urbonas are representing Lithuania at the 52nd International Art Exhibition La Biennale di Venezia. This book documents the artistic process of the Villa Lituania project, from its inception in 2006 through to the realization of the first performance event and pavilion exhibition in June 2007. It collects the archival material associated with the challenge of building a pigeon loft in Rome, and a visual and textual artists’ diary.
Perros Negros, Toasting Agency (Eds.)Otra de vaqueros
Otra de vaqueros documents the eponymous residency and exhibition project that took place in Mexico City in 2007.
This book discusses Michael Sailstorfer’s most recent work, with a special focus on issues of space and site specificity.
Peter FriedlWorking at Copan / Trabalhando no Copan
Working at Copan collects interviews with workers and employees at Edifício Copan, a landmark modernist architecture in the center of São Paulo. Designed by Oscar Niemeyer and completed in 1966, it became the largest residential building in Latin America. As a historical building and symbol of “vertical utopia,” it embodies an era of radical political and economic changes within Brazilian society.
Łukasz Ronduda, Florian Zeyfang (Eds.)1,2,3… Avant-Gardes
Film/Art between Experiment and Archive
1,2,3… Avant-Gardes is dedicated to the ongoing history of the experiment in ﬁlm and art. This book describes and analyses the works of ﬁlmmakers and artists, deﬁning two decades of experiments in Polish avant-garde ﬁlm, and juxtaposes their work with contributions by international artists, who started to work during the last fifteen years.
Mariana Castillo Deball, Irene Kopelman (Eds.)A for Alibi
In the last few decades, a new branch of historical studies, called “experimental history” has begun to investigate scientific processes from a particular perspective, derived from a “hands-on” methodology.
In A for Alibi, the Uqbar Foundation has invited a group of artists to perform research and develop projects using the impressive collection of optical instruments housed in the Utrecht University Museum. Exploring the boundaries of scientific practice and art, the book documents the various stages of this project and reflects on the origins of modern visual culture.
Jean-Max Colard, Thomas Lélu (Eds.)After
Visually expanding on the art world’s tendency to see the world through the prism of modern and contemporary art, the book depicts some 200 images of found or researched situations taken “after” an artist’s work – occupied realities that are, one might say, signed by the artists.
Katja EydelModel ve Sembol
Die Erfindung der Türkei/The Invention of Turkey
This publication documents both the visionary and utopic framework underlying the creation of modern Turkey.
Pecafil discusses issues of art in public space and the social-political implications of Michael Beutler’s work.
Christopher WilliamsProgram. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision I)
Christopher Williams’ work operates within the conventions of advertising, the superficiality of surface, and, ultimately the history of Modernism.
In all of his works the Danish artist demonstrates an interest in an expanded notion of ecology, one that encompasses cultural history and sociopolitics as well as natural resources.
Lars Bang Larsen, Cristina Ricupero, Nicolaus Schafhausen (Eds.)The Populism Catalogue
The Populism Catalogue documents the namesake exhibition and features works of fiction as a literary approach to the theme of populism.
Keren CytterThe Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats
Written in seven chapters and seven styles, this book constitutes the first novel by the Israeli artist and filmmaker Keren Cytter (*1977).
Anke Kempkes, Kunsthalle Basel (Ed.)Flesh at War with Enigma
Flesh at War with Enigma highlights an idiom in contemporary art that resorts deliberately and anachronistically to surreal forms and motifs.
In the 1990s, Cuban-born artist Diango Hernández started an extended series of drawings which processed the political and economical crisis of Cuba after the collapse of the socialist systems in Eastern Europe.
Alex MorrisonGiving the Story a Treatment
Giving the Story a Treatment is the first comprehensive publication on Canadian artist Alex Morrison. Best known for his documentations on the skater culture, Morrison’s videos, photographs and drawings reveal the growing aestheticisation of the political within the cultural spectrum.
Jacob Fabricius (Ed.)The Danish Pavilion – 51st Venice Biennale
Five artists’ books and one general catalogue document the works of Eva Koch, Joachim Koester, Peter Land, Ann Lislegaard, and Gitte Villesen.
Charlotte Brandt, Lars Bang Larsen, Jean-Charles Massera, Cristina Ricupero (Eds.)Fundamentalisms of the New Order
Conceived as a textbook with images rather than an exhibition catalogue, the book reflects on the diversity of fundamentalisms, a phenomenon that is not confined to particular cultures or modes of thought; its intention is to explore the concept in its many forms and multiple origins.
Cerith Wyn Evans“Cerith Wyn Evans”
“Cerith Wyn Evans” provides a comprehensive overview of the artist's body of work.
Andrew Lee Walker, Rachel K. Ward (Eds.)Terminal 5
“It would make a beautiful ruin.” Eero Saarinen
Antje Majewski, Ingo Niermann (Eds.)Atomkrieg
Like space travel, nuclear war has for decades created a vast new territory for the imagination. Artists, however, have tended to subordinate themselves to the idea of the impossibility of adequate representation.
Peter FriedlFour or Five Roses
In Four or Five Roses, some 45 narratives by children are presented in the form of a monologue. Edited from numerous interviews and conversations recorded on playgrounds in South Africa, Peter Friedl creates a hybrid genre that is both fictionalised speech and serious counter-voice.
Gerard ByrneBooks, Magazines, and Newspapers
In his seminal essay, author George Baker links Gerard Byrne’s work to theater and notes that the presence of avant-garde dramatist Bertolt Brecht has never been less discussed, but more widely explored, than in the last decade of artistic practice.
AdornoThe Possibility of the Impossible (Vol. II)
Adorno. The Possibility of the Impossible (Vol. II) documents the Adorno exhibition which looks at the connection between contemporary art and Adorno’s writings, with the visual arts becoming a central platform for comparison to Adorno’s main subjects.
Thomas Eggerer's enigmatic depictions of groups and collectives attempt less to portray the singularity of the individual than to explore the mechanisms of exclusion and inclusion, conformity and hierarchy, as well as the potential of individual or collective utopia.
This catalogue is the most comprehensive treatment of Michaela Melián’s oeuvre to date and constitutes, with numerous essays and illustrations, a long due documentation of the German artist’s work.
Nicolaus Schafhausen (Ed.)deutschemalereizweitausenddrei
The exhibition deutschemalereizweitausenddrei (german painting two thousand and three) is a response to the needs and social circumstances that have given rise to painting’s present (return to) popularity, and to the strategies young artists are developing to meet this.
“Odenbach’s art ... criss-crosses the structural hybridization of video-based conceptualism with reflection on the lived experience of globalization.” Kobena Mercer
Lolita Jablonskiene, Nicolaus Schafhausen (Eds.)Changing Society: Lithuania
The central theme of Changing Society: Lithuania is the state of transition in a Post-Soviet state, which has achieved political stability but is still looking for appropriate images to portray itself in the domestic spheres of politics and society.
Nicolaus Schafhausen (Ed.)Non-Places
Non-Places questions the redefined relationship between public and private space as well as the phenomenon of modern “nonplaces,” which appear to be everywhere and nowhere at the same time: airports, shopping malls, anonymous new suburbs, or international franchise companies.
Nicolaus Schafhausen (Ed.)Neue Welt
Neue Welt (New World) documents a group show which investigates the political and social restructuring of recent years. Going beyond one-dimensional statements, the texts discuss the redefinition of public space and the effects of a globalized economy.
Karl-Heinz Kohl, Nicolaus Schafhausen (Eds.)New Heimat
The exhibition New Heimat documents how the phenomenon of globalization does not necessarily lead to the disappearance of local cultures, but can instead give birth to new, hybrid cultures, in which Western influences experience transformation and traditional cultures are assimilated.
Urlaub constitutes Genzken’s multilayered inquiry into the meaning of work and leisure. “Artists never take vacations,” Genzken says, “but the entire art system urgently needs a vacation.”
Liam Gillickfive or six
five or six contains texts selected from more than 100 reviews, articles, and catalogue essays published by Liam Gillick since 1989. The book includes some of the formal, social, and ideological concerns that have merged in Gillick’s “What if? Scenario.”
Tom BurrLow Slung
With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.
Jeroen de Rijke / Willem de RooijAfter the Hunt
Dutch artists Jeroen de Rijke and Willem de Rooij received international recognition for their seemingly luxurious and self-reflexive 35mm films. This first comprehensive monograph discusses how Dutch painting, Minimal Art, and film conventions become the backdrop for a “cinema in its decontextualized form.”
Susanne Gaensheimer, Nicolaus Schafhausen (Eds.)Liam Gillick
This publication constitutes the first comprehensive documentation of the work of British artist Liam Gillick.