Live Volume 1, concentrates on a major exhibition of new sculptural works at Museum Ludwig. A full-scale reproduction of fragments of the artist’s house in Los Angeles grafted onto the architecture of the Ludwig museum, the exhibition collapses two spaces together, producing a strange third space.

Live Volume 2, comprises a photographic monograph of selected works covering the artist’s unconventional production over the past five years. Combining documentation of significant individual works, exhibitions, and large-scale installations with the artist’s own production documentation of works in the studio, the book is a unique look at works in progress.

Produced on the occasion of Henrik Olesen’s participation in the group exhibition No Swimming at the Kunstverein München (2000).

University Construction was a one-day exhibition by David Homewood and Bronté Lambert. It was held in a sixth floor classroom in the west tower of the John Medley Building at the University of Melbourne. The exhibition was open from 11am to 7pm on the 23 June, 2015, and included a variety of readymade, found and modified objects—many sourced from the university campus—presented in geometric configurations on the classroom floor, accompanied by a printed flyer and information sheet.

Carpark was an exhibition-for-documentation by David Homewood, Luke Sands and Alex Vivian that was held over three Tuesday mornings, 4th October, 18th October and 1st November 2016, at Kew Junction Woolworths underground carpark.

Included in this publication are various texts by Daniel Dawson: theories and conspiracies, shopping lists, debt lists and inventories, confessions, poems, posts, rants and stories that were written between 2014 and 2019 along with an essay by Justin Clemens. Designed by Alexandra Margetic.

Hei­mo Zobernig’s ex­per­i­men­tal ap­proach to the con­cept of sculp­ture of­ten leads him to pre­vi­ous­ly un­ex­plored boun­daries be­tween art and ar­chi­tec­ture or de­sign. For in­s­tance, he de­vel­oped two large-scale, black in­s­tal­la­tions for the floor and ceil­ing of the Aus­trian pav­ilion at the Venice Bien­nale in 2015, which play­ful­ly ques­tion the re­la­tion­ship be­tween bodies in space. Part of this rad­i­cal yet min­i­mal­ist in­s­tal­la­tion was trans­ferred to the Mu­se­um Lud­wig where he full-scale re­pli­ca served as a pedes­tal for the mu­se­um’s sculp­ture col­lec­tion. This succinct place­ment can be read as a hu­mor­ous and iron­ic com­men­tary on col­lec­tions and artis­tic self-con­cep­tion.

Dear Clay gathers a selection of spreads extracted from Stéphanie Baechler’s meticulous sketchbooks displayed in chronological order (2013–2019), as well as 35mm photographs documenting her working process. Providing an intimate insight into her artistic practice, it reveals what facilitates the work from its conception to its making, transportation, and installation.

With texts by Zoë Dankert, Stéphanie Baechler, Jan Verwoert and Rudy Guedj. Designed by Rudy Guedj and Laura Pappa.