Murakami Saburō’s ‘Paper-Breaking’ performances, in which he burst through multiple sheets of kraft paper stretched across wooden frames with a sharp crack, were synonymous with the artist. He performed them on close to 40 occasions, between 1955 and 1994, throughout his artistic career. Murakami said that, in 1955, he was inspired to adopt this approach after his son came crashing through the fusuma (sliding door) of his locked room (where the artist was polishing up a plan for a new work to present in the 1st Gutai Art Exhibition) in a bid to get his father to play with him. From that time on, ‘Paper-Breaking’ became a physical means for him to present and investigate questions related to time and space, chance and inevitability, and the self and others.

With essays by Ikegami Tsukasa and Reiko Tomii.

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

Produced on the occasion of Thomas Schütte’s exhibition The Laundry Mohr’s Life at Portikus, Frankfurt, 17 June–3 September, 1989 and de Appel, Amsterdam, 26 August–23 September, 1989.

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

Begun in 2007 by artists Daniel Gustav Cramer and Haris Epaminonda, The Infinite Library is composed of an archive of over 100 books made through the recombination of pages from one or more found publications. Each book is dismantled, modified, and reorganized. Pictures and pages—momentarily out of order—are brought together to shape yet another whole. The concept for each new volume develops gradually, starting from the content of the original book and the associations that unfold in the process of making.

This publication fully catalogues the first 50 books in the series, and contains over 1600 photographic illustrations, 20 color inserted sheets, and a contextualizing essay by writer Brian Dillon.

Produced on the occasion of documenta X, 21 June–28 September, 1997, Kassel, Germany.

Lygia Clark, was a Brazilian artist best known for her painting and installation work. She was often associated with the Brazilian Constructivist movements of the mid-20th century and the Tropicalia movement. Along with Brazilian artists Amilcar de Castro, Franz Weissmann, Lygia Pape and poet Ferreira Gullar, Clark co-founded the Neo-Concrete movement. From 1960 on, Clark discovered ways for viewers (who would later be referred to as “participants”) to interact with her art works. Clark’s work dealt with the relationship between inside and outside, and, ultimately, between self and world.

Dreaming Alcestis is an artist’s book by artist and filmmaker Beatrice Gibson, conceived as an accompaniment to her holographic film installation of the same name. Dreaming Alcestis was co-directed and co-scripted by Gibson, her partner Nicholas Gordon and critic Maria Nadotti. The publication features a specially commissioned essay by poet and translator Allison Grimaldi Donahue, as well as a reprint of the American poet Alice Notley’s 1991 essay What Can Be Learned From Dreams? Designed by HIT.

Produced on the occasion of the Dutch Pavilion at the 47th Venice Biennale.

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