Ways of Worldmaking is the first comprehensive monograph on British experimental filmmaker Ben Rivers (born 1972). In recent years, Rivers has been celebrated as one of the most important experimental filmmakers of his generation. The series of exhibitions collected in this book explore the diversity and breadth of his work. Often following people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds.
This publication has been published thanks to the support of four museum institutions – Camden Arts Centre, London; Kunstverein in Hamburg; The Renaissance Society, Chicago; and La Triennale di Milano – who all have presented (or will be presenting) solo exhibition dedicated to Rivers’s practice.
A co-publication between the Samdani Art Foundation, Dhaka; Office for Contemporary Art Norway, Oslo; and Mousse Publishing, this 2-volume set is composed by two distinct but related books. A reader, edited by Katya García-Antón with Antonio Cataldo, addresses the themes that informed the Critical Writing Ensembles; an extended, illustrated compendium of the Dhaka Art Summit 2016, edited by Diana Campbell-Betancourt, offers an overview of all the projects that were developed for this unique initiative.
Art writing has for some time endured challenges that vary in nature according to geography. In some parts of the world there are fewer spaces in which to write critically and experimentally about art and art history, there is less and less financing, and increasing constraints on time; in other places, whilst platforms for writing may be on the rise, their value and impact has declined.
Writing is by nature a lonely endeavour, but under these conditions art writing is being pushed to the margins and alienated from the central and critical position that it should have in our societies, as will the immediate contact it should have with audiences.
Through expanded essays and contributions, this reader mirrors the Critical Writing Ensembles at the Dhaka Art Summit. The Summit brought together peers from the South Asia region and across the globe into different working constellations in order to share writing histories and knowledge with each other, experiment together, and produce new critical impulses regarding art writing. Such an endeavour is therefore positioned within a global framework as much as a local one, for not only is this a project of some urgency regionally, but it reminds us of a world-wide crisis.
The guide serves as a post-script to the Dhaka Art Summit 2016. While the Summit could only really be experienced in person (and many of the most dynamic discussions happened offline and informally in the many encounters between the roughly 300 artists, curators and writers involved, and the public), this book is a record of key exhibitions and moments of the Summit. It is meant to be used as a visual guide to place you within the context from where the Critical Writing Ensembles reader texts were born.
Published on the occasion of her exhibition at Museion, Up presents a significant sampling of Judith Hopf’s work. In her practice, Hopf has consistently addressed the paradoxes and ridicule that spill form high-minded attitudes toward art making and the faith in technology, professionalism, and efficiency. Her works drip humor and yet are at the same time serious and pensive. A long conversation with art historian Sabine Bachmann, and two essays by curators Letizia Ragaglia and Roberto Pinto address the humanism of videos, sculptures and installations that are at once not effortless nor heavy.
The art of Paolo Icaro makes an utterly original contribution to the languages that developed in the 1960s and 1970s, such as Arte Povera, Conceptual Art and Process Art, with particular impact on the renewal of contemporary sculpture. This monograph edited by Lara Conte is based on a decade of research conducted on the works and materials of the Archivio Icaro. It retraces the entire creative path of the artist in a thematic itinerary aimed at shedding light on his poetics from the 1960s to the present. The book brings together a large body of previously unpublished materials, along with writings by the artist, a critical anthology and bio-bibliographic resources.
The reference monograph on the work of artist Agnes Denes, this profusely illustrated book aslo gathers an extensive selection of the artist’s texts and manifestos. Born in 1938 in Budapest, Denes lived in Stockholm from the age of nine, before spending her teenage years, from 1954 on, in New York, where she still lives and works today. Since the late 1960s, Agnes Denes has combined a conceptual approach to drawing and printmaking with interventions in the natural and urban environment, which were altogether pioneering in terms of her ecological origins and scope. “Although I deal with difficult concepts, my work remains visual. The process of ‘visualization’ is double important since aspects of the work explore invisible systems, underlying structures, and patterns inherent in our existence,” Denes said in 1978. This catalogue provides incontrovertible evidence to the statement.
Co-published with FRAC Champagne-Ardenne.
This publication is the first major catalogue of the work of feminist artist Judith Bernstein, and was created in conjunction with the artist’s retrospective at Kunsthall Stavanger, Norway in 2016. A former Guerilla Girl and founding member of A.I.R Gallery, New York, Bernstein has worked consistently for over five decades despite censorship and periods of art world neglect. Titled Judith Bernstein Rising, the catalogue serves as the first publication to contextualize Bernstein’s vast oeuvre within the history of art, feminism, and the American socio-political climate of the late-20th century. The catalogue presents a variety of archival images tracing the artist’s fifty-year career from the 1960s through the present day, as well as installation images from the exhibition at Kunsthall Stavanger, and commissioned texts from artist and writer Thomas Micchelli, and Le Tigre band member and writer Johanna Fateman, as well as an interview by artist Maurizio Cattelan.
Accompanying the projects grouped under the same title at Museion in Bolzano, Museo Museion is designed like a fictitious old guide to a museum of peculiar, striking juxtapositions: between what is ancient and what is newly added, and between what is real and what is illusionary. Here, for the first time, Vezzoli plays both artist and curator. In his sculptural works, placed on the top floor along a long podium like a silent, mocking regiment—and scattered through the book as plates, glued to the pages—the artist “embraces the risk of tampering with historic artworks” by adding new features to mutilated originals. The resulting paradoxes look outlandish, but are indeed only the latest example of what has long been a defining aspect of Western art and culture: how it deals with antiquities. Meanwhile, on the floors below, Vezzoli-as-curator selected a significant sample of the museum's collection, grouped it according to theme and genre, and reframed it, both literally and conceptually: works by Lucio Fontana, Nan Goldin, Carla Accardi, and others are bordered by trompe l’œil reproductions of the frames from key paintings by Bronzino, Raphael, Ingres, etc.—to intriguing effect. All of these pairings are illustrated and annotated in the book.
Right from the outset, the American artist Betty Woodman (b. 1930) has used ceramics as her medium of expression and artistic research, and it has made her one of the most influential and original voices on the international art scene.
Bridging the gap between art and craft, Woodman moves nimbly between the traditions of an age-old medium, taking inspiration from numerous sources, including Minoan and Egyptian art, Greek and Etruscan sculpture, Tang Dynasty works, majolica and Sèvres porcelain, Italian Baroque architecture, and the paintings of Bonnard, Picasso and Matisse, while also introducing innovations in terms not only of style but also of technique. In particular, her way of combining ceramics and painting shows a painterly sensibility that in recent years has played a key role in the development of her work.
Published in conjunction with a series of exhibitions – curated by Vincenzo de Bellis and hosted by the Marino Marini Museum in Florence and the Institute of Contemporary Arts in London, this publication focuses on the work that Woodman has created over the past ten years, while taking stock – in a series of essays written by Vincenzo de Bellis, Suzanne Hudson, Stuart Krimko and Katharine Stout – of her continued relevance to contemporary art and her importance among post-war artists.
Oliver Osborne is not the first painter to make pretty choice paintings that are about choice, or, better yet, about doing something about choice itself: something critical yet open, timely yet mindful of history. The categories in which his paintings could be situated remain well-placed themselves not because they have been kept in their place as dogma but rather because many artists have worked hard to resist those aspects of choice that have too often and too easily become limiting, if not exclusionary and reactionary. Abstract, representational, high, low, painting, picture, even colour and line are less likely than maybe ever to fit into any construct of either/or. Not that long ago any hint of such a resistance to definition was usually taken as evidence of a lack of commitment or conviction, a verdict rendered more often than not on the basis of modernist doctrine.
Now, of course, new painters are emerging after postmodernism has moved from theory to doctrine itself, and, to my eyes (and ears), it’s clear that another paradigm is emerging, one that pushes against not only the either/or but also any continuation of the ‘death of painting’ narrative. It seems to me that that story now seems to many of these emerging painters as having been exhausted by those of us who lived through a parent-child relationship with both modernism and postmodernism that was (and may still be) ambivalent. There have been, fortunately, some agile and reliable ‘runaways’ such as Laura Owens, who, as demonstrated in a recent interview, is very much on point about what the death of painting wasn’t able to extinguish: ‘painting does things , and why wouldn’t you use all the things it does?’
This is the attitude adjustment that emerging painters such as Oliver Osborne have taken on and then intensified to up their game. Well versed in crucial aspects of image culture (its production and analysis), and with an anything-but-lacking desire for the material conditions of making and, yes, the dexterity of both hand and brain, Osborne has already established in his work that the long-standing ways and means of painting (long, long before modernism) are not all that played out after all.
In the art practice of Raphael Hefti, manufacturing processes are pushed to extreme limits to effect epic material transformations. These are guided accidents in industrial alchemy that test the points of failure in everyday materials. But in 2008, while working on a new project in a remote mountain village in Switzerland, a different type of failure transpired. In this publication, writer and poet Harry Burke retraces the story of over two dozen dubiously acquired explosives, thirty three firemen, an arms manufacturer, a bomb squad, an international travel ban, a thick dossier of police reports and a totaled Benz.
This book was created in conjunction with Micol Assaël’s solo exhibition “ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA”, curated by Andrea Lissoni at Pirelli HangarBicocca (Milan, January 31 – May 4, 2014). It brings together, for the very first time, all of the work made by the artist between 1999 and 2014, offering a detailed, in-depth look at her practice.
Micol Assaël’s entire oeuvre is characterized by the use and juxtaposition of different media: drawing, sculpture, installation, performance, video and sound. Her works often have a complex and at times precarious relationship with the variables (size, lighting, temperature, smell) of the setting that houses them. Each one is analyzed in an entry containing a description of the work, a chronicle of its evolution and an outline of its exhibition history.
“A relic is what remains, what’s left over.” In this memoir once-removed, Andrew Berardini journeys into the heart of the work of Danh Vo to discover how historical forces find form in our individual lives. Inspired by an exhibition never seen in Mexico City, Berardini’s deeply personal investigation of Vo’s work weaves one story into the other and finds along the way the clash and mesh of civilizations, a sexy Statue of Liberty, the head of a decapitated martyr, the collapse of the American labor movement, John Keats’ tombstone, the holy trinity in a license plate, the ravages of war, a battered encyclopedia, a terrorist’s typewriter, the history of saints in a boy’s wing. In Relics, Berardini explores through Vo’s work how art and poetry gives utterance to history’s shadows on our lives; and through it, to make our own stories.
This is the second volume of “Air Mexico,” a literary series investigating art exhibitions initiated by Mousse and commissioned by kurimanzutto.
“If you look closely at the reproductions of Fredrik Værslev’s work and at the installation views [included in this book], you cannot but notice that there is something decidedly strange and funny about them. Those things that would be perceived in other photographs of the same genre as imperfections or parasitical intrusions turn into an affirmation and a comical form of repetition. […] Even if we had supposed that what we are looking at is essentially conceptual abstraction, by the time we come to the last page of this book we are obliged to admit that Fredrik Værslev’s approach is in fact rather incongruous. His pictorial compositions seem to be porous to their surroundings. This aspect of the work takes full advantage of the condensed effect offered by the publication’s format which, in contrast to the exhibitions themselves, necessarily offers only partial views of the work, which is dispersed across various places and moments. […] In many of the photographs, the paintings are obstructed by elements as extrinsic as they are surprising, for example, dogs, or a man dressed only in his underwear. All of this makes clear that, much as Fredrik Værslev may insist that he is only a painter, there is considerably more going on in his practice, both in this book and beyond. – Caroline Soyez-Petithomme
Published in conjunction with the exhibitions “Querelle of Brest” (Passerelle Centre d’art contemporain, Brest, 2015) and “Inner Beauty” (Museo Marino Marini, Florence, 2015), Reality Bites is the first monograph dedicated to the work of Fredrik Værslev (b. 1979, Norway), analyzed through rich visual content and texts by Matias Faldbakken, Alberto Salvadori and Caroline Soyez-Petithomme, as well as a conversation between the artist and Josh Smith.
“I hate movement that displaces lines” is the seventh verse from Baudelaire’s sonnet La Beauté. Broodthaers “plays with the conventions of editing, which are part of the definition of the book: that is, each time he plays with the common denominations like the name of the author, the title, the place and date of publication, always with the same strategy of an occultation that affirms, validate and make present what is absent.”
Birgit Belzer, “Marcel Broodthaers: The Place of the Subject” in Jon Bird, Michael Newman, eds., Rewriting Conceptual Art.
Simon Starling: A–Z is a pocket, non illustrated mid-career catalogue raisonné of a practice now spanning over two decades. Every work ever realized by Starling (Epsom, UK, 1967) is listed in alphabetical order and referenced in this compact guide, which also provides a bibliography and connections to other related projects. Halfway through the text flow, three photo inserts and texts by the artist and Maja McLaughlin document the exhibition projects El Eco and Bowl, Plates realized in Mexico City, at the Museo Experimental El Eco and the Luis Barragán House and Studio, in 2015.
“Giorgio Griffa is one of the least-known Turin-born artists of the Arte Povera generation. Another precious ‘secret’ that the city of Turin, discreet and haughty as ever, has managed to keep under wraps—in this case for almost half a century. From the immediate post-war period, a singular group of young artists in the city helped write the history of European art in the second half of the twentieth-century. Together with now universally acclaimed figures, such as Alighiero Boetti, Giuseppe Penone, Giulio Paolini, Giovanni Anselmo, Michelangelo Pistoletto, Gilberto Zorio, and Mario and Marisa Merz, there were also other leading artists in Turin, who have only recently begun to receive the international attention they deserve. Here I am thinking of the likes of Piero Gilardi, Gianni Piacentino, Carol Rama, Salvo, and Aldo Mondino, but also of the eccentric and eclectic Carlo Mollino. Griffa was one of the most discreet and isolated in this group of young people who revolved around Sperone’s gallery. He immediately showed an exclusive interest in painting, while his companions mainly moved out towards sculpture and installation from the mid-sixties.”—Andrea Bellini
Published on occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa (Turin, 1936) (Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome) this monograph aims—through a series of essays by Andrea Bellini, Luca Cerizza, Laura Cherubini, Martin Clark, Suzanne Cotter, and Chris Dercon, a conversation between Griffa and Hans Ulrich Obrist, and a selection of artist’s writings and a chronology compiled by Marianna Vecellio—to highlight the very diverse features and extraordinary richness of Griffa’s paintings.
This catalogue documents the exhibition Juan Muñoz. Double Bind & Around held at HangarBicocca (April 9 to August 23 2015). Edited by Vicente Todolí, the catalogue features original writings by Juan Muñoz and contributions by James Lingwood, co-director of Artangel and curator of many projects dedicated to the artist, an essay by Pier Luigi Tazzi, curator and art critic, as well as a technical description of the artwork Double Bind by Federico Colletta (CO3 Architetti Associati). The catalogue will also include an exhaustive photographic documentation by Attilio Maranzano and an apparatus of detailed descriptions of the works in the exhibition, written by the writer and curator George Stolz. The catalogue is published by Mousse Publishing and Koenig Books, it has been designed by Studio Leftloft (Milan) and the editing is by Studio Buysschaert & Malerba (Milan).
A few years ago, independently from one another, McCarthy and Bouchet both had made a work that transformed the Guggenheim Museum in New York into a toilet. This coincidence sparked an ongoing conversation about shared interests in the politics of art institutions and their architecture, leading up to a site-specific project for Portikus that took up these concerns in a multi-layered exhibition structure involving not only the main exhibition space, but the office, the monumental attic space, the exterior of the building, the island that the institution is housed on as well as external locations within the city. The project has now culminated in an extensive publication, documenting the process and the final outcome of Powered A-Hole Spanish Donkey Sport Dick Drink Donkey Dong Dongs Sunscreen Model.
Simon Denny is known for his research-based art projects, which have explored such themes as technology obsolescence, corporate culture, national identity, and internet politics.
As the New Zealand representative at the Venice Biennale in 2015, Denny is going to present Secret Power. His starting point was how the world is imagined and depicted by powerful states today.
Secret Power will take two venues in Venice: the historic Marciana Library in the heart of the city, and the new terminal at Marco Polo International Airport.
The project addresses the way that complex intelligence-gathering systems are represented visually, whether in sixteenth century Venice or the present day.
Denny’s Secret Power explores the Biennale, the Library, and the Airport as frames, hinting at geopolitical imperatives that cross-reference and distinguish each of them.
Produced in collaboration with designer David Bennewith, this fully illustrated volume will offer a guide and commentary to this complex, layered project. With essays by curator Robert Leonard and art critic Chris Kraus, and an interview with Amsterdam-based graphic designers Metahaven.
Co-published with Koenig Books.
Writer Roland Barthes (1915–1980) was born a hundred years ago. He wrote the first critical oeuvre announce as fiction, in which a character—the reader—is invited by another character—the author—to determine his future. Here, the reader becomes a living player in a dirge: that of a free re-writing of the author’s work. In the exhibition “My Last Life,” Vincent Meesen becomes a critical reader and obliquely accepts the author’s invitation. To enact the return of the once who, in one famous essay, nonetheless declared “the death of the author,” the scenario imagined here brings him back as a character in his own work and in a situation that is as unexpected as it is topical: that of the postcolony.
“Having dispensed with their official role and elitist nature, Fluxus books occupied an entirely clandestine position, shirking conventional forms—not only in terms of their conception, creation, distribution and proposal—breaking all commercial ties and assuming the role of an instrument of struggle to make an impact, in their own way, on the dichotomy between life and art. This allowed artists to enjoy full autonomy in the production of their works and to become their own publishers, as well as to make use of new printing processes, often at a low cost, for broader distribution (stencils, photocopies, offset).
Books replaced museums, art galleries and theaters, and thus had to contain not only their usual informative capacities, but also the intermedial potential of artistic practice. They became events as well as containers of thoughts and images, and the physical presence of artistic objects. The traditional structure of the book object was found increasingly inadequate to contain all this, so it was transformed into a boîte, container, binder or box. [...]
This is not intended to be an account of the Fluxbook’s history, as in any case the very nature of Fluxus as something fluid and uninterrupted makes it difficult to document historically. This first detailed study of the artist’s book within the Fluxus movement presents its aesthetic research as one of the most productive and irreverent transformations of the book medium. Hence, there was no need for comments by critics, which are not relevant to this study. The few explanatory notes below and, more than anything else, the images of the books themselves, are sufficient to present their nature and development.”
Symbols abound in Shannon Ebner’s work. She uses them as if they were words in a poem, emphasizing their polysemy and multiplying the number of potential meanings and interpretations. Like musical scores, her alphabets make intervals and suspensions literal and thus visible. They include the “other” (silence, non-verbal signs, misspellings, handwriting) as a presence whose meaning must be negotiated. They capitalize what is usually repressed in written language (or simply taken for granted), in order to reinstate another structure of understanding. Language is an expression of order and Ebner makes this very clear by giving each letter the weight of concrete. STRIKE slows down the pace of reading to its zero degree. One letter, one page. One letter, one page. A slash. An exercise in reading akin to our first decodings of the written word, when we started, as children, learning how to do things “by the book.”
For almost 15 years now, the two Portuguese artists João Maria Gusmao + Pedro Paiva have been constructing an imaginative journey through films, photographs, installations, and sculptures that encapsulate philosophical, existential, and conceptual issues.
Produced in conclusion to a series of exhibitions—which began in 2011 with “Alien Theory” at frac île-de-france, and le plateau in Paris, by way of Museo Marino Marini in Florence, and ended with “Papagaio”, 2014–15 (premiering at HangarBicocca in Milan then moving on to the Camden Arts Centre in London)—Teoria Extraterrestre is the most complete monograph to date on João Maria Gusmão + Pedro Paiva, condensing nearly four years of work and thought that have been compiled into a film cosmogony by the artists themselves. This book has been published also on the occasion of a seminar organized by Fondazione Donnaregina per le Arti Contemporanee / Museo Madre, Naples.
Torbjørn Rødland: Sasquatch Century presents a rich visual flow of Norwegian artist Torbjørn Rødland’s work, followed by an introduction by curator Milena Hoegsberg, and a commissioned essay by writer and curator Linda Norden. Norden’s text, digests the beginning photographic rhythms, and provides an insightful lens to interpret and re-examine Rødland’s complex practice. As Norden says:
“The question we are left with is less about what to make of a given image’s contents than it is about Rødland’s larger ambition toward symbolism, or the workings of a post-millennial mythology. These are ambitions that set him apart from his predecessors; but his photography still trades on the manipulative strategies of advertising and institutional politics that have dominated culturally savvy, would-be critical photography from at least the Pictures Generation onward. Throughout, the question has been: How might images that traffic in cultural coding do more than serve as catechisms for the feedback loops that define our moment?”
The title Sasquatch Century refers to the mythical, hairy, humanoid creature historically viewed as the precursor to Bigfoot. The Sasquatch has been solidified in mythology and pop-culture through a simultaneous belief in and denial of its existence. As such the phenomenon embodies many of the artist’s interests in activating the tension between myth and reality, between the familiar and ungraspable, and the constructed and authentic.
The publication supplements the exhibition of the same title on view at Henie Onstad Kunstsenter January 23 – April 26, 2015.
“A filmmaker’s filmmaker whose movies are so tough-minded and lucid it is as if they were produced to demonstrate the marvels of the motion picture apparatus” – J. Hoberman
Ernie Gehr (b. 1943, Milwaukee, Wisconsin) is one of the leading figures in American avant-garde cinema, and his Serene Velocity (1970) remains one of the best-known works of experimental film.
Entirely self-taught, Gehr was inspired to begin making films in the 1960s after he chanced upon a screening of a Stan Brakhage work. Closely associated since the ’70s—along with masters like Hollis Frampton and Paul Sharits—to the Structural movement, in the course of his career Gehr has created an unsurpassed body of work in film and video that combines richly conceived, rigorous cinematic structures with a profound sensitivity to the physical world around him.
This publication, created on the occasion of “Bon Voyage”, the first solo exhibition ever dedicated to his work by an art institution, includes a long interview with Ernie Gehr by Andrea Bellini (curator of the exhibition, and director of the Centre d’Art Contemporain, Geneva), and two seminal essays by Ken Eisenstein and John G. Hanhardt on Gehr’s most recent output, as well as a visual essay specifically composed for this book by Gehr himself.
“Objects live their lives, going from place to place, just like the rest of us. Their moods change. Some have different temperaments than others—there are the bullies, the nerds, the dandies, the punks, the hippies, the pranksters, the playboys. They have a mind of their own.
Gedi Sibony’s studio has a mind of its own. Ideas come and go, people pass through, decisions are made, problems get solved. There’s enough room to walk around, but there is also a significant amount of stuff in the way—crates, ladders, furniture, rolls of fabric, sheets of cardboard, stored artworks, empty food containers, children’s toys. As any new object arrives, another moves slightly out of the way.” - Anthony Huberman
Painting · Drawing & Sculpture, Collected Works · Gedi Sibony, Volume III brings together a selection of works made over the last fifteen years by Gedi Sibony (b. 1973, New York), alongside texts by Dan Byers, Michael Darling, Sarah French, Agnes Gund, Anthony Huberman, John Hutchinson, Emily Rauh Pulitzer, Conny Pur till, Tara Ramadan, Yasmil Raymond, Ami Sibony and others, inspired by the evocative power of the American artist's sculptures and installations.
Developed as a reference monograph, the first to be published on the Italian artist Francesco Gennari, this volume offers insights into the artist’s body of work—composed of sculptures, drawings, and installations—coherently spanning the last 20 years of his artistic practice.
Published on the occasion of Gennari’s upcoming exhibition at Museo Marino Marini, Florence (November 2014) the book includes an anthology of works selected by the artist documenting almost every series he has worked on and developed since the beginning of his career. A selection of essays further elaborates the systems operating in the living structures created by the artist . . . and his alter ego, “the demiurge.”
“New Management” refers to the legendary management philosophy that Lee Kun-hee, Chairman of the Samsung Group, infamously introduced in the early nineties. “The New Management” principle was first proclaimed in 1993 at a high-level executive meeting at the Kempinski Hotel Frankfurt Gravenbruch near Frankfurt am Main International Airport. Lee flew in his entire top management from around the world for a three-day conference, emphasizing the need to globalize and preparing his employees for a new philosophy of change he was going to introduce in order to turn Samsung into a global market leader in all its sectors. This seminal meeting became known within the company as the “Frankfurt Declaration.” In the introduction to the publication, Simon Denny writes: “In Portikus one sees a fantastic conglomeration of material that tries to monumentalize [Samsung’s] powerful cultural message; arranging imagined and remade objects around excerpts from Lee Kun-hee’s texts and Samsung’s history. I’ve tried to stay close to the context it describes: the global material language of corporate pride and presentation.” In commissioning two different English translations of New Management, a publication in Korean about the philosophy and history of Chairman Lee’s legacy, Denny investigates existing hierarchies. On the one hand, the material carries with it extremely specific cultural and economic meaning and value, and on the other, it forms a part of global culture and public information. The same goes for Samsung’s comic version of New Management and the inclusion of Sam Grobart’s article on Samsung that originally ran in Bloomberg Businessweek. Denny levels the role of the artist with those of the professional from a tech company, a journalist, an independent contractor hired through freelancer.com, and finally the viewer of the work
Published in conjunction with Sietsema’s show at Museum of Contemporary Art Denver, Seven Films by Paul Sietsema is the first publication devoted to the artist’s films. In the words of Sarah Robayo Sheridan, “Paul Sietsema compounds organic and artificial detritus in all his artwork, scavenging in history’s wake to identify specific tools of cultural production and foraging for concepts of art promulgated in the words of artists and attitudes of critics. He mines film as a vestige, the medium of the mechanical age, pressing and squeezing its very obsolescence through a contemporary sieve. In so doing, the artist hovers in the switchover between a bodily inscription in the image and a fundamental reconstitution of sight and representation in the matrix of the virtual. Where body stops and image starts is a divide collapsing through a series of innovations and accidents that go back as far as the people of Pompeii trapped in an emulsion that marked their death, but which paradoxically carried forward their image into eternity.”
Despite a prolific and diverse practice, Robert Overby (1935–93) remains one of the best-kept secrets in post-war American art. While rarely exhibiting during his lifetime, he nonetheless built up an extraordinary, multifaceted body of work encompassing sculpture, installation, painting, photography, print and collage.
This monograph is published on the occasion of “Robert Overby: Works 1969-1987”, the first survey exhibition of the artist’s work to be organized in Europe. Edited by Alessandro Rabottini —in collaboration with Andrea Bellini and Martin Clark—it has been conceived, from the outset, as a joint project of four partner institutions: Centre d’Art Contemporain, Genève; GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo; Bergen Kunsthall, and Le Consortium, Dijon.