This book can be read from the front or the back, one direction in English, and the other in German, where one encounters texts by various authors on topics such as the art of forgery, the fiction of photography as a medium of reality, the detective as a seeker of truth, history and memory. In addition to the texts, the images are important as references to our visual culture. They come from, among others, Rodin, Duchamp, Bonnard, Vermeer, Godard, as well as from our everyday world, and are partly interwoven with texts, partly scattered throughout the book like vignettes.

From daughter to woman—between the symbolic structures of patriarchy and libidinal-physical dependence on the father—Frauen und Film 48 explores this dual position of female socialization in various contributions.

Teresa de Lauretis proposes alternative readings of the Oedipus myth. Tanja Modleski examines the subtexts of femininity in Hitchcock’s shrill portrayals. Heide Schlüpmann demonstrates, in William Wyler’s film The Heiress , how technical and formal spatial constructions are mediated by the hierarchies of the father-daughter relationship. Renate Lippert takes up the incest motif in Polanski’s Chinatown.

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

Produced on the occasion of the exhibition Some May Work as Symbols: Art Made in Brazil, 1950s–70s at Raven Row, London, 7 March–5 May 2024.

During three decades in the mid-twentieth century, the cities of Rio de Janeiro, Salvador and São Paulo in Brazil saw the development of a series of exchanges and connections between a rich diversity of artistic practices. Artists from different generations and backgrounds brought traditional forms of figurative image-making, Afro-Brazilian heritage, and geometric abstraction into dialogue, in different combinations and intensities, creating a panorama that expanded the understanding of what art could do, beyond specific movements, national narratives and cultural identities.

Designed by John Morgan studio.

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

The main portion of this book is a reissue of the texts Annette Wehrmann compiled in her self-made publication in the 1990’s. The publication was produced in a small edition for which Wehrmann chose the format of an 18 x 21 cm spiral bound notebook with a plain, red-orange cover. Her booklet contained a total of 38 single-sided photocopied pages of text whose introductory title-page bears the heading LUFTSCHLANGEN-TEXTE 1+.

The name LUFTSCHLANGEN-TEXTE refers to the performative context for which the texts were originally conceived. In the 1990’s and 2000’s, Annette Wehrmann participated in a large number of projects with her performances where she read passages typed out on serpentine streamers, inching along the colorful winding strips she’d placed throughout the room.

Includes: Ode to Routine; Burn Money, Burn; Subjectivity in the Shadows; Jump Out of Your Skin; An Amount Eats a Spot; The Confines of White Freedom; The Embarrassing Quarry.

The first English-language compilation of essays by Hans-Christian Dany, author of several books in German, and many contributions to international art-journals. Ode to Routine brings together seven recent essays, wandering off the streets into demonstrations, exhibitions or gambling parlours.

Including contributions from Nadja Abt, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Lou Cantor, Nicolas Ceccaldi, Jay Chung, Hans-Christian Dany, Helmut Draxler, Francesca Drechsler, Martin Ebner, Haytham El-Wardany, Jana Euler, Julian Göthe, Toni Hildebrandt, Karl Holmqvist, Judith Hopf, Stephan Janitzky, Jakob Kolding, Maria Loboda, Nick Mauss, Robert McKenzie, Robert Meijer, Ariane Müller, Christopher Müller, Eileen Myles, Philip Reinartz, Gunter Reski, Mandla Reuter, Cameron Rowland, Julia Scher, Mark von Schlegell, Eva Seufert, Dan Solbach, Diamond Stingily, Wolfgang Tillmans, Vera Tollmann, Nicole Wermers, Amelie von Wulffen, Stephanie Wurster, Florian Zeyfang.

Designed by Dan Solbach & Starship.