This publication, itself a reversed object, retraces Tarek Atoui’s multidisciplinary interventions, events, concerts, and workshops that condensed into The Reverse Sessions, a project that unfolded in three stages at the Dahlem Museum during the last Berlin Biennale, and at kurimanzutto in Mexico City. The Reverse Sessions followed the genesis of sound making, from museum objects not intended to be played (Dahlem Sessions), to scores composed after those sounds, to instruments created to perform those very scores. Over the summer of 2016, Atoui’s makeshift instruments were activated again at Tate Modern, for The Reverse Collection.
Lebanese-born sound artist Tarek Atoui is known for his exploration of performance as a complex, open, and dynamic process. His ongoing reflections on the notion of the musical instrument have led him to investigate the history of classical Arab music and to collaborate with a school for the deaf to learn how students hear and perceive sound. By traversing such a wide range of fields, he constantly changes roles, shifting from performer to computer programmer, from researcher to artistic director.
Designed by Goda Budvytyte.
The first reference monograph on the artist, this catalogue follows the first institutional exhibitions of Roccasalva held at the MAGASIN in Grenoble and at the Kölnischer Kustverein in Cologne. For over ten years, Pietro Roccasalva has been developing a body of work that is difficult to define but can be considered one of the most wilful contributions to contemporary art. It centers around painting, which has flowered in a manner that is sometimes akin to the old masters and can be seen to spur his engagement with other forms, such as drawing, sculpture, installation, performance, film, and photography. These different outputs are connected by narratives from his conceptual universe. Roccasalva interweaves personal experiences with references to art history, literature, and music as well as to cinema in such a way that it is not uncommon for the works to shift between various levels of reality and fiction. At the same time, they are linked systematically, with each work making reference to its immediate predecessor. In a sense, the artist’s oeuvre functions like an enormous house of mirrors—a labyrinth that seems, more than occasionally, to be furnished with concave or convex mirrors.
Published in conjunction with Antonis Pittas’s exhibition at Hordaland Art Centre, in Bergen, Road to Victory is a conceptual publication that extends Pittas’s artistic practice as well as an anthology of essays reflecting on his work and its various contexts. Together the book and exhibition present an artist-initiated re-reading of the seminal work of exhibition designer, Herbert Bayer, whose 1942 exhibition Road to Victory at the Museum of Modern Art in New York presented a highly aestheticised and celebratory representation of the American involvement in the Second World War.
In revisiting this moment in the history of exhibitions, Pittas draws our attention to the embedding of propagandistic elements in artistic display conventions, ranging from the Russian avant-garde to the contemporary moment. Bringing into constellation a history of affect and abstraction in the exhibition space, the Road to Victory project brings together archival fragments, spatial transformations, new sculptural works, and textual contributions by a host of acclaimed authors. Each component is integral to the entire project, and intentionally sustains the suggested relationships between economic, historical, political and aesthetic trajectories.
Designed by Project Projects
Co-published with Hordaland Art Centre, Bergen
“The absolute secret of permanent creation: not deciding, not choosing, not wanting, not owning, aware of self, wide awake. SITTING QUIETLY DOING NOTHING.” —Robert Filliou.
Published to document the recent Filliou retrospective at M HKA, the Museum of Contemporary Art Antwerp, this book centres on the transcript of an extensive conversation between the French artist and the Brussels-based art critic Irmeline Lebeer, recorded on seven cassette tapes in August 1976 in Flayosc in Southern France. This conversation is structured as an abécédaire and touches on a variety of topics to do with Filliou’s art and thinking, from amitié (friendship) to zen. It was supposed to become an extensive monograph but was never published until now.
Robert Filliou: The Secret of Permanent Creation gives today’s reader direct insight into the mind and the practice of this extraordinary artist, whose influence on subsequent generations cannot be overestimated. Now, in the second decade of the twenty-first century, is the time to realise that Robert Filliou was one of the greatest artists of the twentieth century, apart from being a significant playwright and poet. This book helps contemporary readers grasp his significance. It contains many black-and-white illustrations and colour plates of nearly all the 192 works in the exhibition at M HKA.
Designed by Sara De Bondt
Copublished with M HKA, Antwerp, and Editions Lebeer Hossmann, Brussels
The exponential development of digital technologies, the advent of social networks, and big data have progressively and inexorably changed our society. We are witnessing the collapse of philosophies of social and urban sharing and the establishment of a new regime that in the name of security is stripping us, with our consent, of every intimate and personal space. The exhibition Please Come Back. The World as Prison? starts out from these considerations to investigate our contemporary society. Control and power systems are explored both physically and metaphorically, seeking an answer to the question: What would we like back in our lives from the “paradise lost” of the modern age? Published on the occasion of the eponymous exhibition at the MAXXI museum, this catalogue features more than fifty works by twenty-six artists that treat prison as a metaphor for the contemporary world, and the contemporary world as a metaphor for prison: technological, hyper-connected, shared, and ever more closely controlled.
Belgian artist Carsten Höller (born 1961) has risen to the fore of the international scene with a practice that revolves around the search for new ways of inhabiting our world. Doubt features 20 large-scale works––installations, videos, and photographs that play with optics and space. This monographic catalogue has been published on the occasion of Carsten Höller’s solo show in Milan at Pirelli HangarBicocca, from April to July 2016.
Published to accompany an exhibition at the Nouveau Musée National de Monaco, this volume, which gathers scientific contributions from leading researchers, art historians, along with in situ installation views, pays tribute to the greatest set designer of the modern era. Viewing theater as a total artwork in which choreography, music, costumes and sets were of equal importance, Léon Bakst worked closely with artists such as Serge Diaghilev, Vaslav Nijinsky, Jean Cocteau, Isadora Duncan, Ida Rubinstein and Igor Stravinsky, transforming the perception of the ballet. Designing Dreams: A Celebration of Léon Bakst highlights Bakst’s finest achievements in stage design, while also revealing his decisive influence in the field of textile design. Conceived especially by Nick Mauss, in parallel to the exhibition design, Designing Dreams presents in detail Bakst’s drawings, costume and textile designs, previously unpublished writings on ornament and fashion, new scholarship on Bakst’s sources and the impact of his vision, as well as exhibition views of the scenography realized in situ by Mauss.
Available in five different colors, cloth covers stenciled by Nick Mauss.
Luis Barragán’s house, Louis Kahn wrote after visiting it, is a place that “could have been built a hundred years ago or a hundred years from now.” So, in more ways than one, is The Air is Blue, an exhibition orchestrated in the master’s house and studio by Hans Ulrich Obrist and Pedro Reyes, over the course of three years. The ever-growing list of participants comprised at the end forty-seven artists and contributors, including Francis Alÿs, Daniel Buren, Gilbert & George, Dominique Gonzales-Foerster, Joseph Grigely, Rem Koolhaas, Lygia Pape, Anri Sala, Ettore Sottsass, Rikrit Tiravanija, and Niele Toroni. Their interventions collided visions and conversations about poetry, urbanism, music, sexuality, art, and architecture. A catalogue was published in 2006, but never circulated. After ten years, this reprint consists on an integral black-and-white scan of the original book, with a small appendix of previously unpublished images and a new afterword written by Reyes. All on blue paper.
In 2012, thirty life-size puppets were made from jute and straw.This number grew to fifty-four in the course of 2013. This series of puppets was called Die Schmutzigen Puppen von Pommern, after a region extending across northern Germany and Poland. In the spring of 2015 it was decided that a large number of small puppets were to be manufactured from the same material, providing that each should not exceed 35 cm and have a totally different character from one another. A team of six people worked on this series for about 3,000 hours in a small workshop at the canal in Brussels. The undertaking was completed on November 13, 2015. The result was one hundred sixty-four puppets. They were presented at Sant’Andrea de Scaphis, in Rome, and all of them are in this book. The title, “I Piccoli Puppazzi Sporchi di Pruppà,” is after a small hamlet in the southeast of Italy, not far from the town of Stilo.
Co-published with Gavin Brown’s enterprise.
Cash for Gold is the most comprehensive monograph on the work of Nina Beier, copublished with the Kunstverein in Hamburg, in conjunction with Kunsthaus Glarus. Nina Beier’s art presents a particular challenge to critics, Alexander Scrimgeour outlines in the introduction to this catalogue— indeed, an anthology of eight different essays: a textual bounty that proved necessary. The conventional functions of the art writer: interpretation, judgement, critique, contextualisation, etc., stand in an uneasy relationship, not to say opposition, to the explorations of openness, assignations of value, and unspoken cultural codes in her work. The development of this catalogue, and the fact that it does not coalesce into a single, authoritative voice, can perhaps best be seen as a reflection of the work itself, and what makes or lets it carry meaning for different people in different ways. For all the specificity of its materials and forms, it draws its energy from the emotional valence of culturally embedded desires, pressures, norms and glitches within what Rosalind Krauss called, after Fredric Jameson, “the total saturation of cultural space by the image.” The sprawl and partiality of this catalogue is itself a mirror of a crisis of representation that is itself the ground occupied by the images, confused objects, and art-historical references in Beier’s work to date.
Collection/Correction is a publication edited by Jacob Korczynski that surveys Andrew James Paterson’s (Toronto, 1952) writings for the first time. Co-published by Kunstverein Toronto and Mousse Publishing, Collection/Correction is anchored upon a series of new and recent poems and also includes four of the scripts from his videos The Walking Philosopher (2001), Eating Regular (2004), 12 x 26 (2008) and Passing (2013) and four of his fictocriticism texts that were published in IMPULSE magazine between 1980 and 1989. Of Collection/Correction, Ruth Noack asks: “Can language be eaten? Can words be used to build a castle? Would the artist’s prose and poetry provide us with another path to culture than the one trudged by philosophy, literature and criticism? Andrew James Paterson’s writings perform for his readers the liminality between cognition and art.”
“Not ‘expressing,’ but simply ‘presenting. Bringing into existence.’ Kishio Suga’s criticism of images and expression comes from a background of resistance to consumerism, materialism, and the spectacular. How can one give rise to something that has maximum presence but is non-expression? Kishio Suga clearly and deliberately presents the perceptual reality of existence/non-existence and visibility/non-visibility. This is a method, not of bringing things into existence individually, but of drawing attention to existence by creating relationships between objects. Since the late 1960s, Suga has been assembling various things and handling, cutting, arranging, joining, and bending them. He observes and attempts to gain an understanding of the weight, texture, surfaces, and other characteristics of different materials, as if becoming one with them or making them a part of him—and his perceptive abilities have increased dramatically.” – Yuko Hasegawa
This book documents the first European retrospective dedicated to Kishio Suga (b. 1944 in Morioka, Japan) titled Situations and held at Pirelli HangarBicocca from September 30, 2016 to January 29, 2017. Edited by Yuko Hasegawa and Vicente Todolí—curators of the Suga show in Milan—the book focuses on Suga’s entire career, among the prime movers of Mono-ha, an artistic group born in the late 1960s, documenting over twenty of his installations, dating from 1969 to the present.
This book is a catalogue of paintings by the German artist Matthias Dornfeld. No more, no less. As the essay by Katie Geha point out, Dornfeld creates paintings that hinge on the hysterical. He repeatedly paints familiar subjects: landscapes, portraits, and still lifes. “The subjects and motives are simple,” he explains. “They come without thinking. They’re stupid, banal, commonplace, clichés.” It is through the repetitive use of the familiar, even boring—both in process and in subject matter—that Dornfeld subverts these painterly tropes and, in turn, makes them strange, makes them funny.
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.
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.
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.
This is the first monograph detailing the practice of the German artist Jan Peter Hammer. The two essays and the conversation between the artist and Adam Kleinmann address the economic, social and historical tones that characterize Hammer’s video installations, as well as his sculptures and neon pieces, which are chronicled from 1993 to 2015.
Designed by Andreas Koch
A Donzelli exhibition is never just a linear presentation of individual and autonomous works of art, even less an inventory of formal possibilities; it is indeed an experiential journey where each piece is in dialogue with another and with the surroundings, generating a rhythm within the exhibition that favours the spectators’ interaction.
In fact, the relationship between the viewer and the work of art is a core theme in Donzelli’s oeuvre, especially in his Mirrors, where prismatic lenses twist the underlaying image in a way that causes it to appear to be ever changing according to the viewer’s position. Resembling a mirror from a certain perspective but then changing into an image as the bystander moves, it is as if the work had a life of its own.
The titles of his series of works (“Eccetera Drawings”, “Disegni del quasi”) stress continuity, fluidity and openness as the backbone of his research. Donzelli has elected drawing to his primary means because it’s a process of discovery from the incipit, when the pencil touches the paper and the sign/image starts to take form.
Among Portugal’s most interesting young filmmakers, Salomé Lamas (b. 1987, Lisbon) explores the boundaries and circumstances of documentary filmmaking, working at the intersection of ethnography, history, storytelling, memory, and fiction. Her short films and video installations—powerful portraits, in a sense—investigate the traumatically repressed, the seemingly un-representable, and the historically invisible, from the horrors of colonial violence to the landscapes of global capital. This book covers Lamas’s selected works from 2010 to 2016, and includes contributions by Michael Bobick, Deirdre Boyle, Filipe Felizardo, Irene Flunser Pimentel, Peter Galison, Javier H. Estrada, James Lattimer, Joana Pimenta, João Ribas, Lawrence Weschler, and Ana Jotta, as well as interviews conducted by Nuno Lisboa, Jorge Mourinha, and Mónica Savirón.
David Maljković’s A Retrospective by Appointment (2015) defied expectations, problematizing the genre of the retrospective. Taking place across three different exhibition spaces in Zagreb—the artist’s studio, Gallery Nova, and the Gallery of Croatian Designers’ Association—it avoided the usual approach of showing the development of the artist’s “style” over time, and instead treated the exhibits in a nonhierarchical way. Maljković’s key concerns and methods—individual and collective relationships, the complexities of time, collagist approaches, self-referentiality and referencing the work of other artists, the use of earlier works and exhibition displays as material, art’s autonomy, and the nature of the gaze—were all carefully choreographed in installations that treated major works, early student sketches, and film props equally. Unexpected, poetic, and sometimes humorous situations created the cumulative effect of throwing visitors off balance. The book follows the experimental format of the exhibition, and is conceived as an ironic deconstruction of retrospective format, as well as a critical intervention into the institutional landscape in Zagreb.
This book follows an exhibition curated by Eva Brioschi of video works by thirty artists spanning three generations: Marina Abramović, Bas Jan Ader, Victor Alimpiev, Pierre Bismuth, Candice Breitz, Mircea Cantor, Chen Chieh-jen, Rä Di Martino, Regina José Galindo, Ugo Giletta, Douglas Gordon, Ion Grigorescu, Gary Hill, María Teresa Hincapié, Jonathan Horowitz, Alfredo Jaar, Joan Jonas, William E. Jones, William Kentridge, Anna Maria Maiolino, Ana Mendieta, Marzia Migliora, Adrian Paci, Ene-Liis Semper, Santiago Sierra, Rosemarie Trockel, VALIE EXPORT, Bill Viola, Ryszard Wasko, Jordan Wolfson. In the summer of 2016, these works, a selection of the video holdings of the La Gaia collection, resonated in the austere interiors of a former gothic church in Cuneo, Italy. This volume contains documentation of the exhibition, individual presentations of each work, and essay by Lorand Hegyi which addresses some of the early, seminal forms of video practices.
Artisti per Frescobaldi is a contemporary art prize linked to the tradition of patronage and promotion of the arts of the Frescobaldi family, producers of wine in Tuscany for 700 years.
The third edition of Artisti per Frescobaldi involves two artists from the United States, Matthew Brannon and Eric Wesley, and one from Italy, Patrizio Di Massimo. In their projects the three artists have focused on the estate of CastelGiocondo, in Montalcino.
An international jury composed of three museum directors – Massimiliano Gioni, Samuel Keller and Gianfranco Maraniello – has been convened to assign the prize offered by the Frescobaldi family.
The exhibition and the prize ceremony are held in Milan in October 2016.
For her works, Katja Novitskova adapts images from online sources, referring to realities that lie beyond the capacities of the human eye but have long entered our lives as visual artifacts. Today, almost all aspects of human (and increasingly nonhuman) lives are registered or modeled by software on an environmental scale. Data collection and processing have transcended the limits of our planet and become the primary tools for navigating Earth and beyond. The artist book Dawn Mission explores this radically new articulation of the role of the image and how constant mediation gains an ecological dimension.
Published in conjunction with the exhibition Katja Novitskova – Dawn Mission at Kunstverein in Hamburg. April 23–July 3, 2016.
Published on the occasion of the group show A Way of Living (featuring works by Varda Caivano, N. Dash, Josephine Halvorson, Chris Martin, and Nathlie Provosty), this book consists of two volumes. The first, preceding the exhibition, contains dedicated interventions by the five artists and a text by the American writer Barry Schwabsky. Schwabsky gave both the exhibition and the book their title, and identifies the act of living as a way of painting and the act of painting as a way of living. The second volume contains a visual essay that documents the attentive dialogue between the artworks and the exhibition space.
Since 1993, Gonçalo Pena (b. 1967) has created a vast collection of drawings, with a mesh of cross-references and suppositions that all revolve around the human figure.
Within this immense collection, religion, history and ancient mythology are intertwined with political philosophy and social issues, creating an authentic cultural conundrum of references hidden behind each image.
Published on the occasion of his exhibition – “Unfinished Mandarin” – at Kunstverein München, this book is the second volume dedicated to Pena’s oeuvre. With a collection of drawings selected by the duo of artists-turned-editors João Maria Gusmão and Pedro Paiva, the publication also contains essays by João Maria Gusmão, Chris Fitzpatrick, Pedro Paiva, and Post Brothers.
“[…] this publication contains different elements to be sampled at whim, with no one right way to read it. Scattered through it, among more traditional critical essays and images of the exhibition and the works, are a series of notes and drawings by Petrit Halilaj dated 2006-10 presented here for the first time, which run like the frames of a film whose editing is up to the reader: they invite us to imagine new worlds that blend reality with utopia, and to expand our frontiers of knowledge.” – Roberta Tenconi
This book documents the exhibition “Petrit Halilaj: Space Shuttle in the Garden,” held at Pirelli HangarBicocca from December 3, 2015 to March 13, 2016. Edited by Roberta Tenconi—curator of the Halilaj show in Milan—the book analyzes the oeuvre of this Kosovan artist from multiple perspectives, through a selection of essays by Andrea Bagnato, Leonardo Bigazzi, Adrian Paci, and Roberta Tenconi.
The Mask is a collaborative text born from the exchange and longstanding friendship between the artis Katrín Siguroardðttir and the poet Kristín Ómarsdóttir. Its form fluctuates from that of a play to an interview to an informal dialogue, revealing the importance of confrontation and mutual understanding in these two independent artists’ investigations. The focus is on their relations with surfaces and with closed systems as puzzles that open up different possibilities. As Siguroardðttir states regarding the text: “A work can depict a surface, without being a surface itself. In the same way, a text can appear as a play without being a play. In some way, I am ambivalent whether this text is actually a script or just a text that assumes the form of a script. Like a picture of a script rather than intentionally or functionally a script.”
Woven Worlds (Some Notes on a Work in Progress) describes the development of an exhibition project on which Simon Starling is currently at work, recounting how an idea can spring from a particular circumstance or situation, the encounter with a place or setting, and trigger a process that comes to maturity through the creation of a work. While on the one hand, the text can therefore be seen as illustrating Starling’s overall practice, which moves from “chance,” to investigation, to concrete incarnation as a finished piece, on the other it shows the role and significance that the practice of writing is assigned in his work. As the artist says, “giving linguistic shape to a thought process is a way to challenge and refine that thinking – to get to the bottom of what really matters”: and so writing is not merely a form of later reflection, but an important exploratory tool and gauge in the process of conceiving and creating a work.
Things are not always what they seem in this fast paced freaked out little tale that begins with a disappearance and ends with a joke. So where has Anand disappeared to and what did he want to tell his friends? And why is a vaguely illegal mid-90s secret student order called The Holy Idiot’s Society (T.H.I.S) connected to the suave and dangerous Carlo Bucci? Is Ida Kang, the highly intelligent and beautiful heiress entrepreneur, really in love with Anna? Who are the Primes and why are they so angry? Will X kill again or has he been permanently damaged? Why does the appearance of the Hybrids shake the world so violently? And how do all these pieces come together in a perverse evolutionary tale that unfolds across the globe.
Including artworks by Antonina Baever / Bonnie Begusch / Sacha Beraud / Veronica Gerber Bicceci / Clare Butcher / Hannah Fitz / Ericka Florez Hidalgo/ Shahab Fotouhi / Patricia Boyd / Tomas Maglione / Cerrajero Rodriguez / Martine Syms.
ACADEMIÆ is a new biennial event entirely dedicated to the academy, international art schools, and university-level art students. It focuses on the multiplicity of interests and approaches in contemporary art research, considering education in the art world and the artistic community as models of openness, interdisciplinarity, and mobility. The first edition—which took the title “Throwing Balls in the Air,” based a series of works by the American conceptual artist John Baldessari—was curated by Christiane Rekade and Francesca Boenzi and welcomed the participation of thirty-five emerging artists, selected in collaboration with eleven artists working as professors in as many European academies. This publication accompanies the biennial and represents yet another instrument by which to reflect on art schools and their methods. It explores the meaning of artistic education with respect to education in other disciplines: the reason for art, the role it plays, its importance in current times, and the thought patterns it can represent. The book features an introductory text by the curators, Christiane Rekade and Francesca Boenzi, an essay by Chus Martínez, head of the Institute of Art at the FHNW Academy of Art and Design in Basel, and contributions by professors and guest artists.
This first comprehensive monograph details over ten years of work by Brazilian, New York-based artist, Valeska Soares (b. 1957, Belo Horizonte). This profusely illustrated volume provides an immersion into the highly diverse practice of the artist. An essay by Jens Hoffmann and a conversation between the artist and Kelly Taxter discuss her often challenging installations, wall works, and environments. Soares employs objects as metaphors, revealing an acute interest in the many ways the subjective perception of time and the power of language affect people’s appreciation of things, change, process, span, movement — of the very experience of being alive.
Co-published with Editora Cobogò.
This monograph is the first to focus exclusively on Paul Sietsema’s paintings and drawings. With depictions of objects that invoke a sense of history, Sietsema explores how images are made and circulated today. The book opens with a survey essay by Tim Griffin considering this central conundrum of time in the artist’s work: “Sietsema outwits his epoch, perhaps, by outlasting it in execution, with his work becoming an article of the past sometimes before being seen, or recognized, in the present.” A series of texts by Emiliano Battista and Eva Fabbris address other core themes, from “circle” and “verso” to “studio” and “hand.” In the extensive plate section, fifty-three works spanning seven years are illustrated in full color. With examples from all of Sietsema’s bodies of work on paper or linen, these works showcase the wide range of mark-making Sietsema not only deploys but also depicts, perpetually shifting between material registers in ink, enamel, and acrylic.
Laure Prouvost’s art is full of wit, poetry, humor, stories, and unforeseen twists and turns. Whether in her installations, videos, or performances, she never fails to surprise and attract. Are her stories for real? Was her granddad really a conceptual artist who dug a tunnel from Europe to Africa and literally got lost in the artistic process? Prouvost’s ways of working and the visual style of her output really only come to life and develop their full intensity in her exhibitions—until now. Together with Kunstmuseum Luzern and the Museum für Moderne Kunst in Frankfurt, Mousse has published the first-ever monograph on Prouvost. Like her art, the book is fast-paced and full of quick turns and surprises; it is no easy task to achieve a true representation of video art in a printed volume. Important authors who have worked closely with Prouvost write about her here for the first time, and the artist herself discusses her life and work with her artistic role model Barbara Steveni. The book also includes a complete list of Prouvost’s works and exhibitions. Is Prouvost really the “holy liar” she’s been called in the press? Find out for yourself…
In the spring of 2015, Magali Reus (b. 1981, the Hague, the Netherlands; based in London) opened the first in a series of four exhibitions of new work co-commissioned and presented by SculptureCenter, New York; Hepworth Wakefield, England; Westfälischer Kunstverein, Münster, Germany; and Fondazione Sandretto Re Rebaudengo, Turin, Italy. The culmination of these collaborative projects is documented in this publication, marking an important chapter in the evolution of Reus’s work. As Andrew Bonacina writes in his essay, “Magali Reus has evolved a practice that requires a constant examination of how we engage with, and understand, the everyday items that accompany us in the world—the ‘supporting-cast’ objects that we rely on but rarely acknowledge. Relieved of their functionality through Reus’s re-transcriptions—rendered as useless as a mug without a bottom or a book sealed in plastic—their newfound role as sculpture forces them to articulate their objecthood in alternative ways, through attitude or gesture. They become vessels waiting to be filled by the viewer’s own physical and emotional relationship to them. Operating somewhere between uniformity and personalization, Reus’s sculptures become spaces in which objects are finding their place, where things are working themselves out.”
On False Tears and Outsourcing is a project began by Cally Spooner in 2015. The starting point is Gustave Flaubert’s 1856 novel Madame Bovary, in which Emma Bovary’s lover, Rodolphe, signs his breakup letter to her with a false tear—a drop of water from his drinking glass. Spooner’s project expands on Rodolphe’s construction, to consider a broad definition of outsourcing; as the moment our utterance is delegated to a protocol, engineered outside of our body, typically to generate efficiency in the management of the speaker, and their affairs. The project has thus far taken a variety of forms; a Stanislavski course, for financiers to train in the production of tears, a pop music ‘factory’ where affect is emailed and remotely stitched into hit songs, and a self-organized team of dancers who must, throughout a working day, and over the course of an exhibition, carry-out the contradictory choreographic instruction to remain intimately bound yet violently separate. Spooner is also starting to write a novel, of the same title, which considers how the body might become disobedient—sick, stressed, and accidentally unruly—whilst the language it utters remains as controlled as a false tear, and as separated as an outsourced production. The novel follows the demise of a feeble hero named Aldo, a magazine critic of very minor fame, as well as those close to Aldo are, in some way, managing him: his bad-tempered editor, his many doctors (some more qualified than others), his sad, lost wife, and a modern-day Oracle. To make Peep-Hole-Sheet Spooner placed a selection of her notes for the novel into a map of potential starts, plots, snippets of dialogue between possible characters, distributed across a continuous page. The notes shift between fiction, fact, appropriation, and interviews with clinical psychiatrists, neurologists, and an actor.
It Has a Golden Sun and an Elderly Grey Moon is the title not only of Ulla von Brandenburg’s new film, but also this publication, created as part monograph, part artist book. This allegorical phrase resonates as an invitation from the artist, beckoning us to circulate within the prelude-spaces offered by the practice of sacred and animist rituals, and within the contemporary space of forms of artistic representation such as theatre, dance and performance. This book’s design reflects and resonates with that of the film, unfolding five of the film’s themes which are also recurrent in the artist’s broader work: color, ritual, movement, stairs, and textiles. Designed by Jean-Claude Chianale.
Taken at the height of the Assad days, the images of the photographer Giovanna Silva overlap in this publication with Syrian tourist guides’ images and texts, creating a net of intended and unintended relationships and time interconnections. As Pier Paolo Tamburelli writes in his essay, “Silva’s photo speak of time that is twice lost. […] When I look at them, I can smell that apparently eternal condition of no-change in Syria before 2011. I recognize the omnipresent, idiotic smile of Bashar – at the time still considered the gentle son of Hafez al-Assad (the ophthalmologist who lived in London and did not really wanted to leave to become a dictator and who finally had to substitute the nasty brother probably killed by Mossad). Now that the civil war has erased everything that belonged to that Syria, now that everything changed, I have the impression that that world is way more lost than many other episodes of the past. Both for Syrians and for foreigners the memories of the civil war will occupy all the space that could have been dedicated to these last twenty years of Syrian history. […] Not only are those moments gone, but they will not be remembered. The boredom of that period entirely disappeared in the cruel excitement of the war. The pictures are a strange homage to a lost world”.
Known for her layered, meticulously constructed works that trace and perform the undercurrents of systems of value, image-making and methods of observation, Amie Siegel’s work moves between film, video, photography, performance and installation. Published on the occasion of the first large-scale exhibition of the American artist at Museum Villa Stuck, Munich, “Double Negative” is part of the museum’s RICOCHET series, which establishes a dialogue between the works of contemporary artists and the historical spaces of the Villa Stuck, and gives insight into the last decade of Siegel’s practice. The publication, as the exhibition, establishes correspondences between seven of the artist’s works since 2005 and including a newly commissioned film installation that gives the exhibition its title.
Published on the occasion of the twenty-year anniversary of the non-governmental organization ART for The World, this publication presents the prestigious organization’s activities during the period 1995 to 2016. Inspired by the Article 27 of the Universal Declaration of Human Rights, “Everyone has the right to take part freely in the cultural life of the community, [and] to enjoy the arts,” ART for The World is a bridge between art and society—a museum without walls. Founded in 1995 in Geneva in the context of the fiftieth anniversary of the United Nations, its activities involve the participation of artists and filmmakers from around the globe. In conceiving its international traveling art exhibitions, performances, film productions, and concerts, the NGO merges ethics with aesthetics to build cross-cultural relationships and promotes education, well-being, and sustainability. In 2005 its sister NGO, ART for The World Europa, was established in Turin as its rhizomatic expansion. The activities of both organizations are based on the ideals of human rights, including dignity, freedom, peace, and solidarity.
This book is the result of LOOP Barcelona’s long-standing engagement with pressing debates surrounding moving-image artworks. Following up on last year’s edition of the LOOP Talks, “Beyond Objects? A Debate on Engaged Attitudes Towards Collecting,” it brings together contributions by international curators, art critics, collectors, artists, and a lawyer to further the mission for a complete recognition of the medium. In an art market that demands materiality, video and film evade the traditional definition of “unique objects.” Generally perceived as ephemeral and even regarded with suspicion by many collectors and galleries, they are dismissed as too difficult to monetize. Drawing a historical trajectory that encompasses the introduction of the moving image into public museums first, and private collections later, this publication addresses a wide range of issues related to the production, distribution, display, and conservation of time-based art.
Published on the occasion of the eponymous exhibition at Nomas Foundation, Rome, Road Back to Relevance gives insight into the last decade of Dan Rees’s (b. Swansea, UK, 1982) practice. It brings together groups of works—paintings, videos, installations, and photography—that have never before been viewed simultaneously, and reveals the complex nature of the artist’s research. The title refers to a slide presentation made by the artist in collaboration with an advertising strategist and designer that, by charting the course of a specific solidarity campaign between Wales and Nicaragua started in the 1980s, questions how pre-“clicktivist” modes of social engagement, activism, and international solidarity can remain relevant today. As Dieter Roelstraete writes in his essay contribution, “The work of Dan Rees touches upon a wide range of topics, subjects, and issues, but one dominant, recurring preoccupation doubtlessly concerns the politics of taste. ‘Taste’—its cultural corollaries, its political over- and undertones, and most importantly its social sources—is one of Rees’s preferred problems. And where it is addressed most directly and unapologetically—that is to say, in the so-called Artex paintings—is exactly where his work becomes most willingly, egregiously ‘problematic.’”
This project grew into something very special over time, and the lasting testament of that feeling is this book. The initial concept was to deal with imaging the dynamic landscape of California, something along the lines of intimacy with one’s landscape. I was thinking about Ansel Adams and Robert Adams both picturing the American West, zoomed in and zoomed out. But I didn’t want to just take pictures—I wanted to take more than an image of the place home with me—I wanted to create a feeling and an aura for each place, to translate not just the light, but the air, the water, and the sound of a place. That’s what led to the wind chimes, which I was weary of of course in the beginning given their preexisting connotations—the sentimentality attached to domestic craft—which in the end became incorporated as one of the most important lasting qualities of the project.
The book Future Histories: Mark Dion and Arseny Zhilyaev follows the Future Histories exhibition curated by Magnus af Petersens at Casa dei Tre Oci in Venice in 2015. Taking the traditional museum practices of collecting and taxonomic display as their starting point, the artists Mark Dion and Arseny Zhilyaev created a Wunderkammer and an imaginary future museum. United by a flair for speculation and a talent for combining the critical with the playful, the artists transformed the historic palazzo into a dynamic and immersive environment, opening a dialogue between two different approaches—Dion’s reaching back through time, and Zhilyaev’s projecting into the future. Dion staged pre-Enlightenment cabinets of curiosities, which held collections of both specimens from nature and artifacts from various cultures, which meant removing objects from their natural environments and placing them in artificial isolation; this legacy is still at the core of much museum practice. Zhilyaev investigated, from a future perspective, the ambivalent role of the museum in the formation of our ideas about the world and life under contemporary political and economic conditions.
This exhibition and catalogue dedicated to Croatian artist Ivan Picelj provide a much needed closer look at the international neo-avantgardes of programmed art, taking a critically systematic approach to the investigation currently underway.
Picelj was among the prime movers of the neo-concrete turn and one of the most active figures in what has been called the last avant-garde, where he can be numbered among the most “orthodox” exponents; he played a fundamental role in the ranks of the nove tendencije [New Tendencies] that emerged in Zagreb in 1961, when the movement’s first exhibition was held at the Museum of Contemporary Art, bringing together an extraordinary group of artists and critics from around the world who are now unchallenged figures in the international debate and in the art market: from groups like ZERO, GRAV, Gruppo N and Gruppo T, to individual pioneers of a radical artistic rebirth blending “continuity and innovation,” such as Piero Manzoni, Enrico Castellani, Getulio Alviani and Paolo Scheggi.
The works of Massimo Bartolini (b. 1962) form in the rifts that open up between apparently conflicting creative approaches and extremes.
Mainly linked to the world of sculpture – and thus to matter – his art draws on a whole variety of references, ranging from science to music and art history, subjecting even the object of his research to a slow but relentless deconstruction. Bronze is transformed into installation and then back into light, sound and pure sensations. Bartolini weaves a thread that leads from Plato’s Academy – at the entrance to which was the inscription “Let None But Geometers Enter Here” – all the way to Thelonious Monk, jazz music and madness, John Cage’s experiments and Andrei Tarkovsky’s movies.
Published on the occasion of his solo exhibition (curated by Alberto Salvadori) at the Museo Marino Marini in Florence, Let None But Geometers Enter Here contains a series of essays by Francesco Bonami, Luca Cerizza, Carlo Falciani, João Fernandes, Maurizio Maggiani, Arturo Martini, Alberto Salvadori, and Jonathan Watkins, some of which were specially written for the book and others republished. The authors illustrate the multiple facets of Bartolini’s work, each in their own inimitable way.
Panorama is a deconstructed anthology. It’s exploded. Into bits. Francesco Jodice’s whole career is examined through an intricate web of images and text. In no particular order. Combining the works with the material that went into their making: photos, maps, diagrams, films, newspaper cuttings, backstage footage, screen tests, writing… Taking a metabolic approach, it explores an entire universe of authorship, raising questions that spill over from art into the realms of politics, philosophy, anthropology, urban planning and geography.
Ageing Process, the first monograph entirely dedicated to Lara Favaretto documents the artist’s career from her earliest works of the 1990s to her most recent installations, presented in the 2015 exhibition “Good Luck!” at MAXXI. Structured like a sort of manual, this volume accompanies the 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. As Favaretto, who edited the book, explains, “I decided not to follow any chronological or alphabetical order, but to instead suggest a unified discourse by making the reading experience flow as smoothly as possible, following an underground web of references between the texts that would elude any scansion dictated by the sequence of dates or letters.” Co-published with Sternberg Press and designed by Chad Kloepfer with Hyo Kwon.
I Marziani discovers and reconsiders certain chapters of Italian art history from the last century through works on paper (most of which have never been shown in museums) from the angle of new visual and intellectual intersections. Critical reception is the key of interpretation to understand what has taken place in the past and to expand the contemporary viewpoint through drawing, which has meant so much also for artists who did not make it their elective medium of expression, and are not very well known for their works on paper.
The aim is to prompt reflection on the critical response to the artists, on what their contemporaries thought of their art and how we perceive it today, precisely in relation to their status as outsiders then, and to the ups and downs of the acclaim that has brought them to our attention over the years. Through biographical notes flanked by comments and articles from different eras placed between the works, readers are encouraged to ponder the destinies of these talents. With its selection of some of the most maverick personalities, I Marziani presents the Italian 20th century in a new light.
Liz Magor (b. 1948, Canada) lives and works in Vancouver, Canada. Magor exhibited at documenta 8, Kassel, Germany (1987) and represented Canada at the Venice Biennale (1984).
This book offers a new contribution to the thinking around Magor’s long standing practice by gathering newly commissioned critical texts and creative writing, as well as texts by the artist herself, some of which were previously unpublished.This book not only highlights important works from throughout Magor’s career but also present her latest work for the first time in a publication form. “This is not a picture to show how things are. It’s a proposal as to how we connect to what matters and how it comes to matter. It’s one of the vital intuitions Liz Magor could be understood to advance in her work: bodies, souls, memories and matter interconnect in peculiar ways and activating this connection may be more strikingly simple than many would believe”. — Jan Verwoert,
Copublished by Mousse Publishing and Triangle France
I Wish to Meet Architects offers a profound insight of the practice of Agostino Bonalumi (1935–2013), focusing in particular on the environmental aspects of his work. The book is published in conjunction with Bonalumi’s homonym retrospective at Cortesi Gallery (London, 15 March – 21 May 2016).
The title of the exhibition, “I Wish to Meet Architects” (Vorrei incontrare gli architetti) is taken from a show Bonalumi held in 1969, and reflects the artist’s passionate desire to seek new spacial solutions to his art, further corroborated by the conception—with Enrico Castellani—of tele estroflesse (extroflexed canvas). This new linguistic system aimed to open painting to a broader commingling of sculpture and architecture in one large “habitable” creation, in accordance with the modern tradition of the “synthesis of arts”, on which he has built upon years of extraordinary research and activity.
The book encloses a rich documentation on the design, construction and installation of 29,88 KMQ, a permanent work created by Liliana Moro for the seventh edition of “All’Aperto” (Outdoors), the public art project organized by the Fondazione Zegna and curated by Andrea Zegna and Barbara Casavecchia in Trivero, in the Piemonte countryside. The title refers to the town’s municipal area, where the artist worked on two locations. For the traffic circle of Piazza della Repubblica, Moro created a pentagonal info point with a LED display, crowned with a bright yellow streetlight, which after dark becomes an oversize magic lantern. Inside the Pro Loco offices, she installed a large three-dimensional map, where her own voice brings the visitors to the discovery of each artwork of “All’Aperto”, like in an old coin-operated audio guide. “I think of it as the completion of the whole 29,88 KMQ project: it represents the idea of giving information and spurring the curiosity of a varied public who through my words, may feel that art can communicate and interact on many levels”, explains Moro. The book includes a preface by Anna Zegna, an extensive introduction by Andrea Zegna and a sweeping conversation between Liliana Moro, Barbara Casavecchia and Vincenzo de Bellis, co-director of Peep-Hole, Milan, focused on the relationship between artist, viewer and engagement with the public sphere, which runs through the entire production of this artist. The volume also contains a documentary section on all the public projects and works created by Liliana Moro from 1988 onwards.
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.
Details from Heaven and Hell is the new chapter of Matt Mullican’s cosmology, whose first models dates from 1973, and has evolved over the years and materialized in various media and performances. His famous cosmological charts give shape to a personal epistemological system defined as “five worlds”, consisting respectively of the worlds of pure matter; objects; the arts; language; and mental activity. Acting in the world of signs and terms, the artist compiles here his life view through sixty-four apparently crystal clear statements, only coincidentally matching his present age. The text takes a circular form where birth and death—in the material and spiritual sense—culminate at the same point, creating a repeatable and continuing life cycle.
“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.
“From 1967 through to his most recent works, Giorgio Griffa’s painting studies have been based upon three fundamental areas of enquiry: rhythm, sequence and sign. Griffa uses a similar protocol when creating his works on paper, which have very rarely been exhibited and have remained virtually unknown to the public. One need only look through the critical literature devoted to his work, or at the long list of solo and group exhibitions he has been involved in, to see the extent to which drawing is taken into consideration only very occasionally and marginally, even by his closest commentators.
However, it seems clear from the quantity and especially the quality of these works that drawing and watercolour are not just some secondary activity for this artist, or in any way subordinate to painting. As Griffa himself points out in a recent interview with Hans Ulrich Obrist, drawing is not a “plan for a painting”, even though in many cases it does provide ideas for later works. Rather, it is an autonomous aspect of his work and a kind of parallel activity to painting.” – Andrea Bellini
Published on occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa (Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome) this catalogue is an extension of the book Giorgio Griffa: Works 1965–2015.
Giorgio Griffa: Works on Paper is devoted to the graphic practice of the artist, and has been published in conjunction with the exhibition “Giorgio Griffa: Works on Paper”, curated by Andrea Bellini at Fondazione Giuliani per l’arte contemporanea in Rome.
“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.
Published on the occasion of Manfred Pernice’s solo exhibition at Lulu, Mexico City, this monographic catalogue focuses on the artist’s ongoing Kassetten (cassettes) series, initially begun in 2012. Spanning back to 1996, the book features abundant documentation of the various manifestations of the works, visual references, and other recent sculptures as well as texts by Lulu co-founder Chris Sharp.
New York-based artist Nick Darmstaedter was born and bred in a postmodern age. The Los Angeles transplant, part of the infamous Still House Group, has never known the limitations of media-specific artistic training, nor glimpsed first-hand a time when art works had to be made, not only thought; when sound was not also, perhaps, sculpture; when a mass-produced object could not be labeled art; when painting didn’t seem to be on its seventh of its catlike nine lives. The field that Darmstaedter and his cohort have inherited has already been expanded, and is left wide open, rife with possibilities. Working within this expanded field Darmstaedter uses a variety of media and methodologies to create paintings, installations, and sculptures. This is his first monograph.
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.
Published to document the exhibition “Fausto Melotti”, held at the Nouveau Musée National de Monaco (NMNM) from July 9, 2015 to January 17, 2016, this catalogue investigates the polymorphous and multi-faceted work of one of Italy’s greatest artists of the interwar and postwar periods. The book is illustrated by a large selection of archival documents, some of which never seen before. It includes an essay by Valérie Da Costa focusing on Fausto Melotti’s ceramics, a text by Eva Fabbris (co-curator of the exhibition) dedicated to the presence of articles about and by Fausto Melotti in the magazine Domus as of 1948, a text by Cristiano Raimondi (co-curator of the exhibition) about the collaboration between Melotti and the architect Gio Ponti for Villa Planchart in Caracas, a conversation between Simone Menegoi and Melina Mulas about the relationship between Melotti and Ugo Mulas, a conversation between Barbara Casavecchia, Alessandro Pessoli and Paul Sietsema about the influence of Melotti on their work, as well as a conversation between Francesco Garutti, Valters Scelsi and the members of the architecture studio baukuh who took care of the exhibition design and setup.
Housed in his basement in Istanbul, Elio Montanari’s extensive archive spans fifty years of independent production working with chemical photography. At the core of his practice is a desire to capture the beauty inherent within the image of labour. This is particularly evident in his photographs of hundreds of artists producing, installing and rehearsing their works for major art events and exhibitions around the world. Montanari pursued this area of interest from the early 1980s up until 2005, until a more professionalised and capitalist art world began to frown upon independent access, often capturing intimate moments shared with artists as they formed their work supported by assistants, curators and their peers.
This publication opens with responses to Montanari’s work by Catherine David, Pier Paolo Calzolari and Donna Ferrato. The photographic content ranges in scope to include images taken during the production of the exhibitions “Ouverture” (1984), “Magiciens de la Terre” (1989), “Metropolis” (1991), and others that were evidently significant at the time, but seemed to have dropped off the map of art history, such as “Casino Fantasma” (1990). There are also images of rehearsals for major performative works, such as Claes Oldenburg, Coosje van Bruggen and Frank O. Gehry’s The Course of the Knife (1985), and Matthew Barney’s production of OTTOshaft (1992) at documenta IX. Additionally, Montanari’s long-standing relationships with particular art world characters allows for a perspective on Pier Paolo Calzolari’s installation of his exhibition at Castello di Rivoli in 1994, the inclusion of a portrait section, and a homage to James Lee Byars.
Designed by Marc Hollenstein. Co-published with SALT, Istanbul and Grazer Kunstverein, Graz.
The sculptural project is a radical reading of the legend of the manna, the miraculous bread the hebrews ate in the desert while running from slavery in Egypt, towards the promised land. Rocha Pitta inverts the elements by poetically inserting the desert inside the bread.
NO HAY PAN is a very simple sculpture: a bread filled with sand, that has to be used, to be opened, in order to be revealed. By locating the artwork in the most archaic symbols of human work, bread, the artist raises difficult questions about our present. Not by accident, the title comes from a slogan of Spanish protests.
Gluck50 will temporarily be transformed in a bakery in order to make the sculpture available for everyone. The artwork will be sold at cost price and produced daily, bringing the economy of daily life into the gallery.
Matheus Rocha Pitta (Tiradentes – MG, Brazil 1980) is a Brazilian artist. Driven, in particular, by a certain critical enunciation on the exchange mechanisms that rule ordinary life.
Kaira M. Cabañas is Associate Professor in Global Modern and Contemporary Art History at the University of Florida, Gainesville.
Gluck50 was created with the intention of promoting contemporary art through an international residency programme for artists. The programme’s objective is to give selected artists the opportunity to spend a period of time in Milan concentrating on research and work, culminating in an exhibition project.
When invited to contribute to Peep-Hole Sheet, Peter Friedl decided to publish for the first time a selection of notes from his private diaries. Written between October 2014 and July 2015, these notes follow no chronological order and fall into no narrow thematic sphere, ranging freely between art, literature, history and current events. From Tolstoy to Pasolini and from Fascism to Islamic terrorism, the many annotations that make up “Images at War” from an intricate mosaic of reflections whose radical diversity conveys the complexity of his thinking, and of the critical, historical and political awareness that distinguishes it. The journalist from which these notes are drawn are part of a broader ongoing project titled The Diaries (1981-2015), recently presented at the 56th Venice Biennale and in the artist’s solo exhibition at Centre d’art contemporain – La Synagogue de Delme: a vast collection of diaries that Peter Friedl has been compiling for over 20 years, which shows how writing has always played a central role in his artistic practice.
(…) There’s nothing like a good puncture. I drilled through my hand once. I think it was a 3 / 16th bit. It’s embarrassing to talk about holes and the language of art is always dressing things up: “apertures” and so on. I love being able to see to the other side and I enjoy the physical challenge. When we had counters, I loved getting behind them. A social skill. Crafting a hole is a distinct pleasure, probably known to gunsmiths as much as locksmiths. How to use a half-round file is leagues away from the water jet and the laser or even the mechanics of the drill bit. Fronts have backs. (…)
(…) I love it when people ask, “What kind of art do you make?” and I answer, “Sculpture”. The first thing everyone thinks is that sculpture is associated with someone who sculpts. There is the idea of a classic sculptor, someone who transforms materials. I transform almost nothing, but there is always the intention to transform. I basically bring existing things together and make people look at them in another way. Maybe through association, as you mentioned, or maybe by giving them a character, a personality, as if they really were characters, individuals, almost like people. I think my work is almost always figurative, and this is the greatest transformation. At least this is the biggest aspiration I have for a work: trying to transform an ordinary glass that everyone uses into a glass that becomes a character (…)
(…) But if I wanted to document this new sculpture I’d made, and somebody said, “Well, let’s get my Canon SRL and photograph it”, then I’d say, “Well, why don’t you whistle it?” And they’d go, “What? Whistle the sculpture you’re making?” “Well”, I’d say, “you could document it by whistling, couldn’t you? I don’t know why you couldn’t. Or signing or coughing it or…” No. It always has to be photographed. (…)
Published for the exhibition “Ennesima. An exhibition of seven exhibitions on Italian art,” curated by Vincenzo de Bellis (La Triennale di Milano, 26 November 2015–6 March 2016), the seven volumes of the publishing project “Ennesima” interpret and investigate the multiple, extensive thematic content covered in the exhibition.
They are joined by the Guide to the exhibition, introduced by a critical essay by the curator of “Ennesima” Vincenzo de Bellis (“Why Ennesima? Genesis of an exhibition born agnostic”) and subdivided into seven thematic chapters, like the “Ennesima” show itself. Every work (over 170 by about 70 Italian artists who have reached the international spotlight from the early 1960s to the present) is illustrated with a photograph and a critical profile on the artist and the current to which the work belongs, indicated on the extensive mapping that crosses the publication and reproduces its itinerary. The Guide is accompanied by the complete listing of the works.
Ennesima includes: To write an Image; The Image of Writing. Gruppo 70, Visual Poetry and Verbal-Visual Investigations; Alessandro Pessoli. Sandrinus, the Whole before the Parts; The Performance where Time Stands Still. Tableau Vivant Between Reality and Representation; A Choral Archive. The Via Lazzaro Palazzi Space, the Experience of Self-Management and AVANBLOB; Present Tense, Indefinite Mood; Here, Now and Elsewhere. Site-Specific and Thereabouts; Ennesima: the Guide
The volume Per la scrittura di un’immagine (To Write an Image) contains a conversation between Massimiliano Gioni and Andrea Pinotti entitled “Images of images: survivals and repetitions of forms” that analyzes a variety of themes connected with the various developments of so-called “visual studies” and, in particular, the role of images in the field of art and the wider field of media and society. In the essay “Anthropotechnics of the image in recent Italian art history: notes and stimuli,” Vincenzo de Bellis traces a theoretical trajectory of the role of imagery, while in “Poignancy and silence. An approach to a possible iconology around Furio Jesi,” Francesco Manacorda transcribes in textual form a series of contributions made for seminars and public presentations focusing on the role of the curator and the exhibition, seen as a language written in images.
In the volume L’immagine della scrittura: Gruppo 70, poesia visuale e ricerche verbo-visive (The Image of Writing: Gruppo 70, Visual Poetry and Verbal-Visual Investigations) Giorgio Zanchetti analyzes, in the text entitled “A contradiction gathered from dictionaries. Visual Poetry and other verbo-visual researches in Italy,” the role of writing in art, while the essay by Barbara Casavecchia explores the emblematic figure of Ketty La Rocca and the positions of a series of women artists in the relationship between body and poetry (“1966 and environs: ragazze squillo, riot grrrls in evolution, poetry and missing language. Ketty La Rocca, Lucia Marcucci, Giulia Niccolai”). The book concludes with the contribution of Alberto Salvadori on the episodes in which the Florentine artists of Gruppo 70 were protagonists (“Florence, Gruppo 70”).
The monographic volume Sandrinus, il tutto prima delle parti (Sandrinus, the Whole Before the Parts) is organized around the visual essay created by Alessandro Pessoli for the occasion, and contains a conversation between the artist and Simone Menegoi focusing on the crucial role of specific kinds of imagery in Pessoli’s work (“A fragment of a flow. Alessandro Pessoli and images”), as well as a critical text by Allegra Pesenti entitled “The moons of Alessandro Pessoli,” retracing their fundamental phases.
Ennesima: The Performance where Time Stands Still. Tableau Vivant Between Reality and Representation
The history of performance art in Italy, with a particular focus on the idea of fixedness, is the concept of the critical essay by Alessandro Rabottini entitled “Still: Life. Notes for a history of fixedness” that accompanies the publication La performance dal tempo sospeso: il tableau vivant tra realtà e rappresentazione (The Performance Where Time Stands Still: Tableau Vivant between Reality and Representation), entirely on the subject of the tableau vivant. Literally meaning a “living painting,” the expression borrowed from French indicates a group of masked figures posing as if they were the flesh and blood protagonists of a painting on canvas, explicitly embodying the intersection between the living world and the artistic depiction that lies at the basis of performance in general. The investigation of this borderline between fiction and reality, presentation and representation, immobility and suspended time is at the center of the conversation between Laura Cherubini and Elena Volpato (“Still subjects”).
Ennesima: A Choral Archive. The Via Lazzaro Palazzi Space, the Experience of Self-Management and AVANBLOB
The volume L’archivio corale: lo Spazio di Via Lazzaro Palazzi, l’esperienza dell’autogestione e AVANBLOB (A Choral Archive: The Via Lazzaro Palazzi Space, the Experience of Self-Management and AVANBLOB) takes form around a nucleus of previously unpublished materials that document the activity of the Space on Via Lazzaro Palazzi in Milan, from 1989 to 1992, in a systematic way for the first time. Alongside the wide-ranging visual essay prepared by the artists involved in the experience, specifically for this publication—which brings together archival materials and a timeline that retraces, in images, the exhibitions hosted at the Space and other important shows outside it, along with the original and scanned issues of the magazine tiracorrendo, writings by the artists, photographs and object-memories—the introductory text by Cristina Baldacci, entitled “Fluctuating images. From the heterotopic Space to living archive: Via Lazzaro Palazzi 1989-2015,” narrates the birth and evolution of the archive, while the essay by Paola Nicolin (“AVANBLOB. Self-portrait of an exhibition”) is a lively narration of the construction of the historic exhibition-environment “AVANBLOB” through the direct testimony of its protagonists. The volume concludes with the wide-ranging contribution of Andrea Viliani (“Towards a choral archive of the Italian art of Autonomy”), on the various expressions of Autonomy in Italian art from the 1960s to the present.
Since 1993, Gonçalo Pena (b. 1967) has created a vast collection of drawings with a huge mesh of cross-references and suppositions that all revolve around the human figure.
Within this immense collection, religion, history and ancient mythology are intertwined with political philosophy and social issues, creating an authentic cultural conundrum with the references that are hidden behind each image.
Published on the occasion of his solo exhibition “Viagem Macaca (Monkey Trip)” at the Galeria Graça Brandão in Lisbon and at ZERO in Milan, Monkey Trip brings together over 250 graphic works. These have been selected by the duo of artists-turned-editors João Maria Gusmão and Pedro Paiva from two decades of Pena’s work, with drawings in graphite, coloured pencil, pen and ink, and watercolour. The illustrations in the book appear in an apparently unitary and logical order, which forms a sharp contrast with the immense variety of techniques, themes and subjects.
The publication also contains two essays in which the two editors each focus on a theme selected from those in the collection. The first reinterprets the myth of Adam and Eve from a symbolic and anthropological perspective, while the second traces out a revolutionary memory based on the encounter between sexual experience and ideological development.
Andrea Lissoni and Luca Lo Pinto have the task of describing and narrating, through a lively conversation (“The blasphemies of Carol Rama”), the nuanced meaning of the word “generation” in the book focusing on the work and poetics of a heterogeneous selection of artists belonging to the last two generations to emerge on a national and international level: 2015: tempo presente, modo indefinito (2015: Present Time, Indefinite Mood). This is joined by two texts by Francesco Garutti (“Opinion leaders, lies and the state of the art”) and Luigi Fassi (“New encyclopedia”), which evenly divide the analysis of the works in the exhibition, all made in 2015 for “Ennesima,” investigating their genesis and meanings.
The English term “site-specific” is generally used to indicate an intervention conceived for a given context, or for insertion in a precise place. The book Qui, ora e altrove: site-specific e dintorni (Here, now and elsewhere: Site-specific and Thereabouts) examines site-specificity in the widest and most literal sense of the term, through the study by Marco Scotini entitled “Politics of place. Towards an Italian site-oriented narrative” to introduce the theme, followed by critical texts by Nicola Ricciardi on the work of Alberto Garutti (“Garutti perspective: city walls, sky, weather”), and by Lorenzo Benedetti and Letizia Ragaglia, respectively on the works of Monica Bonvicini and Luca Vitone (“NO ON” and “The engagement of the subject/viewer in the works of Luca Vitone”), and the conversation between Massimo Bartolini and Eva Fabbris (“WATGO”), all focusing on the site-specific works made by artists for “Ennesima.”
Introduced with a critical text by the curator of “Ennesima” Vincenzo de Bellis (“Ennesima, why? Genesis of an exhibition born agnostic”) and subdivided—like the exhibition—into seven thematic chapters, the Guide to the exhibition illustrates each work on display (over 170 by about seventy Italian artists who have reached the international spotlight from the early 1960s to the present) with a photographic reproduction and a critical profile on the artist and the current to which the work belongs, indicated on the extensive mapping that crosses the publication and reproduces its itinerary. The Guide is accompanied by the complete listing of the works.
This book documents the eponymous work by British artist, Patrick Staff, presented at the Chisenhale Gallery, London; Spike Island, Bristol; Contemporary Art Gallery, Vancouver; and the Institute of Modern Art, Brisbane. The film combines footage shot at the Tom of Finland Foundation in Los Angeles—home to the archive of the erotic artist and gay icon and a community of people that care for it—with choreographic sequences shot within a specially constructed set.
The legacy of Finnish artist Touko Laaksonen (1920-1991), better known as Tom of Finland, spans multiple generations. Tom of Finland’s work made a considerable impact on masculine representation and imagery in post-war gay culture. Rather than focusing on Tom of Finland’s work, Staff’s film evokes the foundation as a set of relations. Staff explores how a collection is formed and constituted; the communities that produce and are produced by a body of work; and ideas of intergenerational relationships and care. Through observational footage of the house, its collections and inhabitants, the foundation is revealed as a domestic environment, a libidinal space, archive, office and community centre; a private space which is also the home of a public-facing organisation and the source of a widely dispersed body of images.
Charting and topography, violence and destruction, collapsing distances, traversing languages and geographies, dislocation and (de)constructing national identity: these are some of the core topics shared by the artistic practices of Carla Zaccagnini and Runo Lagomarsino. Published to document their first survey exhibition in Scandinavia, this catalogue describes the artists’ show at Malmö Konsthall earlier this year. To reflect the transnational nature of the artists’ respective biographies, the exhibition and the book follow a carefully-selected number of works realised between 2001 and 2015 arranged within a display system designed by the artist Luca Frei, in which they repeatedly followed logics of pairing and confrontation echoing the artists’ methods of working.
“This book arose out of the desire and ambition to translate the first fifteen years of Patrick Tuttofuoco’s densely visual artistic practice into words. But there is a second important motivation behind this initiative: the belief that the rhetoric that has been used to date in describing Tuttofuoco’s aesthetic adventure is too polarized between the pre- and post-2008 periods of his work, and that what is now needed is a tool of interpretation aimed at knitting together these two dimensions that seem antinomic, but upon closer observation are complementary and share the same investigative impulse.” – Nicola Ricciardi
Portraits, Portraits, Portraits represents an attempt to weave two time frames together into a single fabric, to delve into Tuttofuoco’s artistic language and bring to light a shared lexicon. As the title makes clear, portraits are the leitmotif that has been chosen to map out the artist’s practice: a potential key to interpretation, not intended to be definitive, but which aspires to stimulate and suggest a reading of the work stripped of circumstantial preconceptions. Each of the contributors responded in their own way to this initiative, yielding the choral polyphony that is fundamentally important to Tuttofuoco himself. It is up to the reader to decide whether these ideas hover separately between the lines, or come together to form, page by page, the portrait of an unexpected portraitist.
This book documents the exhibition “Damián Ortega: Casino”, held at Pirelli HangarBicocca from June 5 to October 8, 2015. Edited by Vicente Todolí, this catalogue differs from previous volumes published by Pirelli HangarBicocca in that it is in part an artist’s book, due to the presence of a “visual essay” especially conceived by Damián Ortega himself: a sequence of literary quotations and images that have been reworked through an alteration and deconstruction of objects and ideas that is analogous to the artist’s own practice. The book also features an essay by Massimiliano Gioni and a “special” conversation between the artist and art critic Maria Mínera, together with exhaustive photographic documentation by Agostino Osio. “Damián Ortega: Casino” is published by Mousse with the editorial services of Studio Buysschaert & Malerba (Milan), and designed by Studio Leftloft (Milan).
The first monograph detailing the work of Belgian artist, Leon Vranken, this book presents the most significant and complex projects of a practice now spanning over fifteen years, and is accompanied by three essays that address the many facets of his meticulously constructed works. “Though Vranken mostly uses tangible, three-dimensional sculptural materials, his work cannot be described as pure sculpture. In all of his practice, what becomes apparent is a strong sense of materiality, which is pushed to several limits, whether in terms of craftsmanship, gravity, or illusion.” —Katerina Gregos.
The 8th MOMENTUM Nordic Biennial explores tunnel vision as a cultural and artistic condition. Today’s networked culture not only generates hyper-connectivity, but also various disconnects. People and communities thrive in bubbles of their own. MOMENTUM 8 focuses on artists who inhabit worlds of their own logic and follow their thoughts all the way through. Appearing after the Reader, this second volume features images from all artists participating in the exhibition, both in the pages of the publication and via a memory stick, incorporated in the spine. Graphic design by Ariane Spanier Design, Berlin.
Listen to the Sirens | Space for Contemporary Art is a project that has grown out of collaboration between the Ministry of Culture of the Government of Gibraltar and Little Constellation Network for Contemporary Art in small states and geo-political micro-areas in Europe, based in the Republic of San Marino.
Listen to the Sirens is therefore a cultural dialogue between two territories that share a common path of research and interest in contemporary visual culture: San Marino and Gibraltar.
The activity involved in Listen to the Sirens | Space for Contemporary Art began in May 2014 with an experimental program that sees the alternation of international and Gibraltar artists (Miki Tallone, Ambrose Avellano, Rita Canarezza & Pier Paolo Coro, Hekla Dögg Jónsdóttir, Stefano Cagol, Creative Gibraltar, Nina Danino / Ingibjörg Magnadóttir) with the aim of establishing the first research activities and artistic production of space. This activity had a moment of synthesis in the summer of 2015 with a major exhibition devoted to the Little Constellation artists operating in the small states and geo-political micro-areas of Europe, who will be invited to Gibraltar for the first time.
“Recuperating leftover pieces of canvas that remain from those he cuts and stretches, Jacob Kassay found himself […] with a collection of scraps that still had value. More specifically, these scraps were of value to Kassay because they indexed his system of production. Once again, he seized upon a system that fetishizes his hand but discounts any aesthetic decision. These canvas forms, which Kassay calls ‘remnants,’ were made negatively through the creation of silver paintings and other works.” – Peter Eeley
Published on occasion of Jacob Kassay’s exhibition at R.M. Schindler’s Fitzpatrick-Leland House in Los Angeles, this artist’s book has been developed as an index—with relative digitally drawn blueprints, structural diagrams and basic dimensional specifications—for the entire series of wooden stretchers that are part of “Remnants,” previously exhibited at The Kitchen and 303 Gallery in New York (2013).
What might be the role of art and artists in an evolving geography such as that of recent years? To what extent can the residency experience have an influence on artistic research? Working Geographies is a book that documents the first four editions of the Resò international residency program that began in 2010. Through the texts by the authors and the projects of the twenty artists involved in the program thus far, the publication approaches questions that start from art to approach spheres like economics, the environment, politics, history, communication and the social sciences, exploring uncharted artistic routes that trigger dialogue between a region of Northern Italy—Piedmont—and Egypt, Brazil, India and Colombia. Working Geographies offers a set of reflections around the concepts of boundaries, identity and culture, in a liquid global scenario subject to continuous interrelations and rifts.
Fly in the soup reflects upon a series of issues tied to physical and political body awareness that have been the core subject of the XXI CSAV – Artists Research Laboratory. The workshop Materials for Performance, directed by Annie Ratti and curated by Emanuela De Cecco, was led by Yvonne Rainer and Andrea Kleine during the month of July 2015 at the Fondazione Antonio Ratti in Como. The book collects notes, lines, fragments, ideas, reflections, texts and images gathered and selected by Harold Batista, Alexis Blake, Barbara Boiocchi, Mikaela Boxström, Eduardo Cachucho, Emanuela De Cecco, Giovanni Paolo Fedele, Cassandra Guan, Clara J:son Borg, Przemek Kaminski, Devos Klaas, Andrea Kleine, Emma La Morte, Luzie Meyer, Paulien Oltheten, Luna Paese, Amol Patil, Eshan Rafi, Yvonne Rainer and Annie Ratti.
The first monograph dedicated to Landon Metz (b. 1985) retraces the American artist’s distinct practice examining four exhibitions from the past two years. “Landon Metz tends his paintings just like the plants in his studio, which are green and luxuriant. He assembles each canvas himself, combining the fabric that arrives from India with the frames he gets from Canada. Onto the perfectly stretched canvas he then traces a drawing in pencil. A simple form, not figurative, but not geometric, almost organic. The canvas is then laid on the ground, which becomes the point of encounter between the artist, his mind, his hand, the floor, and the force of gravity, along with the temperature and humidity found in the studio. After the stage of preparation, the stage of actual painting has to be very rapid and precise. The paint, made by diluting fabric pigments in water, is dripped onto the surface delimited by the drawing, then spread and guided by sponges used to check and channel its flow, at times with the aid of small weights that make it converge at the center of the image. Metz often makes works composed of multiple canvases on which he tries to reproduce the same creative process. This is an attempt to make ‘mass-produced’ paintings, but the chance involved in the combination of various elements and procedures prevents this goal from actually being achieved.” (Eva Brioschi)
“ RR ZZ ”: Amy Lien & Enzo Camacho, Rainer Ganahl, Hassan Khan, Ken Okiishi, Carissa Rodriguez, TENG Chao-Ming
“00RR00000000000ZZ0” is published to accompany a group exhibition at Gluck50, Milan (12.05 – 19.09.2015) curated by Amy Lien & Enzo Camacho with the help of Lodovico Pignatti Morano, with works by Amy Lien & Enzo Camacho, Rainer Ganahl, Hassan Khan, Ken Okiishi, Carissa Rodriguez, TENG Chao-Ming.
Our exhibition eventually came together in the wake of this revelation, piecemeal and fractured at times, with simultaneous ongoing chatter between conflicting desires and reports. For the realization of this exhibition, we are indebted to the other participating artists, all of whom fully reciprocated our initial desire to share in a dynamic conversation, along with Valentina Suma, whose commitment to assist us on this project at a critical moment was crucial to its completion, Lodovico, whose role as local informant and emotional ballast peeled open the imaginative possibilities of this situation, and finally Mario, who in the end assumed the weight of our own naïve ambitions in a way that verified a form of love and trust happening far outside the register of capital gain. In the end, we seem to have a rather clean contemporary art exhibition that feels to us like a conversation frozen for dissection, hopefully offering something of use with regards to the possibilities and impossibilities of conversation as such, as it occurs across an arena of quickly dissolving borders. The intention of this catalog is to underscore the cracks in the ice.
“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.
Born in Milan in 1937, Grazia Varisco has been a key representative of programmed and kinetic art throughout her artistic career. Together with Giovanni Anceschi, Gianni Colombo, Davide Boriani and Gabriele De Vecchi, she was a member of the Italian Gruppo T (T Group, where “T” refers to the concept of time as a new content of art). Founded in 1959 in Milan, Gruppo T was one of the most important collectives of kinetic art in Europe, introducing innovative forms of art through the creation of perceptual experiments and interactive environments designed to encourage and generate different and unexpected reactions in the viewer.
Varisco was one of the first artists who explored concepts such as motion and changes in time, while seeking a direct interaction with her audience. Through the use of simple geometric signs, her artworks inhabit the space around them, creating different spatial dimensions that challenge the viewer’s perception and disorientate the senses.
The publication will give the visitors a unique opportunity to experience a comprehensive overview of Varisco’s research, with works spanning from the early ’60s to recent years. From “Tavole Magnetiche” (Magnetic Boards, 1959-61), where magnetic elements based on elementary dialectic polarities like order/disorder, empty/full, open/closed, and symmetrical/asymmetrical, are arranged on metal surfaces and can be moved around, to “Schemi luminosi variabili” (Variable Luminous Schemes,1962–64), a series of kinetic objects that use the rotary motion of the overlapping screens is used to produce continuous variations and repetitions, capturing the unconditional attention of the viewer.
It also includes more recent works, such as “Quadri Comunicanti” in acciaio (Communicating Paintings in Steel, 2011). Formally minimal, the works nevertheless manage to dominate the surface on which they appear, simultaneously providing a glimpse of continuity and instability.
if accompanies the exhibition at Cortesi Gallery, London (1.10–28.11.2015) curated by Michele Robecchi.
This publication has been produced in the framework of “Hybridize or Disappear”, a group exhibition with works by Cécile B. Evans, Neïl Beloufa, Antoine Catala, Diogo Evangelista, Oliver Laric, Shana Moulton, Katja Novitskova, Laure Prouvost and Magali Reus at the Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisbon, and at the Paços do Concelho, Câmara Municipal do Porto. Edited by João Laia, this book aims to expand on the universe of the show, posing a wide set of questions that shape contemporary visual culture, rather than serving as a document or an archive. Through the lens of the “hybrid”, the commissioned texts look at different dimensions of our current condition, addressing ideas related to the circulation of identity and meaning in our mediated environments.
Alex Cecchetti knows that “a story is an object, but one that does not take any space for storage, or not as much as a painting or a sculpture.” Indeed, the story of Marie and William, a performance by the artist, assumes the shape of a book. The content—photography, drawings, and captions—is stylishly arranged on the pages, visually akin to a collage—scanned, not 3D-printed. The story is rendered flat, but like so many stories captured in surfaces, it deals with movement. “Think of a dance manual, or a script made of stills. In fact, does not even know it is a book, it thinks itself to be a record on a turn table.”
A MIDI book. MIDI is an imprint of Mousse Publishing directed by Åbäke.
Published to accompany the exhibition “Where to Start From” at MAXXI – Museo nazionale delle arti del XXI secolo in Rome, this book covers Maurizio Nannucci’s whole career, presenting a selection of his major projects: from the historic, pioneering works Dattilogrammi (1964/1965), Alfabetofonetico (1967), M40 (1967), Corner (1968), Colors (1969), the large installation The missing poem is the poem (1969), the sound explorations (since 1966) and the photographic series “Giardini botanici” (1967), Scrivere sull’acqua (1973), and Sessanta verdi naturali (1973) to the three new installations realized for the exhibition, including More than meets the eye, a large-scale work specifically conceived for MAXXI’s façade. Since the 1960s, Maurizio Nannucci, a point of reference for many generations of artists, architects, musicians, critics and curators, has examined the relationship between art, language, and image. His work, which has always been characterized by a dialogue between various disciplines, explores the relationship between light, color, sound and both real and imagined space, which becomes particularly evident in his large neon texts. “The neon sign installed at MAXXI can be seen as a statement, a declaration of Maurizio Nannucci’s poetic approach”, writes exhibition curator Bartolomeo Pietromarchi, “and at the same time the beginning of the exhibition, the ‘Where to start from’ for penetrating the space in which—as the artist put it—“the image goes beyond the limits of representation, becomes a mental image, a virtual image, an image from a dream or a daydream, which can be conjured up by a word, a sound, a scent”.
The 8th MOMENTUM Nordic Biennial explores tunnel vision as a cultural and artistic condition. Today’s networked culture not only generates hyper-connectivity, but also various disconnects. People and communities thrive in bubbles of their own. MOMENTUM 8 focuses on artists who inhabit worlds of their own logic and follow their thoughts all the way through. MOMENTUM 8 is accompanied by a reader, which includes interviews by the Biennial’s curators Jonatan Habib Engqvist, Birta Gudjonsdottir, Stefanie Hessler and Toke Lykkeberg with Marcia Sá Cavalcante Schuback, Brody Condon, Laurence Delplace, Steingrimur Eyfjörd, Leah Kelly, Timothy Morton, Christine Ödlund, Peter Osborne, Rupert Sheldrake, Marcus Steinweg and Michael Taussig. A commissioned scent by Sissel Tolaas accompanies the reader. Graphic design by Ariane Spanier Design, Berlin.
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).
Anicka Yi (b.1971, Seoul, Korea) has embedded tempura-fried flowers, acrylic paint, and vinyl tubing in glycerin soap and resin; floated a cow’s stomach in hair gel inside a transparent Longchamp handbag; and created a perfume from the bacteria of 100 women. Intertwining the seemingly permanent and the perishable, Yi’s work reorders the chemical and cultural forces that privilege containment over leakage, apathy over empathy, and elevate sight above all other senses.
Published in conjunction with the exhibition “Anicka Yi: 6,070,430K of Digital Spit” at the MIT List Visual Arts Center, the book includes an exchange between Caroline A. Jones and Yi on scent, ethnicity, and symbiotic microorganisms; an essay by Johanna Burton on networks and extravisual means; and an essay by Alise Upitis on the irreducible ambiguity of Yi’s work. Anicka Yi: 6,070,430K of Digital Spit is the artist’s first monograph.
Designed by Eric Wrenn.
“Invisible Beauty,” the title of this book and of the Iraqi Pavilion at the 56th Venice Biennale, refers both to the unusual or unexpected subjects in the featured works and to the inevitable invisibility of Iraqi artists on the international stage. The endlessly interpretable title is intended to reveal different ways of approaching art generated by a country that has been subjected to war, genocide and, in the last year, the rise of Isis. The systematic demolition of the cultural heritage of Iraq by Isis has made it more important than ever to focus on artists continuing to work in Iraq. The Pavilion will provide a platform to make these artists visible. The five artists featured in the exhibition and in this volume are the photographers Latif Al Ani and Akam Shex Hadi, the visual artist Rabab Ghazoul, the ceramicist Salam Atta Sabri and the painter Haider Jabbar. A rich compilation of texts accompanies by Iraqi authors the artists’ sections, addressing the wider notion of “invisible beauty” and its ramifications: an essay on the cylinder seals of Iraq by Lamia Al-Gailani; “My Lost Hen,” a story by poet and writer Fares Haram; “The Infidel Woman,” a short tale by novelist Ali Bader; Sherko Bekas’s poem “During the Great Raid”; and “The Sign,” a play by Atyaf Rasheed. Co-published with the Ruya Foundation for Contemporary Culture in Iraq.
A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”
Mirror Landscape weaves together a rich documentation on the design, construction and installation of Two Way Mirror / Hedge Arabesque, the pavilion created by Dan Graham for the sixth edition of “All’Aperto” (Outdoors)—the art event organized by the Fondazione Zegna and curated by Andrea Zegna and Barbara Casavecchia—with a wider overview on the relationship between artwork, viewer and landscape, which runs through the entire production of the artist. The book includes a preface by Anna Zegna, an extensive introduction by Andrea Zegna and a lively conversation between Dan Graham, Barbara Casavecchia and Joseph Grima, founder of the Space Caviar studio in Genoa and co-curator of the 2015 Chicago Architecture Biennale. “My pieces are for children’s enjoyment, like a funhouse, and a photo opportunity for parents”, explains Graham, while talking about architecture, conceptual art, country & western music, museums, botanical garden and the importance of holding hands. The volume contains also two special “chapters”: a documentary section on 5 pavilions en plein air selected by the artist, and the long essay as “Garden as Theater as Museum” (1989), translated here in Italian for the first time.
A drivel is a short story written in a style reminiscent of Witold Gombrowicz, though its meaning gets lost in the continuous intertwining of characters, their stories and their memories. A text written by Keren Cytter for fun, that (in the artist’ words) is “not about anything,” though it actually has a lot to say about Cytter’s work in general, to the extent that it exemplifies her constant investigation of possible ways of “representing” and “narrating”. The surreal atmosphere, the sense of suspension and the complex relationship of the characters remind us of the sequences of her films and that microcosm of affects they stage, where humor and pathos, fiction and reality, desire and nostalgia continually mingle, rebound and overlap.
This publication features a conversation between artist Leonardo Pivi (Cesena, FC, 1965) and Michele Robecchi, a writer and curator based in London. It focuses on Pivi’s exhibition from May to July 2014 at the conclusion of his residency at Gluck50, Milan.
For the show, Pivi showed a series of life-size marble statues sculpted and carved from plaster models, with the aim of recalling formal classical models, when bizarre and personal typologies coexisted and came to life showing a strong spatial vitality. The artist’s interventions, aided by his studies on light, show an ambition to bring classical and neo-classical ideals of corporeal beauty into the third millennium.
Caught between the obscene and the provocative, Pivi’s characters evoke a variety of inspirational models such as an ideal and deified concept of beauty and religiously-shaped bodies that refer to the gods without preventing more contemporary references such as inflatable dolls and crash test dummies. He conveys a new look to marble’s cold nature and brings back the attention to the human body and the characteristics associated with it such as monumentality, dynamism and movement.
Ranging from current events to topics long considered cornerstones of existential anguish, Pivi investigates new patterns of expression using concepts of beauty as a restoring and comforting force.
Alexandra Sukhareva is an artist based in Moscow, who through her complex installations investigates the phenomenology of objects and processes, notions of memory and experience. Co-published by Mousse Publishing and V-A-C press, her artist’s book “Witness” documents a series of experiments and observations in which the categorical subjectivity of the art object emerges. The artist calls it the object-incident: an autonomous and discrete situation into which objects are inducted by various processes and transformations. Sukhareva arranged her works within the space of an abandoned mansion in Grebnevo, near Moscow—previously an estate of Prince D.T. Trubetskoy, a residence of Russian Rosicrucians, a vitriol factory, a sanatorium, communal housing, an historic and cultural center—surveying the direct and collateral processes around them. Abandoned in 1991, the place is now sporadically visited by romantics and pragmatists, subcultural communities and architectural activists, alchemists and skinheads, strollers and vagabonds—the witnesses who contribute to the creation of the object-incident.
The first comprehensive survey of Marte Eknæs’ practice, Formal Economy presents her sculptural works, drawings, and collages as visual narratives and fictional landscapes. In the different chapters the works take on new roles and become both characters, backdrops, research centres and tools for visual investigation into topics of Public Sphere, Surface, Flexibility, Waste, and waterworld hedonism. Selected texts by, amongst others, Charlotte Posenenske, Sam Jacob, Lina Bo Bardi, Alexander Kluge/Joseph Vogl, Suburban Lawns, and the artist’s own writing provide further depth into the topics and contextualize Eknæs’ practice.
Included is also a rendering for the class rooms of the new department for disruptive innovation at University of Southern California, a wall text from a Frank Gehry building and infographics on current figures of global waste. And through this combination of facts, analysis and fiction, Eknæs creates a graphic landscape that both looks back at her work so far and is a starting point for a new direction. Formal Economy is developed with Karl Kolbitz and designed by HIT studio in Berlin
Mike Bouchet & Paul McCarthy: Powered A-Hole Spanish Donkey Sport Dick Drink Donkey Dong Dongs Sunscreen Model
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.
Piazza Castello 27. Downtown Milan. Here, in 1962, Achille Castiglioni—a leading figure in the golden age of Italian design—set up his studio, together with his brother Pier Giacomo. He worked in it, incessantly, until his death in 2002. This space, now transformed into a studio-museum open to the public and the headquarters of the Fondazione Achille Castiglioni, offers a unique opportunity to enter his imagination. It is a place of work and of life, brimming with the stories, experiences, ideas, exchanges, and relationships that piled up there over a span of forty years. Published for “Le regole del gioco” (“The Rules of the Game”)—presented at the Fondazione Achille Castiglioni in Milan and realized in collaboration with La Triennale di Milano—this book accompanies a project that aspires to evoke the figure of Achille Castiglioni through the works of a varied group of artists (Alek O., Stefano Arienti, Richard Artschwager, Céline Condorelli, Thea Djordjadze, Jason Dodge, Martino Gamper, Max Lamb, Christoph Meier, Olaf Nicolai, Amalia Pica, Lisa Ponti, Charlotte Posenenske, Riccardo Previdi, Emilio Prini, Carol Rama, Mandla Reuter, and Patrick Tuttofuoco) who were invited to forge a dialogue with the artifacts, models, objects and the architecture of the Studio Museo, as well as with the modus operandi of the Milanese architect. “Achille Castiglioni is an ode to the imagination, a stimulus to look at everything that surrounds us in life as a possible impulse for creation”, writes exhibition curator Luca Lo Pinto. “Achille Castiglioni once said that ‘a good project does not arise from the ambition of making one’s mark, the mark of the designer, but from the desire to establish even a small exchange with the unknown personality that will use the object we have designed’. A perfect summary of the premises behind the concept of the show”.
Chosen by Huang Yong Ping as title of his solo show at the MAXXI museum in Rome, “Bȃton Serpent” recalls a verse from the Exodus 7:10 in the Bible (“Aaron cast down his rod before Pharaoh and his servants and it became a snake”), and emphasize s the deep sense of the project, an ironic reflection that is at the same time profoundly critical, and in some ways skeptical, concerning the relations and the tension that exists between different cultures and religions, between history and modernity, a critical look at the philosophical and geopolitical origin of the contemporary conflicts that are shaking the world.
Over the past few decades, the artist has been extremely active on the international scene; his work—characterized by a critical and always regenerated insight—deals with some of the most up-to-date issues of our times, such as globalization, cultural negotiations, neo-colonialism, religious conflicts, economic transformations, political fundamentalisms.
This publication supplements the exhibition of the same title and contains a selection of texts, installation views and a special section focused on Huang Yong Ping’s project notes, sketches and models.
The publication accompanying the Belgian Pavilion at the next Venice Biennale, Personne et les autres borrow its title from a lost play by André Frankin, a Belgian art critic affiliated with the Lettrist and Situationist Internationals. The exhibition takes the history of the Belgian Pavilion and the international context of the Biennale (both derived from the colonial exhibitions and world expositions) as its points of departure. The Belgian Pavilion itself was the first foreign Pavilion to be built in the Giardini in Venice, during the reign of King Leopold II. Meessen’s work and artistic research have consistently explored the history and afterlife of colonial modernity.
Edited by the curators of the Pavilion, Katerina Gregos and Vincent Meessen, this book will feature all the artists invited to show work alongside Meessen’s: Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimarães & Kasper Akhøj, Maryam Jafri, and Adam Pendleton.
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.
“One of the shortcomings of modernism is its total neglect of visceral, bodily aspects of images and living, which had to be sacrificed to achieve its idealized clean-ness.”
A scorpion’s entire exoskeleton may act as one giant light receptor, a full-body proto-eye that detects shadows cast by moonlight and starlight. Light, skin, titan and bodyconsciousness to navigate between shelter and space: an artist book by susanne m winterling drifts around a core where each page is a collage of objects layered around in life size, then spreads out into the bookspace and installation works using photography and film non representational but rather as a space itself. Texts and interviews with Chris Kraus, Anja Casser and Susanne Østby Sæther throw light on the material, tactile as well as the media-conceptual and poetical work and influence structure. The visceral idea is the entanglement beyond any nature/culture divide (and roughly based on A document made by Paul Thek and Edwin Klein).
Susanne M. Winterling’s work is developing image-based metaphors on the material forces that make social life real. We immerse ourselves in the world through touch screens and retina displays while witnessing the ways subjectivity is rendered precarious, in political and economic terms. Winterling reflects on what is refracted from the immersive surfaces, that is the collective production of subjectivity. In the layers she overlaps on one another, tactility appears as a primal material force to address the interrelations that make us who we are in activities like sleep and the ways we interact with animals, plants and inanimate matter in the ecological systems we live in. Designed by NODE.
Published to accompany the exhibition “Gender Agendas” at Museo Pecci Milano, this book covers Suzanne Lacy’s whole career, presenting a selection of her major projects: from the pioneering Prostitution Notes (1974), an artwork that combines conceptual and performance art with social commitment focused on the theme of prostitution exploitation in some areas of Los Angeles, to Crystal Quilt (1985-1987), probably Lacy’s most famous work, a huge performance which involved 430 women over 60 seated at tables arranged in the pattern of a large quilt created by Miriam Shapiro, mingling their memories with sociological analyses of society’s failure to exploit the potential of old age, to Storing Rape (2012), a discussion among important media personalities, activists and politicians in the attempt to find a different way of describing sexual violence. “Suzanne Lacy is an artist of fundamental importance for the development of art in the last few decades,” the curator of the exhibition and Director of Museo Pecci Fabio Cavallucci writes in his contribution to the catalogue. “In the first place, she has challenged the basic principle of the tradition of creative production, i.e. the monolithic figure of the artist. Since the 1970s, Lacy has preferred the model of the conductor, primus inter pares, whose main aim is to activate a system of collaborations, to that of the single artist, the solitary demiurge who creates work thanks to a superior intuition. Her works are generally the result of multi-layered cooperative activity: with other artists, various institutions, associations or groups, with whom she shares the creation of the project, and obviously also its authorship.”
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.
In order to create the exhibition in Milan, Kimura spent a period of time in residence at Gluck50. She has conceived a sculptural installation based on life-size photographs found in Milan and New York, using them to compose a mix of photographic images from different periods and settings. Mounted on sheets of glass, the photographs are placed alongside empty glass panels and a marble column. What makes these glass supports so unusual is their strength and thickness, as well as their shape, which recalls the frames made by Fontana Arte. The photographs are of interiors, some of which are framed by wooden doors left ajar, leading us into intriguing, enigmatic worlds outside. In terms of their composition, these images suggest parallels with Renaissance paintings, in which three-dimensional landscapes recall Alberti’s concept of a “window on the world.” The door motif has already appeared in some of Kimura’s previous works, such as post-disembodiment (origin) of 2006, in which she cut the picture of a door out of its original arch and made a copy of it, which she then placed in the installation as a separate element. In this photograph, the door—which would normally convey an idea of depth —is thus transformed into an object in its own right, depriving the image of its own potential for illusion. Similarly, Kimura creates an illusory installation in the exhibition space, drawing the viewer into an ambiguous game of seduction and heightened sensitivity, while revealing the eloquent nature of the images.
The collaborative practice of Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian represents a radical redefinition of the collective. This comprehensive monograph, Ramin Haerizadeh Rokni Haerizadeh Hesam Rahmanian, details the three artists’ collaborative activities since 2009, from the chaotic creative centrifuge of the house they share in Dubai to their exhibitions that blur their individual practices and expand their sphere to incorporate friends, works by other artists and spontaneous interventions. Published by Mousse Publishing on the occasion of Slice A Slanted Arc Into Dry Paper Sky at Kunsthalle Zürich, the three artists’ first institutional exhibition in Europe, the book is a curated introduction to the artists’ world, thought and, most importantly, their humour.
Ramin Haerizadeh Rokni Haerizadeh Hesam Rahmanian is the first monograph on the artists’ collaboration.
A train ride from Pesaro to Milan and a random conversation with another passenger are the narrative context used to frame several passages drawn from old notebooks. Ideas, thoughts, and observations that Paolo Icaro wrote in the Sixties and Seventies, brought together here for the first time and presented with thesame directness and spontaneity with which they were jotted down years ago.
The experience of travel, and the movement through space and time that it implies, merges with the dialogue between the two travelers and the reflections in the notes to create a leap of meaning in which “space and time coincide … two sides ofthe same coin”. The split narrative voice also fuses together different time periods, as what was written in thepast is reread in the present, sometimes with a degree of self-criticism.
Published in conjunction with Icaro’s show “Appunti di Viaggio 1967-2014” at Peep-Hole, these “travel notes” round out the exhibition by offering an introduction to or immersion in the concepts underpinning the works on view and the artist’s practice as a whole.
“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.
This book, published in conjunction with the 10th Furla Art Award, looks back over the nine previous editions in the 15 years since the foundation of the prize.
The volume opens with articles by Chiara Bertola, curator of the award, and Giacinto Di Pietrantonio, an advisor since the first edition.
These are followed by a “timeline” that records the many names of jurors, critics, curators and artists who have participated from 2000 to 2015, accompanied by pictorial documentation that brings together varied fragments and memories.
A closer look at the images that the guiding artists have created for the Premio Furla leads into the GROWING ROOTS section devoted to the winners of its various editions (Sislej Xhafa, Lara Favaretto, Sissi, Massimo Grimaldi, Pietro Roccasalva, Luca Trevisani, Alberto Tadiello, Matteo Rubbi, Chiara Fumai, Iorio & Cuomo), on view in the group exhibition with the same title at Palazzo Reale in Milan from March 4 to April 12, 2015.
The concluding section, The Nude Prize, is instead dedicated to the artists shortlisted for the tenth edition (Luigi Coppola, Maria Adele del Vecchio, Francesco Fonassi, Maria Iorio and Raphaël Cuomo, Gian Maria Tosatti), which was won by the duo Iorio & Cuomo.
“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.
The book Foxtrot Gate – Cyprus is part of a series of publications about nations at war, or in crisis; conceived by Giovanna Silva, they tell the stories of different countries through photographs of their multifaceted landscapes. In the case of Cyprus, Silva has attempted to decipher Nicosia’s recent past and contested present, their symbols and physical structures – along with related erasures, which are inscribed in the landscape of the divided capital itself, and in particular the so-called Buffer Zone (or Green Line) which cuts through the center of the old town of Nicosia, separating the city into southern and northern sections. “The two different views of Nicosia’s past and future are evident in the contrasting physical structures which comprise each side of the Green Line,” writes Yannis Papadakis. “On the Turkish Cypriot side these are permanent walls, walls which create abrupt dead ends on roads that once continued; on the Greek Cypriot side, they are temporary constructions, made of sand-bags and barbed wire which can easily be removed. Both sides put forth fervent claims of independence and sovereignty […] The very fact of its division makes Nicosia a peculiar kind of place.” The publication includes a selection of essays by Yannis Papadakis, Konstantina Zanou, and Giorgos Charalambous, and a guide to the UN Buffer Zone.
Taking its starting point in his 2014 exhibition North Western Prose at Kunstverein in Hamburg, Strange presents the most in-depth presentation of the work of Swedish artist and poet Karl Larsson to date. The book include texts by Lisa Robertson, Frans Josef Petersson, Bettina Steinbrügge and Kim West as well as a substantial image material and a reprint of Larsson’s 2010 poetry book Parrot (Paraguay Press, Paris).
This magazine, a limited edition of 300 copies, was published on the occasion the 2015 edition of Independent, featuring over 50 international galleries and non-profit institutions representing fourteen countries.
The 2015 Independent was the last one held in the storied premises of the former Dia Building, in Chelsea. Much like the neighborhood, the Dia Building is about to morph into a condo.
Mousse has been the media partner of Independent since its inception.
Showcasing 60 artists and more than 100 works from major Italian private collections, the exhibition “Too Early, Too Late: Middle East and Modernity” examines the relationship between the East and Western modernity. Starting from 1798, when Bonaparte and his army landed in Egypt, the project focuses on the contemporary artistic scene, alternating original documents and archive material with art installations, photographs and films to mark key cultural, political and societal events in the progressive westernization of the East – from the introduction of the “nation-state” to the spectacular museums created in the Arab Emirates. This publication accompanies the exhibition, presenting an interview with Jean-Marie Straub by artist Céline Condorelli about the film from which the show takes its name, together with a text by exhibition curator Marco Scotini, an essay by political scholar Hamadi Redissi, and myriad contributions from artists that explore different views of the relationship to Modernity.
Economy, “in the sense of doing a lot with a little or sometimes nothing at all,” is one of the founding principles of the Lulennial, a biennial organized by Fabiola Iza and Chris Sharp at Lulu, a 9-square meter independent space in Mexico City. The diminutive space is not necessarily a constraint if the works exhibited (and featured in this accompanying publication) are the startling outcome of slight gestures, like those created by Jirí Kovanda, Roman Ondák, Kirsten Pieroth, Wilfredo Prieto, and Martín Soto Climent, just to name some of the more than 25 participants in the exhibition. Other instigators of this peculiar attitude, the purpose of which is to achieve the maximum effect through the smallest of means, range from Billy Apple to Graciela Carnevale to Mierle Laderman Ukeles and La Monte Young, among others.
Public is a multi-year series of commissions and residencies based on the principle of dialogue and exchange with emerging countries and their institutions; it is a program that sees contemporary art as a model of growth and development, capable of fostering dialogue and interaction between social and cultural contexts that are very different from each other. ZegnArt Public’s mission is to explore this spectrum of possibilities in a wide range of areas.
Public’s first country of action was India, and the chosen city was Mumbai: a deeply significant, complex, difficult and stimulating context.
The partner institution for Public India was the Dr. Bhau Daji Lad Museum, the city’s oldest museum, whose collections focus on the applied arts and everyday life in nineteenth-century Mumbai.
Reena Kallat (b. 1973, Delhi), the winner of the commission, was selected by a jury made up of Gildo and Anna Zegna, representing Ermenegildo Zegna Group; Tasneem Mehta, Jyotindra Jain and Minal Baji, representing the Dr. Bhau Daji Lad Museum, and Andrea Zegna, the project coordinator.
The work conceived by Reena Kallat, Untitled (Cobweb/Crossing), is fully in keeping with the spirit of the project: it focuses on the relationship with public space from the standpoint of both form and content, taking as its theme the history of the city of Mumbai.
Like a mirror image of the commission for the public work in India, ZegnArt assigned a fellowship for a four-month residency in Italy to be carried out at MACRO, Museo d’Arte Contemporanea Roma, to young artist Sahej Rahal (b. 1988, Mumbai). At the end of the process, Sahej Rahal exhibited a series of works at MACRO which he had made during his stay in Rome.
Produced for the exhibition “Open Museum Open City”, curated by Hou Hanru and the curatorial staff of MAXXI Arte, this publication accompanies a project that—as the title suggests—reinvents and transforms the physical and psychological spaces of the MAXXI museum into urban or intimate, spiritual or political environments, redefining its meaning as a public institution. “The project of ‘Open Museum Open City’,” as Hou Hanru tells us, “focuses on exploring the question of how to develop a public institution that continues to make sense in a time of general privatization of public resources and the collapse of the social welfare system. Reinventing the notion and function of publicness by creating new social spaces—public spheres—is the central task”. The book includes a series of essays narrating the genesis and goals of the project, and exhaustive documentation of its program of performances, film screenings, and public speeches, which saw the involvement of artists, architects, intellectuals, politicians and the general public.
This first monograph on Marinella Senatore is conceived to document her first retrospective in a museum setting (“Costruire Comunità / Building Communities”, held at the Castello di Rivoli Museo d’Arte Contemporanea from October 5, 2013 to January 6, 2014). It presents a selection of major projects by the Italian artist: from her early works, focused on everyday micro-narratives, to her most recent, aimed at exploring art’s potential to seek dynamic interaction, and rather than relegating the audience to the passive role of spectators, foster the active involvement of participants. As the curator of the exhibition and editor of the publication Marcella Beccaria tells us, “Reflecting on the art of Marinella Senatore means examining a diverse body of work that includes film, video, photography, sound, installation, drawing, and collage, but also writing seminars, dance sessions and workshops on a wide range of subjects. In addition to this variety of languages and techniques, each of the artist’s projects must also be analyzed from a broader angle that includes the context and modes of production that are employed, starting, at least conceptually, from her many conversations and interactions with the people she encounters, because it is on these forms of participatory synergy that the very existence of Senatore’s works is based”.
Mandla Reuter’s latest monograph, No Such St, released after his solo exhibitions at the Kunsthalle Basel (2013) and SBKM, De Vleeshal, Middelburg (2011) provides new perspectives on both exhibitions as well as into the artist’s work realized between 2009 and 2014, which primarily derives from his extensive practice with architectural, spatial, and situational issues. The starting point of both shows was a piece of land Reuter purchased some years ago in Los Angeles.
A plot from which he developed diverse works of varying formats and functions establishing connections between the almost abstract idea of a defined section on the map and structures capable of altering the appearance and physical quality of architectural spaces. Transferred into this publication, the works create a non-linear narration that—as it is regularly the case in Reuter’s practice—is situated in the spaces between the works.
Whether creating innovative topographies of his native country and adopted homeland using bacteria in constant evolution, or Babel-like towers that are gradually coated with organic motifs obtained through decomposition of samples taken from nine great rivers of the world, Julian Charrière studies the effect of time, its relationship with space and matter, and the various ways we perceive it. What he calls “the geology of History”
“Future Fossil Spaces”, the exhibition devised for the Musée cantonal des Beaux-Arts de Lausanne which is the occasion for this book, brings together works for which Julian Charrière traveled to Iceland, Kazakhstan, the Atacama Desert (Chile) and Argentina. The exhibition title evokes The Blue Fossil Entropic Stories, the result of an expedition carried out in 2013 in which the artist climbed an iceberg in the Arctic Ocean and attempted to melt the ice under his feet using a blowtorch for over eight hours. The fossils mentioned in the title do not refer to traces of animal or plant life found in rocks, but to the Latin etymology of the word, which translates literally as “obtained from digging”, the action of the artist consisting therefore in proposing, in the present of the exhibition space, works that are in dialectical tension between the two arrows of time, one pointing to the past and the other towards the future.
This book has been produced for the exhibition “Forms of Distancing: Representative Politics and the Politics of Representation,” curated by Stefano Collicelli Cagol and Luigi Fassi for the most recent steirischer herbst festival in Graz. Various forms of contemporary art are currently exploring the notion of achieving distance—in the sense of restraint—within the conflicting fields of representational political analysis and the formal presentation of an art form. “Forms of Distancing” sets out to take a closer look at the concept of representation in its artistic and political manifestations, while also examining what acts of distancing imply with regard to the politics of sharing and not sharing.
This first monograph on Cuban artist Wilfredo Prieto evolved within the scope of his first institutional solo exhibitions in Belgium and Germany, and his largest solo exhibition in his home country. This book features work that the artist has been developing from his first steps into the art world in 1995 until today. Four essays, each of which covers a relevant aspect of Prieto’s oeuvre, carefully contextualize the artworks presented here. Gerardo Mosquera puts Prieto’s minimal imagery into an art historical and Latin American perspective; Guillaume Désanges touches some artistic and ethical aspects on the (economic) value in Prieto’s works; while Thibaut Verhoeven’s essay deals with the socio-critical potential of Prieto’s minimal and ready-made strategies. Furthermore, the book contains an extensive conversation between Wilfredo Prieto and Gabriel Orozco, where they openly discuss similar and differing artistic strategies in their respective practices.
The catalogue of the exhibition Portraits d’Intérieurs offers a detailed look at the installations by Marc-Camille Chaimowicz, Nick Mauss, Danica Dakic, Brice Dellsperger, and Laure Prouvost presented in the Belle Époque decor of Villa Sauber. Among the works coming from the Nouveau Musée National de Monaco’s collection, which were selected for this occasion by Chaimowicz, Mauss, and Célia Bernasconi (the curator of the exhibition), are pieces by Christian Bérard, Jean Cocteau, Pavel Tchelitchew, Natalia Gontcharova, and Andy Warhol, restaged inside the complex installations made by the artists, who in this way seek a space for a reconsideration of their aesthetic and intellectual meaning in the realm of contemporary art and culture.
Published in conjunction with Uklański’s show at Dallas Contemporary, this monograph provides an in-depth critical examination of the artist’s ongoing series of abstract “blood” and “ink drop” paintings—an evocative meditation on the passage of time and the inevitabile specter of death. In the words of Peter Doroshenko, “Uklański has created a provocative and wide-ranging body of work that defies categorization. He engages with nearly all forms of visual media, including installation, large-scale paper reliefs, tie-dyed paintings, textile-based immersive sculptures, resin-based sculptures and paintings, photography, performance, and a feature-length film titled Summer Love.” This catalogue features a specific body of paintings that conceptually overlap with many of his interests and cultural references. “While these works are abstract, they evoke numerous themes at the heart of Uklański’s practice. They combine references to the legacy of postwar painting with a more pop sensibility derived from the blood-soaked violence of cinema history. While these works offer numerous historical and allegorical references, they could easily be unified under the title Bloodworks.”
“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.”
A book illustrated, written and edited on location by the participants of the XX CSAV – Artists Research Laboratory (June 30th – July 23rd, 2014): Johann Arens, Maya Dikstein, Shadi Harouni, Ode de Kort, Neven Lochhead, Alex McNamee, Johan Österholm, Oscar Santillan, Manuel Scano, Gonçalo Sena, Linn Skaghammar, Diego Thielemans, Massimo Vaschetto, Venturi & Vasiljević.
Eyelid Reports is loosely based on the experience, shared by the workshop participants, of watching Béla Tarr’s Sátántangó (Hungary/Germany/Switzerland 1994, b/w, sound, 419’) on the night of Monday 14th of July 2014, between 8.20 pm and 3.55 am. Timeline and captions running at the bottom of the pages suggest the progress of the screening.
Beginning with the permanent work Le banderuole colorate (“Colored Weather Vanes”), created in Trivero, Italy for Fondazione Zegna’s All’Aperto project, this book takes a comprehensive look at the public artworks that Daniel Buren has made using ephemeral materials. These range from his Affichages sauvages (unauthorized postings) of the late Sixties, to the many site-specific projects involving fabric, flags and textiles he has made since the Eighties, which lend visibility to a natural element of the landscape, wind – “like leaves on the trees”. Buren addresses themes that are pivotal to his career, like the “repetition of differences with a view to a sameness”, the relationship to be established with place and viewer, and the “specific duration” of the work in the public sphere, with across-the-board observations about maintenance, vandalism, spectacularization and performativity. In addition to a rich array of color plates, the book includes a newly compiled, detailed list of the artist’s works in fabric from 1970 to the present.
The book “Cildo Meireles. Installations” documents the works and exhibition history of Cildo Meireles’s installations and brings to an end thecuratorial project realized with the solo show “Cildo Meireles. Installations”, held at Pirelli HangarBicocca, Milan, and curated by Vicente Todolí. Back in the 1960s, Cildo Meireles wasone of the first to experiment with multi-sensory immersive installations that required the full involvement of the public. Edited by Vicente Todolì, he catalogue contains contributions by João Fernandes (Deputy Director, Museo Nacional Centro de Arte Reina Sofía, Madrid) and by Antonio Calabrò (Senior Advisor Culture, Pirelli) and includes an exhaustive photographic documentation of the exhibition and an apparatus of detailed descriptions of the 35 installations created by Cildo Meireles during his career.
Artisti per Frescobaldi is a Prize in contemporary art that represents a tradition of patronage and promotion of the arts in the Frescobaldi family, which has produced wines in Tuscany for seven hundred years. Since the Renaissance, the Frescobaldi family has commissioned works of art by famous artists, such as Filippo Brunelleschi and Donatello.
The family’s connection with artists continues with the Artisti per Frescobaldi Prize, which is presided over by Tiziana Frescobaldi and curated by Ludovico Pratesi. For each edition, three young artists are asked to interpret one of the family estates in Tuscany.
The second edition takes place in Germany and involves artists Yuri Ancarani, Michael Sailstorfer and Jorinde Voigt. Each artist has created a work inspired by the estate of Castello di Nipozzano.
Although the artistic work of Andrea Kvas is basically located in the field of painting, its further designation goes far beyond that. Only a small number of Kvas’s works correspond to the conventional idea of a painting; the majority do not allow themselves to be so tightly framed. The work of the young Italian oscillates between painting, sculpture, and expansive installations, and encircles the broad field of abstraction.
With the exhibitions described in the book, in Florence (at Museo Marino Marini) and Berlin (at Chert gallery space), it becomes truly difficult to think of Andrea Kvas’s works as individual pieces, and one must instead focus on how they function as groups which as a whole generate the very concept of the artwork.
“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.
Maria Loboda has a penchant for encrypted messages and meanings. In her sculptures, installations and collages, what is beautiful and harmless conceals the partly uncanny, partly threatening essence of things. Through this process, Loboda develops a very special form of contemporary archeology which creates completely new interpretations and associations by rearranging signs and restaging old symbols.
In her exhibition “Dead Guardian” at the Kunstverein Braunschweig, which is the occasion for this book, the Neoclassical residence built in 1808 became an enchanted place where objects and fragments seemed to lead a hidden life of their own. But free of human presence, nature had also already recaptured its territory. Maria Loboda’s art turned to the viewer in this silence with the languages and forms of mysticism and alchemy, of classical antiquity and ancient Egypt.
At the core of the exhibition is the dichotomy of culture and nature, order and chaos, reason and instinct, high culture and the archaic. There are signs and omens in both worlds that condense and connect with each other before untamed nature takes complete control in the end.
Drums, which follows the first institutional show of Marie Lund at Museo Marino Marini in Florence, is acutely attentive to things that aren’t present. A spectrum of materials is employed to evoke, represent, and reflect these missing objects—concrete, plasters, and acrylic glass are cast after, wrapped around, shaped along them. The act of modeling and copying is a craft, and the human imprint in such activities is intentionally betrayed: signs left by the working hands are visible. The works bear the signs of their own process through little, telling imperfections on their skin. Not unlike fossils, they look like memory drivers.
Designed by Åbäke for MIDI / Mousse Publishing
Durham’s primary format is storytelling, central to which is the ability to communicate experience. Edited by Jean Fisher, Selected Writing is the second, long-awaited collection of the artist’s texts, produced and released in a twenty-year span. If the forms of address in the texts aim for simplicity, the use of language—peppered with puns and neologisms and digressions into multilingual etymologies—demonstrates a complexity that persistently defers our demand for easy interpretation. As Durham frequently implies, his subversion of textual logic is intended to liberate words as material from their entrapment in thoughtless conventions (blind belief), just as his play with found materials is intended to free art from its capture in the deathly inertia of monumentalism—its connection to architexture.
Early Summer The End of Summer Late Autumn is a monographic book presenting the cumulative result of a three-partite project by Daniel Gustav Cramer and Haris Epaminonda. The two artists collaborated on a triptych of exhibitions that had as its starting point a series of observations and interpretations on the work of Japanese filmmaker Yasujiro Ozu. Late Autumn (Samsa, Berlin, 2010), The End of Summer (dOCUMENTA (13), Kassel, 2012) and Early Summer (Kunsthalle Lissabon, Lisbon, 2012) were intended as a single, larger project in which Ozu’s way of composing image and time was addressed and explored by the artists in an ongoing narrative that intersects all three exhibitions. This monograph, co-published with Kunsthalle Lissabon, thus not only constitutes the afterlife of their project, but also and above all, its conclusion. The book has become the only place in which the visual narrative conceived by the artists is made visible; through the book, space and time are finally aligned, thereby allowing readers to gain a more comprehensive insight into the project’s scope, which up until this point had only ever been partially understandable, as an inevitable result of the segmented nature of each individual exhibition.
Over the years, the Turkish artists Ahmet Öğüt has been offering tips and tricks that suggest reconsidering the norms, perceiving history and the contemporary politics anew, and regenerating the social structures. Co-published with the Künstlerhaus Stuttgart, this publication, whose first steps can be traced back to Istanbul, Stuttgart, and other places the artist had traveled to for his exhibitions, reflects the educational turn Öğüt has taken over the past few years, and surveys the artist’s work to date presenting it into six groups that each help define a significant aspect of his body of work—“Filmic Memory,” “ Mediated Sculpture,” “Institutional Hijack,” “History Reclaimed,” “Everyday Archaeology,” and “Long-Term Engagments.”
In the spring of 2007, in New York, as part of an exhibition organized by Gavin Brown’s enterprise, Nick Mauss and Ken Okiishi produced One Season in Hell, an installation whose point of departure was Arthur Rimbaud’s famous extended poem Une saison en enfer. By using Google’s online translation app to obtain an English version of the original text, Ken Okiishi first of all appropriated it and peppered it with jokes, puns and references to popular culture, from Karl Lagerfeld to South Park by way of the hairstyles of certain Japanese teenagers and Volvo cars. Nick Mauss, for his part, annotated the text, and then drew on it.
In tandem, the artists then published an eponymous book in which these pages were all brought together, in an edition of 500, which was quickly sold out. From 13 May to 14 August 2011, Nick Mauss presented his very first solo show in an institution at the FRAC Champagne-Ardenne. It was in the wake of this exhibition that Nick Mauss and Ken Okiishi expressed their wish to re-issue One Season in Hell, whose outcome both offers us a new way of looking at Rimbaud’s oeuvre and extends their respective praxes in a remarkable way.
Co-published with FRAC Champagne-Ardenne.
On the occasion of his first solo show, at Reena Spaulings Fine Arts in 2004, Seth Price made a piece called Digital Video Effect: “Spills.” He borrowed some video footage shot by Joan Jonas around 1971, featuring Richard Serra, Robert Smithson, Nancy Holt and Jonas herself, talking with dealer Joe Hellman. Price subjected the archival material to an invented digital video effect that made the footage appear to alternately spill across the black video screen and then itself be entirely obscured by oozing blackness. Displayed on a new TV/DVD player still in its own cardboard packaging, the work was like an object you could trip over, or look down on. It is a piece about concealment and visibility, as well as the liquidity of both digital culture and historical material.
Ok, Just Send Me the Bill is a “fictionalized adaptation” taken from the audio of Price’s work. It was written in the same year, and laid it out so as to resemble an old book, with stills from the video as illustrations. Price altered the conversation, framing it within a kind of minimalist American style of fiction writing, together with oddball excurses and ‘glitches.’ Published here in its original format, the piece is a reflection on artworks and market and the passing of time that creates a temporal short-circuit, very much speaking to our moment, and questioning the role of the artist play.
Jason Dodge’s practice attempts to give new life to objects, exploring their potential and provoking the viewer’s cognitive ability to imagine a corresponding narrative. Focusing on specific aspects of two works, A permanently open window and Changing the lights – From rose light to white light, from white light to rose light, by hand, over and over, Jason Dodge’s artist book is not merely a documentation of his works but, in the artist’s words, “a record of light changing over a day, in one case naturally and in one case manually”. The publication was conceived and designed to accompany Jason Dodge’s permanent installation realized for the Maramotti Collection, in Reggio Emilia – a permanently open window located in what was once the tower of a factory’s electrical power plant, an abandoned industrial space, now transformed into a commercial outlet – and contains selected images from both projects, as well as a text.
Invited to contribute to Peep-Hole Sheet, David Maljković decided to publish, for the first time, some excerpts of his notebooks. Written at various moments between 2005 and 2009, the journal entries outline some common threads linking the genesis of different bodies of works, including the Retired Forms series to the film Out of Projection, first realized for the artist’s 2009 solo show at the Museum Reina Sofia in Madrid. Maljković’s notes range from personal recollections to methodological reflections in the use of images, focusing on time: future, present, past and “the incredible amount of memory that is not important any more.”
This third volume of “All in Good Time” accompanies the two-stage project by the same name, “All in Good Time (Ch. VI: Resume and Rebirth)”, curated by Stefano Raimondi and Mauro Zanchi, which unfolded over the course of a year at Palazzo della Misericordia in Bergamo. Conceived to sum up the shows organized from 2011 to 2012 in the matronaea of the Basilica of Santa Maria Maggiore, this new installment of “All in Good Time” examines the importance of artistic exploration and cross-pollination, and the exchange and migration of ideas, by comparing the work produced by international artists during their stay in Bergamo and the work of emerging Italian artists with various connections to the city. The exhibition features projects by David Adamo, Davide Allieri, Alis/Filliol, Meris Angioletti, Francesco Arena, Riccardo Beretta, Filippo Berta, Emma Ciceri, Giovanni De Lazzari, Dyzerotre Collective, Ettore Favini, Ferrario Frères, Oscar Giaconia, Marco Grimaldi, Andrea Kvas, Clara Luiselli, Andrea Mastrovito, Navid Nuur, Giovanni Oberti, Francesco Pedrini, and Alessandro Verdi (Act I); and by Paolo Baraldi, Sara Benaglia, Cinzia Benigni, Davide Casari, Mario Cresci, Diego Ferrari, Simone Longaretti, Daniele Maffeis, Adrian Paci, Dan Rees, Luca Resta, Maria Tassi, and Marco Travali (Act II).
Artist book by artist Benjamin Hirte.
“You see, Dad, Professor McLuhan says the environment that man creates becomes his medium for defining his role in it. The invention of type created linear, or sequential, thought, seperating thought from action. Now with TV and folk singing, thought and action are closer and social involvement is greater. We again live in a village. Get it?”
(1969, The New Yorker Magazine)
“Gene Tryp” is an anagram of Peer Gynt. Throughout 1969, Roger McGuinn, front man of the Byrds, was developing a country-rock musical adaption of Henrik Ibsen’s dramatic play. The intended title of the never staged production was “Gene Tryp.” Peer Gynt, Ibsen’s original dramatic poem, blended surrealist elements of folklore with unromantic realism.
This artist book is loosely shaped by the five acts of Ibsen’s poem. McGuinn’s title serves as key words for a thread of online material that brings together ideas of folk, New Media, Wittgenstein, Marshall McLuhan, language, psychadelia, byrds, deers, horses, and airplanes.
Gabriel Kuri is known for his investigation into the manifestation of form and material. An ongoing interest of the artist is the structure of improvised disaster shelters and polling stations, highlighting our material relationship with aid, politics and economics, and questioning the possibilities of sculpture.
This limited edition publication—co-published with The Common Guild, Glasgow, on the occasion of a solo exhibition by Kuri—comprises a collection of found images of these structures, which both resemble and inform the artist’s sculptural practice.
Taking its title from David Hume’s work A Treatise of Human Nature (1739) in which he wrote that “all knowledge resolves itself into probability,” Kuri has twisted the phrase to suggest that the very idea of a future event tends to result in a material form.
Braccia is a project by Alessandro Biggio, in collaboration with Alexandra Bircken, Luca Francesconi, Michael Höpfner, Esther Kläs, Luca Monterastelli, J. Parker Valentine, Ian Pedigo, Diego Perrone, and Luca Trevisani: nine artists that Biggio asked to come up with the idea for an artwork that he would create far away in his native Sardinia.
This book documents the entire process of conception and realization, the correspondence between Biggio and his far-off collaborators, and the final shows at MAN in Nuoro and Museo Marino Marini in Florence.
Elad Lassry’s multi-media practice explores the current status of images as the point where multiple modes of production and reception merge. In just a few years Lassry (b. 1977, Tel Aviv; lives and works in Los Angeles) has established himself as one of the most original artists of his generation, through photographs, films, sculptures, performances and installations that are both visually seductive and conceptually challenging. This book – edited by exhibition curator Alessandro Rabottini – documents Elad Lassry’s solo exhibition at the PAC – Padiglione d’Arte Contemporanea in Milan, Italy; the first and most comprehensive monographic show held at an Italian institution. With an essay by Aram Moshayedi (Curator at the Hammer Museum in Los Angeles) and a conversation between the artist and Jörg Heiser (co-editor of frieze magazine), the book provides an in-depth critical examination of Lassry’s work since the beginning of his career.
He explored every medium and type of art, combining painting, sculpture, printing, photography, videos and sound in all-encompassing works. Fascinated by the transformation, Roth used a vast array of materials and objects such as utensils, furnishings, monitors, and food in a process that revealed the constant mutability of the work. Roth’s artistic vision, which includes knowledge and action, experience and manual skills in performative works, was fully illustrated in the exhibition “Islands” at HangarBicocca, in Milan—the 4500 square meters of exhibition space devoted to the display have been turned into a workshop, a craftsman’s studio where the “Roth dynasty” has continued to hand down ways of creating art in the making.
The reference monograph on the American artist Michelle Grabner, this volume offers an expansive look at an artist whose body of work and sphere of influence continue to gain recognition. Published on the occasion of the the artist’s retrospective at the MOCA Cleveland, the book documents works from the last 20 years, positioning the studio as core to a remarkably diverse output—paintings, drawings, prints, videos, and sculptures. Considering Grabner’s pursuit of art making, criticism, and curating as inextricably linked, this publication seeks to highlight the distinctive values and ideas that drive Grabner’s practice: woking outside of dominant systems, working tirelessly, and working across platforms.
During the night of August 25, 1914, a library holding 230,000 volumes went up in flames. It was the centenary of this incident—the destruction by German troops of the university library in Leuven—that prompted the exhibition “Ravaged: Art and Culture in Times of Conflict”. The destruction of the centuries-old university in Leuven sent a shockwave around the world, heralding the new practice of deliberately destroying libraries and other cultural resources as a strategy of twentieth-century warfare.
The exhibition “Ravaged: Art and Culture in Times of Conflict” at M–Museum Leuven (2014) moves from a cultural-historical perspective, focusing on five thematic clusters that recur throughout history in representations of crimes against culture: ravaged cities, ruins, targeted heritage, propaganda, and art theft. Parallel to a historical section, which covers the period up to the end of the First World War, ten contemporary artists (Adel Abdessemed, Lida Abdul, Sven Augustijnen, Fernando Bryce, Cai Guo-Qiang, Mona Hatoum, Emily Jacir, Lamia Joreige, Michael Rakowitz and Mona Vatamanu & Florin Tudor) have been invited to show work tying into the exhibition theme—including two new creations, especially commissioned for “Ravaged”.
This publication sets out to explore their respective oeuvres, and to provide more information about past projects and new ones. Even today, works of art are not only deliberately destroyed, but plundered, stolen from museums or dug up illegally from archeological sites. By including these contemporary visions, it shows how local histories fit into a near-endless litany of devastation and plunder, and how the destruction of cultural heritage remains a widespread scourge.
Designed by Sara De Bondt and published in collaboration with M–Museum Leuven.
Corin Hewitt’s performative installations use exhibition spaces as sites for production. Integrating process and display strategies, Hewitt offers viewers the simultaneous encounter of an artwork and the action that brought it to be. This book, published after the artist’s exhibition at MOCA Cleveland, brings together the documentation of seven installations, produced from 2007 up to the 2013, including preparatory sketches, process shots, exhibition documentation, and discrete photographic works. This visual mass helps understand Hewitt’s practice as a continuum of interconnected actions and materializations, instances of generative discovery and contextual play.
Joining handcrafted materiality to the random nature of industrial production, the work of German painter Thomas Kratz explores fundamental themes from the history of art and of contemporary life, and the conditions governing color, form and material. Both representational and purely abstract; minimalist and flat, and yet layered, his paintings define the boundaries between inside and outside, image and viewer, figuration and abstraction, treating the unprimed, porous canvas as a membrane. In addition, Kratz creates sculptures and performances in which everyday items become objects of worship to be incorporated in his own ritualistic, sometimes surreal games in space. Published to accompany his solo show “Love” at the Bielefelder Kunstverein, Berlin, the book details the new paintings and murals created for the exhibition, investigating ways that painting can be presented in keeping with the times and can form an intense dialogue with the architectural space.
Invited to create a public work for the area around Trivero, in the Piedmont countryside, for the fifth edition of “All’Aperto” (Outdoors) – the art event organized by the Fondazione Zegna and curated by Andrea Zegna and Barbara Casavecchia – Marcello Maloberti presented his first permanent public commission, titled I baci più dolci del vino (“Kisses Sweeter Than Wine”). A “garden of delights” open to the community, it is comprised of several elements: a rose garden with about fifteen varieties of fragrant white flowers and ornamental fruit trees; monumental letters on the wall (over 30 meters long) spelli