Published on the occasion of Habit-co-Habit (Pune Biennale) curated by Luca Cerizza and Zasha Colah. Daniel Gustav Cramer and Henry Andersen, Berlin, Brussels. Edition of 1000.
Published on the occasion of the exhibition Fourteen Works at Galeria Vera Cortês, Lisbon. For the duration of the exhibition, a room has been emptied out at a farm (Quinta das Albergarias) in Campelos, Portugal. The window and the entrance have been shut. Includes a conversation between the artist and Lukas Töpfer.
Quinta das Albergarias, Campelos, Portugal, 4 May–25 June 2017.
Published on the occasion of Six Works at Return Gallery, Dublin.
A text that loops and merges into one continuous narration, describing a man walking on a forest path at night on his way home.
Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. Texts by Max Andrews and Mariana Cánepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto.
This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition Limits to Growth. The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth series of conversations between the artist and the Barcelona-based curatorial collective Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly illustrated with documentation of Mangan’s artworks and historical source material.
Copublished with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne. Design by Žiga Testen.
Published in conjunction with the first solo museum exhibition of the work of Sanja Iveković in the United States, this volume is the most comprehensive survey on the artist available in English. A feminist, activist and video and performance pioneer, Iveković came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings. This catalogue presents an overview of the artist’s projects from the early 1970s to 2011 in all mediums, offering a fascinating view of gender roles, the official politics of power and the paradoxes inherent in a society’s collective memory. Featured works include Iveković’s historic single-channel videos, performances and sculptural installations as well as a selection from Double Life (1975–76), her celebrated series of 64 photocollages. Weaving together art-historical analysis and political theory, the publication offers a critical examination of the neo-avant-garde in former Yugoslavia and investigates the theme of violence in art.
Tomio Miki (1937–1978), who exhibited among a group of avant-garde, politically active artists in Tokyo in the late 1950s and early 1960s, settled in 1963 on the human ear as his primary sculptural subject for the next several years. He often depicted them individually, on a giant scale. Sometimes he combined ears with other elements, such as spoons or colored lights, or made series of them set in rows or in boxes. Miki spoke quixotically about his choice of the ear, saying that it originated in an “experience in a train, when, for no reason, I suddenly felt myself surrounded by hundreds of ears trying to assault me. This personal episode, however, wouldn’t be any precise answer to why I make ears. I can hardly say I chose the ear. More precisely, isn’t it that the ear chose me?”