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

Produced on the occasion of Robert Barry’s 1990 exhibition at the Haags Gemeentemuseum, Den Haag. Introduction by Rudi Fuchs, text by Franz Kaiser.

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

Artist and fashion designer Cinzia Ruggeri (1942–2019) made her artistic research a tool for inquiry into the functional and semantic properties of the object and the architectural and social dimension of the body, according to an original and nonconformist perspective enriched by irony and oneirism.

Cinzia Says… is the first monograph on this unconventional figure who moved across disciplines with absolute freedom. Her life and versatile practice were driven by the desire to redefine the formal and functional status of elements of everyday life, from apparel to accessories, from furnishings to lighting. Ruggeri created imaginative, provocative, elegant, and never predictable worlds. This book is constructed as a broad, expanded chronology offering documents, photographs, accounts, and essays.

You can see more of Cinzia Ruggeri’s work here and here.

Produced on the occasion of Jochen Lempert’s exhibition Natural sources at Huis Marseille, Amsterdam, 10 September–4 December, 2022.

Video peepshows, porno theatres, garden pavilions—with subtle insight, Tom Burr (*1963) sheds light upon what is marginalized, or not immediately recognizable. His works, which make reference to Minimal art’s object sculptures, redefine them in current socio-economic “queer” aspects. By acting as an intermediary between formal stringency and socio-political content, Tom Burr’s works overcome Hal Foster’s criticism that Minimal art tended to “handle the viewer as historically innocent and sexually indifferent.” With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.

With texts from Tom Burr, Carina Herring and Juliane Rebentisch.

Since the late 1980s, Tom Burr has been reusing appropriation strategies in his art. Not confined to his photographic and sculptural works, they also lend momentum to many of his writings. The artist has created assemblages of personal writings and sources, differing in nature and style, which he has used as both conceptual and aesthetic materials in his oeuvre. Thus, Burr extends his art praxis into the field of writing, and vice versa; art and language cannot be dissociated from each other. At times, the text precedes and anticipates the work; at others, it emanates and results from it; in most instances, it is an integral part of it. Words constitute the work.