Produced on the occasion of Florian Pumhösl’s 2012 exhibition at Kunsthaus Bregenz, it documents the exhibition and also catalogues all of Pumhösl’s exhibitions since 1993. The exhibition consisted of plaster panels in three different sizes grouped in threes, the order of each trio beginning with the smallest and ending with the largest format. The progression of the 45-piece series of 15 subjects, subtitled Cliché, takes its lead from the Bauhaus artist László Moholy-Nagy’s enamel pictures. In contrast to Moholy-Nagy, who delegated the task in the case of his telephone pictures to a specialist firm, Pumhösl himself applies the formal effects to his panels using what he refers to as a cliché stamp.

With texts from Juli Carson, André Rottmann and Yilmaz Dziewior. Designed by Yvonne Quirmbach.

Edited by Suzanne Cotter. Text by Catherine Wood, Jan Verwoert.

Rendered in pallid, ghostly tones, Silke Otto-Knapp’s watercolors and gouaches recall turn-of-the-century painters such as Bakst, or children’s illustrators like Arthur Rackham. Her delicately delineated vignettes of encounters, dances and isolate doings seem to take place beyond a veil, in a submarine realm of amphitheaters and botanical gardens. Present Time Exercise surveys her work from the past five years.

A collection of visual incursions by Italian artist Emilio Prini in dozens of exhibition catalogues and print publications over the course of five decades. Meticulously researched, and yet necessarily incomplete, this book is a glimpse into the subtlety with which Prini turned each engagement with the world of ideas into a joust for mastery over space, time, and form.

In his work, Arte Povera artist Emilio Prini (1943–2016) used photography, sound and written texts to challenge the viewer’s perception and experience. Highlighting particular elements, he often revealed the relationship between reality and its reproduction.

Baudrillard’s bewildering thesis, a bold extrapolation on Ferdinand de Saussure’s general theory of general linguistics, is in fact a clinical vision of contemporary consumer societies where signs don’t refer anymore to anything except themselves. They all are generated by the matrix.

Translated by Phil Beitchman, Paul Foss and Paul Patton.

To C.L.S.’, ‘For A.L.M.’, ‘In Memory of J.V.C.’—Starting from his collection of three-letter dedications, Dedication(s) looks at public yet hidden modes of address. While these dedications appear in printed books, they remain private, intimate allusions between author and intended recipient. The project infers the strange position of the reader who encounters these cryptic dedications, which perhaps get in the way of—or better clarify?—the relationship between author and audience. Waart’s project questions the relationship between a work and the reality in which it comes about, and why, and for whom, we make what we make.