2 publications produced on the occasion of the exhibition A Reflection on the Sublime at Hiroshima City Museum of Contemporary Art, 30 March–9 June, 2024, conceived by the artist Kazuna Taguchi and structured by the artist Soshiro Matsubara. Including artists, Joanne Kyger, E’wao Kagoshima, Anthony Caro, Ryusei Kishida, Klemet, Kunitaro Suda, Kazuna Taguchi, Atsuko Tanaka, Trisha Donnelly, Seiichi Furuya, Patricia L.Boyd, Tomio Miki, Nancy Lupo, Alan Longino and Emilia Wang.

With texts from Alan Longino, Emilia Wang and Jane Falk. Photography by Kazuna Taguchi.

Kazuna Taguchi’s works are based on an analogue and hands-on approach at the intersection of painting and photography: In an intricate process, the artist combines various visual sources that she paints only to photograph them in various environments and setting that suit the attributes of each painting, and ultimately incorporates elements of chance while manipulating the prints in the darkroom. Taguchi compares the multiple layers and repeated interventions that lead to a permeation of myriad textures, time planes, and narrative spaces to the work of a painter who keeps tirelessly returning to her easel and brush.

All texts by Michio Hayashi.

Produced on the occasion of Karl Holmqvist’s exhibitions at the Fridericianum, Kassel and gta exhibition/ETH Zurich. Edited by Moritz Wesseler, Fredi Fischli and Niels Olsen.

The publication includes all the writing works created over the past thirty years by the artist and author, who was born in 1964 in Sweden and now lives in Berlin. Designed by Dan Solbach.

Magali Reus’ new photographic series, Knaves documents an array of mushrooms in headshot-like close up. As though in an al fresco portrait studio, the fungi are posed against backdrops of colourful vintage t-shirts – synthetic intrusions into the natural landscape.

This artist book sets images from the series within the sepia-tinted pages of a 1990s telephone directory for Park Cities – an area of Dallas whose name acts as shorthand for the way in which urban design domesticates nature for ease of human use.

Novelist, Kathryn Scanlan’s text zooms in on a series of fleeting quotidian dramas, mobilising a cast of evocatively named characters that, like Reus’ fungal protagonists, bloom and then disappear.

Produced on the occasion of Haegue Yang’s exhibition Unpacking Storage Piece at Haubrokshows, Berlin, 29 September–3 October, 2007.

“Storage Piece was created in 2003. It consists of works that had yet to be sold and nowhere to be stored. Meanwhile, the work, born from necessity, had been exhibited numerous times. Upon its purchase by Axel Haubrok at Art Forum 2005 in Berlin, Haegue Yang transferred the work’s authorship to the collector. The possibility to unpack it was a conceptual part of the work and has now been realized by the owner together with the artist.” Exhibition press release

*Please note this publication is secondhand and has some traces of previous ownership.

“The world is full of various products which are, however, often unsatisfactory. On the one hand, it is fascinating how well thought-out many things are produced in regard to economic viability. But on the other hand, this leads to very few things which can be used in other ways than what they were intended for, i.e. things allowing other uses apart from their original purpose. Furthermore, there are many exclusively designed but expensive things serving additional social ends. My grid bloc elicits different possibilities of use, thus supplementing the existing programme. Wherever a demand is presumed, it will be offered for sale.” Haegue Yang

Cover designed by Achim Reichert.

*Please note this publication is secondhand and has some traces of previous ownership.