The publication is a collaborative project bewtween Frac Île-de-France, the Cypriot artist Haris Epaminonda, and the Berlin designers Santiago da Silva and Simon Steinberger.

It recounts and translates the experience of the exhibition VOL. XVI, presented at Le Plateau in 2015, for which the artist had created a global environment. Through a series of parallel actions the whole exhibition was connecting the interior and exterior with the presence of an old Japanese man “living” in the exhibition and with two young women dressed in traditional Japanese costumes who were walking in the des Buttes-Chaumont Park in Paris.

With texts by Philippe Artières, Chris Sharp and Aurélie Verdier.

Produced to accompany Katinka Bock’s exhibition Radio Piombino with text by art critic and curator Anne Bonnin. Designed by graphic design collective Åbäke, the publication includes a selection of black and white photographs by Katinka Bock alongside installation images by Ruth Clark, two of which appear as gloss colour stickers. Printed on recycled matt paper and bound with red staples.

Booklet produced on the occasion of the exhibition Nieuw Licht, 8–31 March, 2001 with Kris van Dessel, Piet Dirkx, Marc Nagtzaam, Joeri De Winter.

Published on the occasion of Piero Gilardi’s 2003 exhibition at Costantini Arte Contemporanea e il Torchio Galleria d’Arte, Milan.

Piero Gilardi’s artistic practice is certainly an early statement about this evolution into a machine-made and financialized nature. From his role as one of the early protagonists of Arte Povera, to his collective actions organized for protests, and since 2008 the development of his initiative Parco de Arte Vivente in Turin, Gilardi has forged a distinctive unity between artistic practice and activism.

Since 1963 Gilardi has produced large, hyper-realistic sculptures of polyurethane foam, the so-called Nature Carpets. With these interactive sculptures he tries to give new meaning to interaction between viewer and artwork and nature and culture.

Published in conjunction with the artist’s comprehensive exhibition retrospective curated by Miguel A. López, and held at Witte de With from May–November 2019.

This publication gives an overview of Vicuña’s artistic practice as a poet, visual artist, and activist from the 1960s to the present day. It is edited by López, designed by Studio Manuel Raeder, Berlin, and includes a forward by Sofía Hernández Chong Cuy, new essays by Miguel A. López, Julia Bryan-Wilson and Carla María Macchiavello, existing essays by Lucy Lippard and Dawn Adès and an anthology of texts authored by Cecilia Vicuña.

It includes color and black and white photography of more than 120 artworks by Vicuña, encompassing the full range of Vicuña’s body of work: textiles, poetry, performances, film, collages, drawings, paintings, precarious objects, and activism. A chapter in the book is especially devoted to these images, which are organized in four thematic sections.

Jacob Kassay’s canvases are simultaneously painting, sculpture and interactive installation. The exhibition includes a new body of work, in which Kassay continues his dialogue with the traditions of monochrome and colour field painting.

A wooden framework with a selection of canvases embedded within it, each of which is evenly painted and then silver-plated, will be located in the ICA’s lower gallery. The movement of ambient colours and changing light subtly and continuously alter the appearance of the works throughout the day. The wooden structure releases the canvases from their status as single units, combining them into a larger composite installation that functions as both architectural support and environment.

Essay by Peter Eleey and conversation between Jacob Kassay & Matt Williams.