Working in proximity to US military compounds and naval bases in Japan during and following World War II, Tatsuo Ikeda composed a visual vocabulary that escaped order and realism. Primarily drawing and painting on paper, Ikeda creates surreal scenes where mutated bodies morph with nearly unrecognisable architecture set on backgrounds of swirling line drawings or empty gradients. Ikeda lived for almost a century and shaped his art career around the tumults that he experienced as a result of US and Japanese political affairs.

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

Produced on the occasion of Diamond Stingily’s solo exhibition dead Daughter at Cabinet, London, 9 September–13 November, 2021.

Diamond Stingily addresses the materiality and mythology of identity and social class. Using everyday found objects such as hair, doors, or chains, Stingily negotiates personal and collective memories by relating them to social and economic questions.

In his work, McCarthy explores the dialectical relationships between subjects like city and citizen, friend and the stranger, and present and past. McCarthy’s work often testifies to the paradoxical emptiness experienced in a metropolis. Taking the city’s map as a metaphysical topography, the confluence of real estate, architecture, and urban planning become vocabulary for the construction of a self. Besides working with photography and text, McCarthy makes associative installations. His works appear to be images from memories, meeting viewers with a torrent of different emotions, ranging from amusement and admiration to aversion and fear. Designed by Lucas Quigley.

More information on the associated exhibition can be found here.

Robert Snowden, the author of Vacant Possession, takes as his starting point the occasion of the closing show of the same name by the artist John Knight at Cabinet Gallery, Old Street in 2016. The text becomes an enquiry into the unrealised projects in the archive of the artist, and a reflection on the nature of the unmade, of memory and material evidence.

This catalogue has been printed in relation to the exhibition Quiet Quality, which took took place in two sites, Cabinet Gallery, London, 10 October–17 November, 2012 and the Frieze Art Fair, London, 11–14 October, 2012. The format of the book is consistent with the open ended series which the artist initiated in 1986.

Produced in conjunction with the Bethlehem leg of On Kawara’s traveling exhibition Pure Consciousness which began in Sydney in 1998. For the exhibition, seven “Date Paintings” from the Today series (1966–2013) are displayed in a kindergarten classroom. The exhibition has traveled around the world to Sydney, Tongyeong, Reykjavik, Istanbul, Goa, Inari, Thimphu, Abidjan, Ulaanbaatar, Toliara and other locations.